Whytes Irish & International Art 2 December 2019

IRISH & INTERNATIONAL ART
MONDAY 2 DECEMBER 2019 AT 6PM
WHYTESS I N C E 1 7 8 3
,

MONDAY 2 DECEMBER 2019 AT 6PM
VIEWING
Royal Dublin Society, Hall 6
Anglesea Road, Ballsbridge, Dublin 4
Saturday 30 November to Monday 2 December 2019
10am to 6pm daily
Free parking for Whyte’s clients
AUCTION
Monday 2 December at 6pm, Royal Dublin Society
Anglesea Road, Ballsbridge, Dublin 4
ENQUIRIES
Whyte's 38 Molesworth Street Dublin D02 KF80
Tel: 01 676 2888 E-mail: info@whytes.ie
Licensed by the Property Services Regulatory Authority. Licence No: 001759
BIDS
Whyte's 38 Molesworth Street Dublin D02 KF80
Tel: 01 676 2888 E-mail: bids@whytes.ie
Live bidding and on-line bids: bid.whytes.ie and invaluable.com
Cover: Lot 72, Tony O’Malley, Air, Water, Light, Bahamas, 1979
Opposite: Lot 142, Thomas Hickey Portrait of a Young Man, 1786
Page 2: Lot 46, Patrick Hennessy, Figures on a Staircase, York Street, Dublin, 1942
Pages 6, 7: Lot 14, Paul Henry, Glencree, County Wicklow, c.1939-45
Page 150: Lot 24, Jack Butler Yeats, A Professional Man, c.1905
Back cover: Lot 50, Gerard Dillon, Snow in Connemara
Whyte’s Auction App
available for free download

3
CONTENTS
Important Notes 4
Whyte's Terms & Conditions 5
Abbreviations 152
Topographical and General Index 152
Index of Artists inside back
This catalogue was compiled by Peter Whyte and Matthew Slack and
edited by Ian Whyte, with contributions from Dickon Hall, Dr Róisín Kennedy,
Ciarán MacGonigal, Prof. Kenneth McConkey and Gordon Power.
We would also like to thank the staff of the National Irish Visual Arts Library, the
National Library of Ireland and the many artists, art historians, collectors, dealers
and galleries who have assisted in our research for this catalogue.
Copyright 2019 Whyte & Sons Auctioneers Limited. All rights reserved.
ENQUIRIES
This catalogue:
Peter Whyte
Accounts:
Gráinne Conlon
Bids & General
Enquiries:
Cairell Ryan
CONTACTS
E-mail
info@whytes.ie bids@whytes.ie
Telephone
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Postal address
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Websites
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All Whyte’s catalogues are checked against The Art Loss Register of stolen or
missing works of art and antiques.
Matthew Slack BA MA
Curator
Gráinne Conlon ACCA
Company Accountant
Ian Whyte
Managing Director
Licensed Auctioneer 001759-002045
Marianne Whyte
Operations Director
Peter Whyte BA
Associate Director
Adelle Hughes BA MA
Associate Director
Head of Art
Sarah Gates BA
Consultant
Cairell Ryan BA
Administrator/Event
Coordinator

IMPORTANT NOTES
ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 5
4
BUYERS’CHARGES
20% (excluding VAT) is added to the hammer price of all lots.
ROOM BIDDERS
1. Room bidders must register and obtain a bidding number on arrival.
Photographic proof of identity and evidence of address are required from
clients new to us.
2. If successful in obtaining a lot please ensure you display your number clearly
to the auctioneer and that it is your number that is called out. If there is any
doubt about the hammer price or buyer, please draw this to the attention
of the auctioneer immediately.
3. Payment may be made by cash, bank draft, cleared cheque, debit or credit
card — we accept Mastercard or Visa (maximum €500). There is no charge
on debit card transactions.
ABSENTEE BIDDING
1. If you are unable to attend you may bid before the sale, using the form
provided. Photographic proof of identity and evidence of address are
required from clients new to us. Enter the maximum you are prepared to
offer for each lot and the auctioneer will represent you as if you are
personally attending the sale. Lots are knocked down at one step above the
next highest bid, and not necessarily at your highest bid. Example: your bid
is €1,000 and next highest bid is €800 – the hammer price is €850.
2. LIMIT BIDDING: Absentee bidders may limit their total purchases to a set
amount by entering their limit on the bidding form. This is especially useful
for bidders wishing to cover as many lots as possible while setting a
maximum amount to spend.
3. “OR”BIDDING: Absentee bidders who wish to bid on two or more lots, but
only wish to purchase one, may do so by entering“OR”between the bids –
the lots will be bid on in catalogue order.
4. EQUAL BIDS: In the event of equal bids being received for the same lot the
first received will be given preference. If the instruction“break ties”is entered
on the bid form the auctioneer will increase the bid by one step in the event
of equal bids being received or in the event of a tie with a room bidder.
5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy at Best” shall
be taken to indicate bids of up to three times the stated higher estimate in
the catalogue.
6. LIVE INTERNET BIDDING:You may watch and/or bid live with video and audio
link to the saleroom on our website bid.whytes.ie
To bid from an iPhone or iPad please go to invaluable.com
7. LIVETELEPHONE BIDDING may be arranged on request, subject to availability
and given at least 24 hours notice. This facility is only available on lots
estimated at €1,000 or more, and a minimum bid may be requested.
8. INVOICING AND PAYMENT: Successful absentee bidders will be sent a pro
forma invoice immediately after the sale with details of payment methods.
All invoices must be paid within 7 days of the date of the sale or the lot(s)
may be deemed in default and any subsequent losses incurred on resale
become the responsibility of the bidder. 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.
PRICES REALISED
A complete list of prices realised and unsold lots will be posted to our
website whytes.ie on the day after the sale.
EXPORT LICENCES
Purchasers from outside the State are reminded that export licences are
required for all archaeological items, as well as artworks and documents that
have been in the State for more than 25 years. Furher details are available from
the National Museum, The National Gallery of Ireland or the Department of
The Arts, Heritage and the Gaeltacht. The onus on obtaining such licences is
on the purchaser or the purchaser’s shipper.
SPECIAL NOTICES CONCERNING THIS AUCTION
VENUE FOR AUCTION
The venue for the auction is the Royal Dublin Society, Anglesea Road,
Ballsbridge, Dublin 4 and the sale starts at 6pm.
Bidder registration will take place at. the RDS from 5pm on Monday
2 December and the sale starts at 6pm.
COLLECTION OF LOTS
Collection of purchases at this sale may be effected 10am to 2pm on Tuesday
3 December from the RDS. After that date lots may be collected from our
Molesworth Street premises, Monday to Friday 10am to 5pm.
Purchasers must pay for and collect all lots within 7 days of the date of sale.
Note: each lot is at the buyer’s risk from the fall of the hammer. Storage
charges will apply after 7 days.
PAYMENT
Invoices may be paid for by debit card, bank transfer, bank draft, cleared
cheque, or cash. Credit card payment is limited to €500. Under Anti Money
Laundering legislation a Cash Origin Form must be completed for payments in
cash of amounts exceeding €500. Further information from our Accounts
department at 01 676 2888 or ac@whytes.ie
MORE INFORMATION ON OUR WEBSITE
whytes.ie or whytes.com
Here you will find much useful information pertaining to lots in this auction,
including biographies and previous results for many of the artists featured in
this sale.
WHYTE’S GUARANTEE OF AUTHENTICITY
Whyte’s takes especial care to ensure that all works offered in this catalogue
are as described and are the work of the artists they are attributed to. In the
event of any work sold from this catalogue to be subsequently proved to be a
“deliberate forgery”, subject to our terms and conditions of sale (especially
Clause 5c) as printed elsewhere in this catalogue Whyte’s will cancel the sale
and refund to the buyer the total amount paid by the buyer to Whyte’s for the
item, in the currency of the original sale. This guarantee is provided for a period
of seven (7) years after the date of the relevant auction, and may be extended
at Whyte’s discretion.
GLOSSARY OF TERMS
The following are examples of the terminology used in this catalogue.
1 Sir John Lavery
in our opinion a work by the artist.
2 Attributed to Sir John Lavery
In our opinion probably a work by the artist but less certainty as to
authorship is expressed than in the preceding paragraph.
3 After Sir John Lavery
In our opinion a copy of a known work by the artist. We also use this term
for prints of works by the artist.
4 The term signed and/or dated and/or inscribed means that in our opinion
the signature and/or date and/or inscription are from the hand of the artist.
5 The term bears a signature and/or initials and/or date and/or inscription
means that in our opinion the signature and/or date and/or inscription has
been added by another hand.

5IRISH & INTERNATIONAL ART · 2 DECEMBER 2019 AT 6PM
WHYTESS I N C E 1 7 8 3
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TERMS AND CONDITIONS OF SALE NOTICE
Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the
auctioneer" exercises all reasonable care to ensure that all descriptions are
reliable and accurate, and that each item is genuine unless the contrary is
indicated. However, the descriptions are not intended to be, are not and are
not to be taken to be, statements of fact or representations of fact in relation
to the lot. They are statements of the opinion of the auctioneers, and
attention is particularly drawn to clause 5 set out below. Comments and
opinions, which may be found in or on lots as labels, notes, lists, catalogue
prices, or any other means of expression, do not constitute part of lot
descriptions and are not to be taken as such unless they are made or
specifically verified by the auctioneers.
Clause 1
(a) Each lot is put up subject to any reserve price imposed by the vendor
(b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shall
be the purchaser thereof
(c) If any dispute arises as to the highest bidder the auctioneer shall have
absolute discretion to determine the dispute and may put up again and re-
sell the lot in respect of which the dispute arises.
Clause 2
(a) The bidding and advances shall be regulated by and at the absolute
discretion of the auctioneer and he shall have the right to refuse any bid or
bids. NOTE: Where an agent bids, even on behalf of a disclosed client, the
auctioneer nevertheless has the right at his discretion to refuse any such bid.
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auctioneer, give him the name and address of the purchaser and pay to the
auctioneer at his discretion the whole or part of the purchase money. If the
purchaser of any lot fails to comply with any such requirement the auctioneer
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obtained than was obtained on the first sale the purchaser in default on the
first sale shall make good the difference in price and expenses of re-sale
which shall become a debt due from him.
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default of the purchaser or vendor.
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shall be paid for in full before delivery and taken away at his expense within
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within 21 days of the date of sale such lot may at any time thereafter at the
auctioneer's discretion be put up for sale by auction again or sold privately; if
upon such re-sale a lower price is obtained than was obtained on the first
sale the purchaser in default on the first sale shall make good the difference
in price and the expenses of re-sale which shall become debt due from him.
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Clause 5
(a) All lots are made available for inspection before each sale and each buyer,
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and the Auctioneer and its employees, servants or agents shall not be
responsible for any error of description or for the condition or authenticity of
any lot, save for Clause 5 (c) below. Written or verbal condition reports may be
supplied by the Auctioneer on request but these are merely statements of
opinion, and any error or omission in these reports may not be taken as
grounds for a cancellation of sale or refund of any part of the purchase price
or the cost of any repairs to the lot or lots reported on
(c) A purchaser shall be at liberty to reject any lot if he - (i) gives the
auctioneer written notice of intention to question the genuineness of the lot
within seven days from the date of sale; AND (ii) proves that the lot is a
deliberate forgery and (iii) returns to the auctioneer within 20 days from the
date of sale the lot in the same condition as it was at the time of sale;
provided that the auctioneer may, at his discretion, on receiving a request in
writing from the purchaser, extend for a reasonable period the time for return
of the lot to enable it to be submitted to expertisation. NOTE: The onus of
proving a lot to be a deliberate forgery is on the purchaser.
(d) Where a lot has been submitted to expertisation, all costs of such
expertisation shall be paid by the person who retains the certificate of
expertisation and item or items to which the certificate relates.
(e) Where the purchaser of a lot discharges the onus and acts in accordance
with sub-clause (b) of this clause, the auctioneer shall rescind the sale and
repay to the purchaser the purchase money paid by him in respect of the lot.
(f) No lot shall be rejected if, subsequent to the sale, it has been marked by an
expert committee or treated by any other process unless the auctioneer's
permission to subject the lot to such treatment has first been obtained in
writing.
(g) Any lot listed as a "collection, range, portfolio etc." or stated to comprise or
contain a collection or range of items which are not described shall be put up
for sale not subject to rejection and shall be taken by the purchaser with all (if
any) faults, lack of genuineness and errors of description and numbers of
items in the lot, and the purchaser shall have no right to reject the lot; except
that, notwithstanding the foregoing provisions of this sub-clause, where
before a sale a person intending to bid at the sale gives notice in writing to,
and satisfies the auctioneer that any such lot contains any item or items
undescribed in the sale catalogue and that person specifically describes that
item or those items in that notice, then that item or those items shall, as
between the auctioneer and that person, to be taken to form part of the
description of the lot. Clause 6 The respective rights and obligations of the
parties shall be governed and interpreted by Irish law, and the buyer hereby
submits to the exclusive jurisdiction of the Irish Courts..
Clause 6
The respective rights and obligations of the parties shall be governed and
interpreted by Irish law and the buyer hereby submits to the exclusive
jurisdiction of the Courts of the Republic of Ireland.
SPECIAL CONDITIONS
a) The buyer shall pay the Auctioneer a commission at the rate of 20% of the
purchase price (which excludes VAT at the prevailing rate under The Margin
Scheme and which is not reclaimable).
(b) The Auctioneer or its employees, servants or agents may, on request
organise packing and shipping of lots purchased or may order on the buyer's
behalf third parties to pack or ship purchases. Under no circumstances does
the Auctioneer accept any liability whatsoever for any loss or damage
howsoever occasioned in the course of such service.
(c) The buyer authorises the Auctioneer to use any photographs or
illustrations of any lot purchased for any or all purposes as the Auctioneer
may require. The placing of a bid will be taken as full agreement to all the
above conditions
WHYTE & SONS AUCTIONEERS LIMITED
38 Molesworth Street, Dublin D02 KF80
Licensed by the Property Services Regulatory Authority. Licence No: 001759

Monday 2 December 2019 at 6pm
Lots 1-240

10
1
William Percy French (1854-1920)
BOG LAKE
watercolour
signed lower left
6.25 by 13.50in. (15.9 by 34.3cm)
€3,000-€4,000 (£2,590-£3,450 approx.)
Click Here for Large Images & To Bid Lot 1

IRISH & INTERNATIONAL ART ·2 DECEMBER 2019 AT 6PM 11
2
William Percy French (1854-1920)
COASTAL SCENE
watercolour
signed lower left
6.25 by 9.25in. (15.9 by 23.5cm)
Provenance:
Eakin Gallery, Belfast;
Private collection
€1,500-€2,000 (£1,290-£1,720 approx.)

12
3
Nathaniel Hone RHA (1831-1917)
THE ESTUARY, MALAHIDE, COUNTY DUBLIN
oil on canvas laid on board
signed with initials lower left; titled and with provenance details on label on reverse
7.25 by 10.25in. (18.4 by 26cm)
Provenance:
Presented by the artist to John Butler Yeats;
Private collection
€2,000-€3,000 (£1,720-£2,590 approx.)

4
Estella Frances Solomons HRHA (1882-1968)
SEAMUS READING WITH LAMBAY ISLAND IN THE DISTANCE, COUNTY DUBLIN
oil on board
signed with initials lower left; inscribed [Lambay, by Estella F. Solomons, Studio, 26 Pearse St.] on reverse
14 by 16.50in. (35.6 by 41.9cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

14
5
Mildred Anne Butler RWS (1858-1941)
REAR OF KILMURRAY HOUSE, COUNTY KILKENNY
watercolour
inscribed [Mr David S...] on reverse (obscured)
10.75 by 14.50in. (27.3 by 36.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

6
Edith Oenone Somerville (1858-1949)
SUNSET, MIST AND MOUNTAINS, c. 1927
oil on canvas
signed lower left; with Walker’s Galleries [London] label on reverse
12 by 17in. (30.5 by 43.2cm)
Provenance:
Gorry Gallery, Dublin, 1989;
Private collection
Exhibited:
Walker’s Galleries, London, 1927, catalogue no. 26;
’An Exhibition of 18th, 19th and 20th Century Irish Paintings’, Gorry Gallery, Dublin, 28 April to 11 May
1989, catalogue no. 67
€1,000-€1,500 (£860-£1,290 approx.)

16
7
Letitia Marion Hamilton RHA (1878-1964)
COTTAGES IN THE WEST (DOOAGH, ACHILL ISLAND)
oil on canvas
signed with initials lower left
20 by 25in. (50.8 by 63.5cm)
Provenance:
de Veres, 2 December 2014, lot 15;
Private collection
A landscape painter from Dunboyne, Co. Meath, Letitia Hamilton was the younger sister of Eva H. Hamil-
ton and a cousin of Rose Barton. She studied under Sir William Orpen at the Dublin Metropolitan School
of Art, later studying in Belgium with Frank Brangwyn and at the Slade School of Fine Art in London. She
regularly exhibited at the Water Colour Society of Ireland throughout her career and showed her first
painting at the Royal Hibernian Academy in 1909 rarely missing an exhibition there for the rest of her
life. She was a founder member of the Society of Dublin Painters in 1920. She held an exhibition with
her sister in 1924 in Dublin showing scenes of Venice where she was later to have a studio. She travelled
extensively and was rather unusual as an artist-traveller in the fact that she rarely used pencil or waterco-
lour or any other light, easily transportable media, opting instead for the more cumbersome canvas and
oil paint. In her later work she used an increasingly thick impasto applying the paint with a palette knife.
She was appointed ARHA in 1934 becoming a full member ten years later.
€10,000-€15,000 (£8,620-£12,930 approx.)
Lots 7 to 11 and 13 are from an important single owner private collection in
Ireland.

18
8
ACHILL ISLAND, COUNTY MAYO (FIGURES ON THE BOG)
oil on board
signed with initials lower right; inscribed with title and artist on reverse;
also inscribed [To ...., from Lady ...., 1936] (names indistinct) on reverse
12 by 16in. (30.5 by 40.6cm)
€5,000-€7,000 (£4,310-£6,030 approx.)
9
No Lot

10
TURF CUTTING
oil on board
signed with initilas lower right
20 by 24in. (50.8 by 61cm)
Provenance:
Godolphin Gallery, Dublin;
Private collection
€10,000-€15,000 (£8,620-£12,930 approx.)

20
11
Eva Henrietta Hamilton (1876-1960)
ACHILL VILLAGE, COUNTY MAYO
oil on panel
signed with initilas lower right
14.75 by 17.75in. (37.5 by 45.1cm)
Provenance:
Mellors & Kirk, Nottingham;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

12
KEELOGYBOY MOUNTAIN, COUNTY SLIGO
oil on board
11.75 by 13.50in. (29.8 by 34.3cm)
Provenance:
Collection of Jill Cox;
Her sale, Adam’s 7 September 2011, lot 732;
Private collection
€2,500-€3,500 (£2,160-£3,020 approx.)

22
13
ACHILL COASTLINE WITH COTTAGES IN THE FOREGROUND
oil on canvas
signed with initials lower left
20 by 24in. (50.8 by 61cm)
Provenance:
Taylor Galleries, London;
Private collection
Exhibited:
Godolphin Gallery, Dublin, 1983, catalogue no. 14
€8,000-€12,000 (£6,900-£10,340 approx.)

24
14
Paul Henry RHA (1876-1958)
GLENCREE, COUNTY WICKLOW, c. 1939-45
oil on canvas
signed lower right; titled on reverse
16 by 24in. (40.6 by 61cm)
Provenance:
Acquired directly from the artist by the previous owner;
Private collection
Dr Brian Kennedy dates this work to 1935-1939, when Paul Henry and his then partner, later his wife, Ma-
bel Young took up residence in Co. Wicklow. The painting was purchased from Henry by a friend.
€60,000-€80,000 (£51,720-£68,970 approx.)

26
15
Maurice MacGonigal PPRHA HRA HRSA (1900-1979)
LANDSCAPE WITH CHURCH, ROUNDSTONE, 1962
oil on board
signed lower left; with original exhibition label on reverse
20 by 30in. (50.8 by 76.2cm)
Provenance:
Dawson Gallery, Dublin;
Private collection
Exhibited:
‘Maurice MacGonigal PRHA’, Dawson Gallery, Dublin, 4-24 March 1970, catalogue no. 17
Painted in the summer of 1962 and in the original Dawson Gallery frame.
The little house on the right is the old chapel of the first monastery in Roundstone, built in 1842 for the
Franciscan Brothers of Mountbellew. They had been drafted into the area by John McHale, Roman Catho-
lic Archbishop of Tuam, to counteract the work of the Hibernian Bible Society and the Scottish Presbyte-
rian Preachers in Connemara and to prevent the people from reading the bible and stop them speaking
Irish. In the first half of the nineteenth century there was a major struggle in Connemara by the various
Christian sects for the souls, hearts and minds of the people. The church was completed in early 1842,
but in 1880 was reworked and rededicated as The Star of the Sea, one of the titles given to the Virgin
Mary in the Litany of the Saints.
To the viewer’s left can be seen the old national school and beyond that the old RIC (later Garda) bar-
racks. That same year the artist painted in the Roundstone house portraits of Mervyn Wall, the writer,
and his wife Fanny Feehan, a musician and music critic. He also painted Maurice Gorham, the broadcast-
er whose family home was further along the road beyond Murvey, the Duchess de Stacpoole and her
granddaughter Biddy, and the editor of Botteghe Oscure and later a collector and dealer of note, Seán Ó
Críadhaín. The de Stacpoole protrait survives in that family ownership and the Mervyn Wall portrait was
bequeathed by him to the Arts Council, where he had been secretary for many years.
It is high summer and such was the weather that there was no water in the entire area; the village be-
came quite Riviera-like in its atmosphere. The vividness of the colour scheme and the high tones are
typical of his palette throughout his life, and by painting once only on a surface the pigment does not
get muddied by under painting, nor is there a pentimento to distract from the surface patters of the
pigment. The characteristically swift application of pigment with no under-drawing is very much the
hallmark of the painter then and throughout his life of painting in the open air and gives a joyous sense
of the brilliant light and the heat on that long ago summer’s day in Connemara.
Ciarán MacGonigal, November 2008.
€3,000-€5,000 (£2,590-£4,310 approx.)

28
16
Maurice MacGonigal PPRHA HRA HRSA (1900-1979)
THE ARTIST’S WIFE AND FAMILY WITH DOG AT ERRISBEG, COUNTY GALWAY, 1952
oil on canvas
signed lower left
40 by 50in. (101.6 by 127cm)
Provenance:
Christie’s, Dublin, 24 October 1988, lot 76A;
Where purchased by the present owner
Literature:
K. McConkey, A Free Spirit: Irish Art 1860-1960, London, 1990, p. 176, no. 59, illustrated
Painted in the later stages of the artist’s career in 1952, Maurice MacGonigal’s The Artist’s Wife and Family with
Dog at Errisbeg explores Ireland’s dramatic coastal mountainous landscape. The painted scene depicts the Erris-
beg Mountain seaside, situated between the historical fishing village of Roundstone and the road to Clifden, near
where the artist and his family owned a summer home. A number of smaller works by MacGonigal were produced
in the Connemara area during this period, however few at the same scale as this particular work. Reflecting on his
father’s art career, Ciarán MacGonigal states that this painting is the best he ever produced:‘The painter’s working
method is typified here in the handling of the great boulders which litter the shore. MacGonigal, like his friend and
colleague Seán Keating, tended to eliminate or at least simplify, the range of mid-tones’(K. McConkey, A Free Spirit:
Irish Art 1860-1960, London, 1990, p. 176). Throughout the painting, sunlight creates bold highlights and shadows
giving a true sense of depth to the landscape, while emphasising the artist’s family sitting in the foreground. Stark
divisions of dominant rock formations separate the land with cool whites, rust-coloured ochres and greens, in
turn leading the eye upwards in segments from the base of the canvas in the coastline to the elevated fields and
beyond. The houses behind the sitters are known to have belonged to the Blackadder family, known to have been
agents for landed families until the late 1940s.
Amongst the rocks sits Maurice’s wife Aida, resting with her sons, Ciarán and Muiris and the family dog. Aida was
herself an artist and art critic, writing regularly for The Leader under several aliases. In her late teens, she modelled
for a number of artists including Charles Wheeler and Oliver Shepherd, whose 1935 marble relief of Aida is held in
the Crawford Gallery, Cork. Dominating the background, the imposing foot of Errisbeg Mountain obstructs the sky,
exaggerating the intensity of the Irish landscape. This sense of grandeur, richness of colour and attention to detail
that MacGonigal incorporates, captures the rugged beauty of the Irish coastline and the artist’s affection for his
country.
During this time, Errisbeg was thought to hold deposits of gold and copper, illustrated by the large rust-coloured
rocks in MacGonigal’s painting. Despite the land being described by investors as‘the Irish El Dorado’(C. MacGo-
nigal, quoted in a personal letter, September 2014), only little amounts of both elements were found. Instead the
central focus of the area remained farming and fishing.
Maurice’s son, Ciarán, recounts the day he visited where his father painted this work with excellent detail:‘The day
remains vivid to me as I found a mess of hooks in the rivulet and showed them to my father as he was painting and
I can still recall the deadly quiet way he said to me,“put that back, it belongs to the Douanes and Conneelys”when
I pressed the matter he said“look just do it! They were poachers and the water bailiff would have gone mad ...”
(Ciarán MacGonigal, ibid).
€20,000-€30,000 (£17,240-£25,860 approx.)

30
17
Sir William Orpen KBE RA RI RHA (1878-1931)
ON THE CLIFF (HOWTH, COUNTY DUBLIN), 1913
pencil and watercolour
signed and dated lower right; with Pyms Gallery label on reverse
21 by 29.25in. (53.3 by 74.3cm)
Exhibited:
‘Orpen and the Edwardian Era’, Pyms Gallery, 1987, catalogue p.103 (illustrated)
The present drawing is one of a group of highly finished works, describing Orpen’s idyllic summers between 1909 and
1913 when he and his family rented the Bellinghams’house on Howth Head. The drawings were augmented by major oil
paintings. In themselves however, they were so fine that six were selected by the artist for reproduction in facsimile by
Charles Chenil and Co in a set of ten published in a special portfolio at the end of 1913. Such was their quality that one
reviewer felt compelled to point out that Orpen’s drawings‘ … are not incomplete studies, and they are not sketches’.
One or two figures may appear in similar poses in paintings, but they are‘none the less complete in themselves’. (1)
On
the Cliff was the first of the set.
While paintings and other drawings show figure groups on the cliff overlooking Dublin Bay, the present example, closely
related in subject matter to The Yacht Race (Private Collection) is unique. Approaching the perilous cliff edge the watch-
er lies on her stomach to observe the passing ships and survey the majestic sweep of the Dublin mountains to the south
of the city. On this warm day, she goes barefoot and her large felt hat, seen elsewhere in the series and a favourite of the
painter, protects her from the sun. Comparison with the mood of dolce far niente found in the works of Augustus John
and others of the New English Art Club circle, are apposite. By the time the portfolio appeared the impact of Orpen’s
Howth Head lotus eaters was already being felt by lesser artists such as Derwent Lees, Walter Bayes, Charles Sims and
Gerald Moira, all of whom painted pictures of girls by the sea in full sunlight, in a late flowering of British Impressionism.
Perhaps the closest comparison is that of Laura Knight who met Orpen in 1910 and whose choice of subject matter in
works such as Wind and Sun (Private Collection) was deeply influenced by him.
However, none of his contemporaries attained the unmistakable‘Ingrism’of the present drawing and others in the
group. Several critics alluded to the Master of Montauban and one, reviewing the Chenil drawings, concluded,
”We pay them no fulsome compliment in saying that in their mastery of line and contour and mass they are examples of
draughtsmanship of which any school or nationality of artists might be proud”. (2)
Even John appears undisciplined in comparison. In Orpen’s accurate eye there is both weight and lightness. Arms,
elbows and the folds of the model’s jacket are emphasised to give solidity to the figure, while the ever-sensitive line at-
tains its greatest refinement as it follows the contour of her back - such that for one delirious reviewer,‘his pencil hovers
over the paper with the grace of a butterfly’. (3)
The result, for another reviewer of the series, was‘remarkable’:
”The drawings are remarkable not only for their delicacy of handling, but for the loving care with which the pencil has
revelled in the beauty of form. Mr William Orpen is thoroughly modern, yet he continues a tradition which has been
handed down from the great draughtsmen of the past. His work does not suffer when placed by the side of the Old
Masters.”(4)
After his death, when he and his work was memorialized, Orpen’s images of Howth took on a golden hue. For PG Kono-
dy they breathed‘a spirit of physical well-being’. (5
) Within a few years all would change utterly, and that world imbued
with innocence would never be re-created - save in the imagination, and in the magic of line.
Professor Kenneth McConkey, April 2019
1
The Daily Graphic, quoted in Art Criticisms, A Portfolio of Ten Drawings, n.d., [c.1914-15] (The Chenil Gallery,
Chelsea), p. 4.
2
ES Grew,‘The Severe Art of Drawing’, The Graphic, 17 January 1914, p. 104.
3
The Ladies’Field, quoted in Art Criticisms n.d., p. 9.
4
The Art News, quoted in Art Criticisms n.d., p. 6.
5
PG Konody and S Dark, William Orpen, Artist and Man, 1932, (Seeley, Service & Co Ltd), p. 187.
€15,000-€20,000 (£12,930-£17,240 approx.)

32
18
NADINE’S COAT, BY THE LIGHT OF THE MOON, DIEPPE
ink
signed [mailliw nepro] and titled lower left
10.50 by 8in. (26.7 by 20.3cm)
€800-€1,200 (£690-£1,030 approx.)

19
John Butler Yeats
RHA (1839-1922)
GENTLEMAN READING
watercolour
4.50 by 7.50in. (11.4 by
19.1cm)
Provenance:
Family of the artist;
Fonsie Mealy Chatsworth Sale, The Yeats Collection, 14 November 2017, ex lot 616;
Private collection
Possibly a portrait of Major Robert Gregory (1881-1918), only son of Yeats’long-time patron, Lady Grego-
ry of Coole Park, Gort, Co Galway. He died when his Royal Flying Corps aircraft crashed on the Italian front
on 23 January 1918. His premature death, aged 37, had a lasting effect on W. B. Yeats, and he became the
subject of four poems by him; including An Irish Airman Foresees his Death.
An Irish Airman Foresees His Death
W. B. Yeats - 1865-1939
I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public man, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.
€1,000-€1,500 (£860-£1,290 approx.)

34
20
John Butler Yeats RHA (1839-1922)
NELLY WHELAN READING
pencil
inscribed [Nelly Whelan] lower right
4.75 by 8.25in. (12.1 by 21cm)
Provenance:
Private collection
Exhibited:
‘The Drawings of John Butler Yeats’, Albany Institute of History & Art, New York, 11 April to 31 May 1987,
catalogue no. 16
Literature:
Cullen, Finton, The Drawings of John Butler Yeats (1839-1922), Lane Press, New York, 1987, p. 40 (illustrat-
ed)
With pencil sketch of young man on reverse.
€1,000-€1,500 (£860-£1,290 approx.)

21
John Butler Yeats RHA (1839-1922)
PORTRAIT OF A GENTLEMAN
pencil
9.75 by 7.50in. (24.8 by 19.1cm)
Provenance:
Private collection
€1,000-€1,500 (£860-£1,290 approx.)

36
22
George Russell (“Æ”) (1867-1935)
PORTRAIT OF IRENE HAUGH
pencil
signed lower right; inscribed [Miss Irene Haugh, Secretary to George (AE) Russell, sketch by him, see ....]
and with reproduction to the cover of The Valley of the Bells by Irene Haugh on reverse
13.25 by 9.50in. (33.7 by 24.1cm)
During the last year of Russell’s Irish Statesman periodical Irene Haugh acted as his secretary and contrib-
uted much verse to its pages. She published her collection of poetry, The Valley of the Bells, with a pref-
ace by Russell.
€600-€800 (£520-£690 approx.)

23
George Russell (“Æ”) (1867-1935)
WOMAN AND CHILD ON A SEASHORE
oil on canvas
signed with monogram lower right
16 by 21.50in. (40.6 by 54.6cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

38
24
Jack Butler Yeats RHA (1871-1957)
A PROFESSIONAL MAN, c.1905
watercolour on card laid on board
signed lower left; with Waddington Galleries label on reverse
23 by 19.25in. (58.4 by 48.9cm)
Provenance:
James Adam, 5 April 1979, lot 85;
Private collection;
Taylor de Vere, 1989;
with Trinity Gallery, London;
Waddington Galleries, London;
Private collection
Exhibited:
‘The Life and Times of Ireland by Jack B. Yeats’, Theo Waddington’s Irish Art Project, Irish Architectural
Archive, Dublin, 10 September to 10 October 2008
Literature:
Pyle, Hilary, Jack B. Yeats: His Watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no.
536, p.139-140 (illustrated)
Yeats was always fascinated by the social fabric of rural Ireland. His awareness of social class was sharp-
ened by his travels with John Millington Synge through the Congested Districts Board in 1905, the year
this work was painted. The two men noted the encounters between shopkeepers and wealthy farmers
and the ordinary labourers in the illustrated articles that they produced for the Manchester Guardian.
This splendidly coloured watercolour of a professional man in his frock coat is one of several paintings
of different male occupations or types that Yeats produced at this time. The figure strides purposefully
across the landscape in his urban attire with his incongruous umbrella and a red book, probably a ledger,
in his gloved hand. The low-viewpoint and opaque application of paint enables Yeats to create a kaleido-
scope of forms and colours in the sky and the rolling fields behind him.
Dr Róisín Kennedy
April 2016
€20,000-€30,000 (£17,240-£25,860 approx.)

40
25
CAPTAIN ROBERT JOHN WOODS OF THE ROYAL INNISKILLING FUSILIERS, 1919
oil on canvas
signed lower right
30 by 25in. (76.2 by 63.5cm)
Provenance:
Christie’s, London, 10 June 1983, lot 73;
Private collection, Canada;
Waddington’s, Toronto, 12 June 2012, lot 147;
Private collection, Canada
The Great War left Orpen ill and exhausted. Having experienced recurring bouts of what was described as‘blood
poisoning’, he fell prey around the time of the Armistice to the second, deadly wave of Spanish flu that swept
Europe. In the care of his brother and being nursed by Yvonne Aubicq, he was back on his feet in the early weeks of
1919 and contemplated leaving Amiens to paint in the now‘liberated’German towns. The Ministry of Information
in London, however, had other plans. He would be dispatched to Paris to paint military men and statesmen -‘The
Frocks’, as he christened those in the latter category - now assembling for the Peace Conference in the Salon de
l’horloge, of the Gare d’Orsay. It is thought that Captain Woods’s portrait was painted around this time.
Robert John Woods hailed from Enfield Street in the Shankill Road district of Belfast and while full details of his
war service remain for further research, it is likely that he was assigned to Paris, like Orpen, as an aide-de-camp.
He served as a Second Lieutenant in the 3rd Battalion of the illustrious Inniskilling Fusiliers - this, at the beginning
of the war was regarded as a‘militia’or reserve battalion that was assigned to the Western Front early in 1915. It
suffered huge casualties as part of the Ulster Division on the Somme in the following summer of 1916 and as a
wounded officer, with the rank of Captain, Woods was‘invalided out’from active service the following year. His
final discharge came in July 1922.†
As the Peace Conference project unfolded, Orpen’s portrait list grew longer and as Bruce Arnold points out, a
distinction emerges between soldiers and statesmen (Orpen, Mirror to an Age, 1981, pp. 360-1). The latter por-
traits are swift, and in some instances, almost caricatural, while the former receive much less cursory attention.
For Orpen these army officers and their men were the true victors, but they had no place in the emerging political
pantomime. This explains the sympathy and sensitivity we observe in the Woods portrait.
A handsome fellow has lost his youth, his greatcoat weighs him down, and behind his eyes are the horrors he has
seen. Long, slow looking, patience, and an accurate eye provide for great psychological penetration in Orpen’s
picture of this quiet Ulsterman in uniform.
Professor Kenneth McConkey, November 2019
† According to Army papers Woods’s enlistment address was 58 Enfield Street, Belfast, but this had changed
to 21 Kerrsland Drive, Strandtown, Belfast at the time of his discharge.
We are grateful to Gordon Power for his research into military records and his identification of the sitter.
€25,000-€30,000 (£21,550-£25,860 approx.)

42
26
Seán Keating PPRHA HRA HRSA (1889-1977)
PORTRAIT SKETCH OF CHARLES VINCENT LAMB
charcoal
signed lower right
14.75 by 12.25in. (37.5 by 31.1cm)
Provenance:
Collection of George and Maura McClelland
Sitter identified by George McClelland.
€1,500-€2,000 (£1,290-£1,720 approx.)

27
Seán Keating PPRHA HRA HRSA (1889-1977)
WOMAN AND CHILD
crayon and pencil
signed lower left
8 by 6.50in. (20.3 by 16.5cm)
Provenance:
Whyte’s, 26 June 2000, lot 71;
Private collection
€800-€1,000 (£690-£860 approx.)

44
28
George Collie RHA (1904-1975)
PORTRAIT OF PADRAIG PEARSE
oil on canvas
signed lower left
42 by 36in. (106.7 by 91.4cm)
Provenance:
The Irish Club, Eaton Place to 1992;
An Insurance consortium from 1992;
Asset investment company to 2007;
Insurance corporation to 2018;
Private collection
George Collie was born in Monaghan and but moved at an early age to Dublin where he was educated
first at St. Kevins School, Blackpitts, Dublin and later at the Dublin Metropolitan School of Art. He won
the Taylor award in 1927 and travelled to London and Paris. On his return he set up a studio and his own
school, behind Whyte’s Galleries, in School House Lane off Molesworth Street. Collie was a regular exhib-
itor with the RHA and garnered important commissions, private, public and ecclesiastical throughout his
career.
In 2009, The National Gallery of Ireland acquired The Midday Meal, c.1927 by George Collie affirming the
artist’s importance in the context of Irish art. The present work also reinforces his importance as a portrait
painter with this significant commission from The Irish Club in London.
The portrait shows Pádraig Pearse in his barrister’s wig and gown, against the background of ruins of
Dublin and the 1916 Proclamation of the Irish Republic, which he wrote.
€10,000-€15,000 (£8,620-£12,930 approx.)

46
29
William Conor OBE RHA RUA ROI (1881-1968)
SINGING A TUNE
oil pastel and crayon on paper
signed lower right and upper left
16.50 by 12.25in. (41.9 by 31.1cm)
Provenance:
Whyte’s, 11 December 2011, lot 123;
Private collection
€4,000-€6,000 (£3,450-£5,170 approx.)

30
William Conor OBE RHA RUA ROI (1881-1968)
MOTHER AND DAUGHTER, 1906
pencil, ink and watercolour
signed upper right; titled and dated upper right
8.50 by 6.75in. (21.6 by 17.1cm)
€2,500-€3,500 (£2,160-£3,020 approx.)

48
31
Charles J. McAuley RUA ARSA (1910-1999)
GATHERING TURF
oil on board
signed lower left
16 by 19.50in. (40.6 by 49.5cm)
Provenance:
Whyte’s, 10 October 2010, lot 10;
Private collection
€2,000-€3,000 (£1,720-£2,590 approx.)

32
Father Jack P. Hanlon (1913-1968)
FARMYARD
oil on canvas
signed with initials lower right
15 by 17in. (38.1 by 43.2cm)
Provenance:
Thence by descent
€2,500-€3,500 (£2,160-£3,020 approx.)

50
33
Grace Henry HRHA (1868-1953)
SAILING BOATS AT CHIOGGIA, VENICE
oil on canvas
signed lower right
13.75 by 10.50in. (34.9 by 26.7cm)
Provenance:
de Veres, 27 November 2012, lot 32;
Private collection
€2,500-€3,500 (£2,160-£3,020 approx.)

34
Grace Henry HRHA (1868-1953)
MADONNA DEL SAGRAETO, CHIOGGIA, ITALY
oil on canvas
signed lower right
24 by 20in. (61 by 50.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

52
35
Lady Beatrice Glenavy RHA (1881-1970)
COUPLE IN ARCADIAN SETTING, 1935
oil on board
signed with monogram and dated lower right
11.50 by 12.50in. (29.2 by 31.8cm)
Provenance:
Family of the artist
€2,000-€3,000 (£1,720-£2,590 approx.)

36
Dorothy Kay Elvery (1886-1964)
COLLECTION OF ETCHINGS, c. 1924 (SET OF SEVEN)
etching; (7)
all signed and titled
8 by 9.75in. (20.3 by 24.8cm)
Provenance:
Dimensions of largest work given.
Titles of works:‘Michael’,‘The Horse Trough’,‘Kaffirs Going Home’,‘Fishing - Port Elizabeth’,‘A Veld Fire’,
‘Clock Tower’and‘Mouth of the Baakens River’.
€1,500-€2,000 (£1,290-£1,720 approx.)

54
37
Evie Hone HRHA (1894-1955)
DESIGN FOR STAINED GLASS WINDOWS (ST. ANTHONY, ABRAHAM AND ST. PATRICK)
gouache
signed
13 by 10.25in. (33 by 26cm)
€1,000-€1,500 (£860-£1,290 approx.)

38
Evie Hone HRHA (1894-1955)
THE WOOD AT MARLAY, COUNTY DUBLIN
gouache
12.25 by 15in. (31.1 by 38.1cm)
€1,800-€2,200 (£1,550-£1,900 approx.)

56
39
Mary Swanzy HRHA (1882-1978)
SUR LE BORD DE LA FORET [FIGURE WITH SHELL]
oil on canvas
signed lower left; inscribed with title in French and numbered [5] on canvas on reverse; also titled (in
English) on Dawson Gallery label on reverse; a second label verso shows title in English, date [1961] and
number [4]
30 by 25in. (76.2 by 63.5cm)
Provenance:
Whence purchased by Mrs Jamieson;
Her sale, Thomas Adams, Blackrock;
Private collection
Exhibited:
‘Mary Swanzy, Voyages’, IMMA, Dublin, 26 October 2018 to 17 February 2019
Literature:
Mary Swanzy Voyages, IMMA, Dublin, 2019, p. 135 (illustrated)
€30,000-€35,000 (£25,860-£30,170 approx.)

58
44
STILL LIFE WITH FLOWERS
oil on canvas
signed with monogram lower right
18.50 by 16.50in. (47 by 41.9cm)
€2,000-€3,000 (£1,720-£2,590 approx.)
40-43 No Lots

45
James le Jeune RHA (1910-1983)
FAIRY TALES
oil on board
signed lower left; with Simpson & Connell [Glasgow] label on reverse
13.50 by 17.50in. (34.3 by 44.5cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

60
46
Patrick Hennessy RHA (1915-1980)
FIGURES ON A STAIRCASE, YORK STREET, DUBLIN, 1942
oil on canvas
signed and dated lower right
40 by 24in. (101.6 by 61cm)
Provenance:
Gifted by the artist to the previous owner;
Private collection
Exhibited:
‘An Exhibition of 18th, 19th and 20th Century Irish Paintings’, Gorry Gallery, Dublin, December 1995, cata-
logue no. 18
Painting of Crucifixion on reverse.
Here one woman can be seen reading the newspaper on the landing of a building. Another woman looks
out nervously from her doorway. We wonder if some news is expected from the front – or worse, a list of
casualties. York Street, off St Stephens Green in Dublin, was the site of a terrace of grand Georgian houses
that had become some of the worst tenements in the city. They were pulled down in the 1960s to make
way for modern social housing. Many photographers like Elinor Wilshire had recorded them before this as
their condition was so shocking. In York Street Hennessy was documenting some of the grimmest pover-
ty to be found anywhere in the country. Large families were crowded into single rooms; there was almost
no sanitation, and privacy non-existent – a feature indicated by the nosy-neighbour who is ever-present.
€8,000-€10,000 (£6,900-£8,620 approx.)

47
Alicia Boyle RBA (1908-1997)
DONEGAL WEAVER, ARDARA
oil on canvas
signed with monogram lower right; signed and titled on label on reverse; also with exhibition label [Cat.
No. 1964] on reverse
50 by 40in. (127 by 101.6cm)
Exhibited:
Arts Council of Ireland, 1979
Born in Bangkok of Irish parents, Alicia Boyle studied at the Byam Shaw School of Art from 1929-1934 and
travelled extensively through Europe. She exhibited regularly with the Oireachtas, the RWS and the IELA.
A retrospective of her work was held at the Crawford Gallery, Cork, shortly before her death in 1997.
€1,500-€2,000 (£1,290-£1,720 approx.)

62
48
Alicia Boyle RBA (1908-1997)
SWEENEY AT MAGHRATH
oil on canvas
signed lower right; signed and inscribed [Reencappal, Durus] and bearing Arts Council of Northern Ire-
land 1979 label on reverse
38 by 48in. (96.5 by 121.9cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

49
Norah McGuinness HRHA (1901-1980)
WAITING IN THE PARK
gouache
signed lower right; with Gordon Gallery label on reverse
17.75 by 13.50in. (45.1 by 34.3cm)
Provenance:
Gordon Gallery, Derry, 1984;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

64
50
Gerard Dillon (1916-1971)
SNOW IN CONNEMARA
oil on board
signed lower left; with typed label on reverse
12 by 16in. (30.5 by 40.6cm)
Provenance:
Acquired by the family of the present owner circa 1950s;
Thence by descent
Exhibited:
Maxwell Galleries, San Francisco, 1954
This is a very sophisticated composition. It has two major elements: the artist uses a‘reflex’angle to move
the eye from the‘grey’pony to the grey jumper of the standing female figure to the grey foreground
patch with the black hen.
To prevent the middle and foreground elements being overwhelmed the artist arrests the eye with the
green double gate echoed in the greenish head scarf of the standing female figure.
It creates a sense of recession for the viewer, and the pattern of the snow covered Connemara stone walls
closes the horizonline.
Based on the artist’s understanding of the“ golden mean”it gives him control over the greys and whites.
The Green Gates stop the eye from rushing out of the painting and the reds and russsets contain the
balance of Dillon’s pictorial statement.
For a young painter (as he was at the time) this is a mature and considered work.
Ciarán MacGonigal, November 2019
€20,000-€30,000 (£17,240-£25,860 approx.)

66
51
THE LITTLE BAY
watercolour
signed lower right; titled on Dawson Gallery label on reverse
9.75 by 14.50in. (24.8 by 36.8cm)
Provenance:
Private collection
€2,000-€3,000 (£1,720-£2,590 approx.)

52
George Campbell RHA (1917-1979)
CONNEMARA, AUTUMN, 1968
ink and crayon
signed and dated lower right; with Ritchie Hendriks Gallery label on reverse
19.50 by 25.50in. (49.5 by 64.8cm)
Provenance:
Ritchie Hendriks Gallery, Dublin;
Private collection
€1,500-€2,000 (£1,290-£1,720 approx.)

68
53
CAT IN THE CANE CHAIR
oil on board
signed lower right; titled on reverse; also with Dawson Gallery label on reverse
12.25 by 6.25in. (31.1 by 15.9cm)
Provenance:
Dawson Gallery, Dublin, 1972;
Private collection;
Christie’s, 14 May 2004, lot 147;
Private collection;
Adam’s, 14 October 2009, lot 75;
Private collection
Exhibited:
A similar image to this was used for an illustration in‘Connemara is Ireland to Me’written and illustrated
by Gerard Dillon in‘Ireland of the Welcomes’, Volume 13, no. 2, July to August 1964, published by the Irish
Tourist Board
The artist creates a trio of images, all carefully contrived in a Connemara interior, which is probably
Inishlacken where he and other artist friends - including George Campbell and Arthur Armstrong - spent
some time, and which, for a period, he shared with Nano Reid producing works for Victor Waddington’s
Gallery in Dublin. The island is just off the mainland village of Roundstone. One of the more memorable
sights of my childhood in Roundstone is these artists being waved off, with their supplies in a currach, af-
ter long liquifacious sessions in O’Dowds and Connolly’s public houses. My parents, other artists and the
locals all happily consigned them to the‘vasty deep’..well the few minutes it took one of the de Courceys
or Woods to ferry them into the island.
This is an important work as it is possibly an early portrait of the artist Noreen Rice (1936-2015) who was
his great friend and whom he’d guided in the field of painting. Both of them were members of the‘Belfast
Group’of artists. The second image within the work is the landscape seen through the curtained window
of the mainland.
The third and possibly the most important detail is the cat asleep in the cane chair. This is the cane chair
in the artist’s major work“ The Yellow Bungalow”( Ulster Museum) which is now acknowledged as one of
his most iconic works.
The scene is set in a little house on the edge of Roundstone Village, in the sloping road to the Franciscan
Monastery of Roundstone. The chair is hosting the same sleeping cat of“The Yellow Bungalow”work,
albeit on a different cushion.
In terms of the painter’s timeline this is a significant addition to the artist’s known œuvre and one which
is an important marker in the artist’s evolution of that period in Roundstone and Connemara.
Ciarán MacGonigal, November 2019.
€18,000-€22,000 (£15,520-£18,970 approx.)

70
54
Barrie Cooke HRHA (1931-2014)
TROUT, 1960
watercolour
signed and dated [May] lower left
14.75 by 10.75in. (37.5 by 27.3cm)
€1,000-€1,500 (£860-£1,290 approx.)

55
Nano Reid (1900-1981)
THE BOYNE CANAL
watercolour
signed lower right; with Jorgensen Fine Art label on reverse
8 by 10in. (20.3 by 25.4cm)
Provenance:
Jorgensen Fine Art, Dublin;
Private collection
€800-€1,200 (£690-£1,030 approx.)

72
56
Basil Ivan Rákóczi (1908-1979)
FIGURE ON A ROAD
oil on canvas
signed lower right
29 by 19.50in. (73.7 by 49.5cm)
Provenance:
de Veres, 2 December 2014, lot 108;
Private collection
€1,000-€1,500 (£860-£1,290 approx.)

57
Harry Kernoff RHA (1900-1974)
ST. STEPHEN’S GREEN, DUBLIN, 1931
watercolour
signed and dated lower left
11 by 15.50in. (27.9 by 39.4cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

74
58
Daniel O’Neill (1920-1974)
STUDY OF A GIRL
oil on board
signed lower left
20.50 by 16.50in. (52.1 by 41.9cm)
Provenance:
de Veres, 13 October 2008, lot 139;
Private collection
€18,000-€22,000 (£15,520-£18,970 approx.)

59
Daniel O’Neill (1920-1974)
A BATTLE OVER NOTHING
acrylic on board
signed lower left; titled on reverse
20 by 25.75in. (50.8 by 65.4cm)
Provenance:
Waddington Galleries, Montreal;
Private collection;
Heffel Fine Art , 25 April 2019, lot 220;
Private collection
€6,000-€8,000 (£5,170-£6,900 approx.)

76
60
Patrick Scott HRHA (1921-2014)
CHINESE LANDSCAPE, 1986
ink and watercolour
signed and dated lower right; with Taylor Galleries label on reverse
18.50 by 24.50in. (47 by 62.2cm)
Provenance:
Taylor Galleries, Dublin;
Private collection
Exhibited:
Taylor Galleries, June 1986, catalogue no. 21
€800-€1,200 (£690-£1,030 approx.)

61
Richard Kingston RHA (1922-2003)
SUNSET
oil on board
signed lower left; inscribed on label on reverse
19.50 by 30.50in. (49.5 by 77.5cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

78
62
Colin Middleton MBE RHA RUA (1910-1983)
BLUE LANDSCAPE WITH TREES: NORTH ANTRIM, c. 1962
oil on board
signed with monogram lower left
23.50 by 29.50in. (59.7 by 74.9cm)
Provenance:
‘Colin Middleton Studio Sale’, Christie’s, Ocotber 1985, lot 113;
Estate of the purchaser
This painting was given the title Blue Landscape with Trees: Northampton when it was included in the
Colin Middleton Studio Sale held in 1985, but the artist’s daughter, Jane Middleton Giddens, has suggest-
ed that it was probably intended to be North Antrim rather than Northampton, as there is no record of
the artist having visited England at that time.
Dated in the studio sale catalogue to circa 1962, by which time Middleton was living in Lisburn but still
visiting and painting the landscape around north Antrim where he had spent the previous five years,
this is a painting of drama and tension that demonstrates the skill with which he balanced urgent and
energetic brushwork with taut compositional organisation. The dark, spiky trees that dominate the fore-
ground and set the mood of the painting also bring together its various planes, with the left-hand tree
connecting the foreground with a distant hill and the cloudy sky, while the clump of trees to the right
brings the heavy sky behind them and the valley just beyond them into contact.
The intense palette is dominated by blues and black, recalling earlier paintings by Middleton such as
Point of Phenick (1951), but the overall nocturnal mood is lifted by the lighter central passage of sky,
towards which the trunks of the two outer trees on either side lead the eye.
Dickon Hall, November 2019.
€12,000-€18,000 (£10,340-£15,520 approx.)

80
63
Terence P. Flanagan RHA PPRUA (1929-2011)
PETTIGO LANDSCAPE, 1985
watercolour
signed lower right; titled on Hendriks Gallery label on reverse
18 by 15.25in. (45.7 by 38.7cm)
Provenance:
Hendriks Gallery, Dublin;
Private collection
€1,500-€2,000 (£1,290-£1,720 approx.)

64
THE BLUESTACKS, 1977
watercolour
signed lower right; signed, titled and dated on label on reverse
8 by 8in. (20.3 by 20.3cm)
Provenance:
Private collection
Exhibited:
‘An Exhibition of 18th, 19th and 20th Century Irish Paintings’, Gorry Gallery, Dublin, 28 April to 11 May
1989, catalogue no. 12
€1,200-€1,800 (£1,030-£1,550 approx.)

82
65
EARLY MORNING IN DUNDRUM, 1964
oil on board
signed with monogram lower right; signed, titled and dated on reverse
23 by 23in. (58.4 by 58.4cm)
Provenance:
Tom Caldwell Gallery;
Estate of the purchaser
Exhibited:
‘Colin Middleton’, Hendriks Gallery, Dublin, December 1965, catalogie no. 18
Early Morning: Dundrum is likely to have been the painting of the same title included in Colin Middle-
ton’s 1965 exhibition at the Ritchie Hendriks Gallery in Dublin. It was one of three paintings included that
were inspired by this picturesque village near the Mournes, completed at a time when the Middleton
family kept their caravan in that area for holidays.
The 1965 exhibition charts a move in Middleton’s landscape painting, a topographical change from north
Antrim to County Down which also marked a shift in his interests as a painter. The austerity and abstrac-
tion inspired in his work at the beginning of this decade by the specific geological nature of County
Antrim, slowly gives way to a treatment of the landscape where pictorial structure and technique is also
driven by more transitory effects of light and weather. These would become even more central in Middle-
ton’s paintings around Lough Erne later in the decade.
Early Morning: Dundrum demonstrates the manner in which Middleton was exploring this changing lan-
guage. A diverse range of repeated marks leading the eye towards the horizon expresses the scale and
texture of the landscape around the Mournes, while the lighter palette almost recalls Middleton’s paint-
ings of the 1950s, as does the impasto in the sky.
Dickon Hall, November 2019.
€10,000-€15,000 (£8,620-£12,930 approx.)

84
66
Cecil King (1921-1986)
BREAK AWAY, 1984-85
oil on canvas
signed, titled and dated on reverse
16 by 16in. (40.6 by 40.6cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

67
Cecil King (1921-1986)
HOWTH
oil on paper
signed lower right
10 by 14in. (25.4 by 35.6cm)
€1,000-€1,500 (£860-£1,290 approx.)

86
68
William Scott CBE RA (1913-1989)
FRYING PAN AND EGGS, c. 1952
watercolour
13.75 by 9.75in. (34.9 by 24.8cm)
Provenance:
Archeus Art, London, circa 2005;
Private collection
Painted on a sketchbook page. A similar oil entitled Frying Pan And Eggs sold at Whyte’s on 18 November
2003, as lot 74.
€5,000-€7,000 (£4,310-£6,030 approx.)

69
SPUME, (c.1960-1965)
oil on board
titled on reverse; with Solomon Gallery label also on reverse
24 by 20in. (61 by 50.8cm)
Provenance:
Whyte’s, 18 February 2003, lot 49;
with Solomon Gallery, Dublin;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

88
70
Tony O’Malley HRHA (1913-2003)
MORNING LIGHT SERIES III, 1982
oil on paper
signed with initials lower left; dated lower right; titled on reverse
13.50 by 21.25in. (34.3 by 54cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

71
MORNING THEME, BAHAMAS, 1982
acrylic and collage on paper
signed with initials lower left; dated lower right; with Newlyn Orion Gallery [Penzance] label on reverse
14 by 21.75in. (35.6 by 55.2cm)
Exhibited:
‘Island & Ocean’, Newlyn Orion Art Gallery, Penzance, October 1986, catalogue no. 20
€4,000-€6,000 (£3,450-£5,170 approx.)

90
72
AIR, WATER, LIGHT, BAHAMAS, 1979
oil on board
signed with initials and dated
48 by 70in. (121.9 by 177.8cm)
Provenance:
Bank of Ireland Collection;
Adam’s, 24 Nov 2010, lot 91;
Private collection
€40,000-€60,000 (£34,480-£51,720 approx.)

73
Louis le Brocquy HRHA (1916-2012)
HEAD OF BECKETT, 1986
lithograph; (no. 53 from edition of 100)
signed lower right; numbered and inscribed [To Francine and Cleve this tentative study of Samuel Beck-
ett with affectionate good wishes from Louis, Cornwall Bridge, 5-9-86] lower left
15.50 by 15.50in. (39.4 by 39.4cm)
Provenance:
Whyte’s, 30 May 2016, lot 169;
Private collection
Sheet size 25.75 by 19.5in.
€1,000-€1,500 (£860-£1,290 approx.)

92
74
HEAD OF STRINDBERG, c. 1979/80
chromolithograph; (no. 80 from an edition of 100)
signed and numbered lower right
30.25 by 22.75in. (76.8 by 57.8cm)
€1,000-€1,500 (£860-£1,290 approx.)

75
STUDY TOWARDS AN IMAGE OF JAMES JOYCE, 1983/84 (W664A)
watercolour
signed and dated lower right; titled and numbered on label on reverse
23 by 17in. (58.4 by 43.2cm)
€18,000-€22,000 (£15,520-£18,970 approx.)

94
76
STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975
aquatint on Arches paper; (no. 54 from an image of 100)
signed and numbered lower left
19.50 by 17.50in. (49.5 by 44.5cm)
Sheet size: 29.75 by 22.25in.
€1,000-€1,500 (£860-£1,290 approx.)

77
STUDY TOWARDS AN IMAGE OF W. B. YEATS
aquatint with drypoint (no. 29 from an edition of 30)
19.50 by 17.50in. (49.5 by 44.5cm)
€1,000-€1,500 (£860-£1,290 approx.)

96
78
HEAD OF CÚCHULAINN, c. 1975
aquatint on wove paper; (no. 16 of an edition of 75)
26 by 20in. (66 by 50.8cm)
Printed at the Atelier de Gravure de la Fondation Maeght, France, circa 1975.
€1,000-€1,500 (£860-£1,290 approx.)

79
ENCLOSED FIELD, BEARA, 1988
lithograph (no. 13 from an edition of 25)
signed, titled, numbered and dated lower left
10 by 12in. (25.4 by 30.5cm)
Provenance:
Whyte’s, 20 September 2005; lot 175;
Private collection
€1,500-€2,000 (£1,290-£1,720 approx.)

98
80
THE TÁIN. PILLOW TALK, 1969
lithographic brush drawing; (no. 53 from an edition of 70)
signed, numbered and dated lower right
14.75 by 21.25in. (37.5 by 54cm)
Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example
is no. 8 in the series.
€1,500-€2,000 (£1,290-£1,720 approx.)

81
THE TÁIN. THE INFANT CÚCHULAINN, 1969
15 by 21.25in. (38.1 by 54cm)
is no.12 in the series.
€1,500-€2,000 (£1,290-£1,720 approx.)

100
82
THE TÁIN. THE BEGETTING OF CONCHOBOR, 1969
15 by 21in. (38.1 by 53.3cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

83
THE TÁIN. THE BIRTH OF CONCHOBOR, 1939
14.75 by 21in. (37.5 by 53.3cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

102
84
THE TÁIN. CÚCHULAINN CONFRONTING FERDIA, 1969
21 by 15in. (53.3 by 38.1cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

85
THE TÁIN. METAMORPHOSIS, 1969
21 by 15in. (53.3 by 38.1cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

104
86
THE TÁIN. SLAIN MEN, 1969
15 by 21.25in. (38.1 by 54cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

87
THE TÁIN. WARRIOR KILLED, 1969
15 by 21in. (38.1 by 53.3cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

106
88
Robert Ballagh (b.1943)
STUDY FOR LIBERTY ON THE BARRICADES, 1970
gouache
with David Hendriks Gallery label on reverse
18 by 23.50in. (45.7 by 59.7cm)
Provenance:
David Hendriks Gallery, Dublin;
Purchased by E. Neville Esq., October 1971;
de Vere White and Smyth, 1 December 1987, lot 100;
Private collection
€3,000-€4,000 (£2,590-£3,450 approx.)

89
Banksy (British, b.1974)
WALLED OFF HOTEL BOX SET PRINT, 2017
print and concrete relief element
9 by 9in. (22.9 by 22.9cm)
Relief element is an original piece of the separation wall that divides Israel and Palestine, which is hand
sprayed.
The Walled Off Hotel is an independent leisure facility set up by Banksy. It overlooks the separation wall
and is located 500 metres from the checkpoint to Jerusalem. To acquire certain artworks from the Hotel
Gift Shop purchasers must be hotel residents.
€800-€1,200 (£690-£1,030 approx.)

108
90
Andy Warhol (USA, 1928-1987)
GIANT PANDA, FROM ENDANGERED SPECIES (F. & S. II.295), 1983
screenprint in colors on Lenox Museum Board; (no. 25 from an edition on 150)
signed and numbered in pencil lower left; with Rupert Jason Smith blindstamp lower left; also with Ron-
ald Feldman Fine Arts, Inc., New York inkstamp on reverse
38 by 38in. (96.5 by 96.5cm)
Provenance:
Mark Moore Gallery, Los Angeles;
Private collection
€30,000-€50,000 (£25,860-£43,100 approx.)

91
Graham Knuttel (b.1954)
MONTPELLIER, MONKSTOWN, COUNTY DUBLIN
oil on board
signed lower left
36.50 by 49in. (92.7 by 124.5cm)
€3,000-€5,000 (£2,590-£4,310 approx.)

110
92
Stephen Loughman (b.1964)
NACHT, 2007
oil on canvas
signed, titled, dated and with Kevin Kavanagh Gallery label on reverse
23.75 by 35.50in. (60.3 by 90.2cm)
Provenance:
Kevin Kavanagh Gallery, Dublin;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

93
Stephen McKenna PPRHA (1939-2017)
LISBON HARBOUR, 2006
oil on canvas
signed, dated, numbered [K0620] and with Kerlin Gallery label on reverse
35.50 by 31.50in. (90.2 by 80cm)
Provenance:
Kerlin Gallery, Dublin;
Private collection
€15,000-€20,000 (£12,930-£17,240 approx.)

112
94
Colin Watson (b.1966)
ESTHER
oil on canvas
signed with initials lower right
24 by 20in. (61 by 50.8cm)
Exhibited:
‘Light From Two Worlds - Colin Watson’, Pyms Gallery, London, June 2006, catalogue no. 21
€1,000-€1,500 (£860-£1,290 approx.)

95
Desmond Carrick RHA (1928-2012)
NUDE
oil on canvas
signed lower right
30 by 20in. (76.2 by 50.8cm)
€800-€1,000 (£690-£860 approx.)

114
96
Margaret Corcoran (b.1963)
AT THE SPAR - TONG, 2004-06
oil on linen
signed, titled, dated and with Kevin Kavanagh Gallery label on reverse
39.50 by 59in. (100.3 by 149.9cm)
Provenance:
Kevin Kavanagh Gallery, Dublin;
Private collection
Exhibited:
‘An Enquiry II Margaret Corcoran’, Kevin Kavanagh Gallery, Dublin, 9 May to 1 June 2019
Aidan Dunne in his review of An Enquiry II, in The Irish Times 18 May 2019, writes:
”Corcoran had previously reworked paintings from the Western tradition in ways that anatomised and
questioned their underlying cultural assumptions on beauty, gender and privilege. But An Enquiry
marked a development in that, rather than manipulating the imagery – absenting the physical presence
of female sitters and leaving vacant, elaborate costumes, or replacing female heads with substitute sig-
nifiers such as birds and flowers – the female presence is predominant, and challenging. Subsequently,
one of her key works drew on Eduard Manet’s A Bar at the Folies-Bergère, an absolutely stunning, at first
glance straightforward painting with surprisingly complex optics that continue to perplex analysts to an
almost comical degree. The male customer is glimpsed in a mirror but the subject is the barmaid, and she
is at ease in her domain.
Corcoran’s protagonist, in her take on the subject, At the Spar: Tong, is behind the counter of a local su-
permarket. If Manet’s barmaid is at one remove in that she inhabits a male-dominated setting, Corcoran’s
Tong, who looks perhaps Chinese, is to some unknown extent an outsider, but she too is comfortably in
charge of her environment.”
€10,000-€15,000 (£8,620-£12,930 approx.)

116
97
UNTITLED II, 2004
carborundum and gold leaf; (no. 65 from an edition of 75)
signed and dated in pencil in the margin lower right; editioned lower left;
with Taylor Galleries exhibition label on reverse
39 by 39in. (99.1 by 99.1cm)
Provenance:
Taylor Galleries, Dublin;
Private collection
Sheet size, 46 by 45in.
€2,000-€3,000 (£1,720-£2,590 approx.)

98
Makiko Nakamura (b.1951)
ELEMENTS I and ELEMENTS II, 1998 (A PAIR)
acrylic on canvas; (2)
both signed, titled and dated on stretcher on reverse; with The Tori Collection Philadelphia label on re-
verse
36 by 24in. (91.4 by 61cm)
Born in Gifu, Japan, Makiko Nakamura studied art in Kyoto and Nagoya. She worked initially in film ed-
iting before concentrating on painting. In 1996 she moved to Paris, where she studied print-making at
Atelier Contre Point and the following year took up a residency at Cite International Des Arts. From 1997-
98 she was artist in residence in the fine art department, University of Pennsylvania. In 1999, attracted
by the prospect of visiting the home town of Samuel Beckett, whose writings have greatly influenced
her work, Nakamura came to Dublin. Since then she has had solo exhibitions at the Fenderesky Gallery,
Belfast, Peppercanister Gallery, Ashford Gallery at the RHA and Taylor Gallery, Dublin. Aidan Dunne has
written of her work:“The smoky, burnished, metallic surfaces of her paintings bear traces of overall grid
patterns and other methodical markings, half there, half already gone. The absolute precision of her
method and the sureness of her instinct, plus the sombre presence of her work, mark her out as an artist
of exceptional quality”.
€2,000-€3,000 (£1,720-£2,590 approx.)

118
99
John Shinnors (b.1950)
ESTUARY IN SNOW, SHIPPING II
watercolour on paper laid on board
signed lower right; with Solomon Gallery label on reverse
14 by 14in. (35.6 by 35.6cm)
Provenance:
Morgan O’Driscoll, 19 November 2007, lot 156;
Private collection;
with Solomon Gallery, Dublin;
Private collection
€4,000-€6,000 (£3,450-£5,170 approx.)

100
Robert Ballagh (b.1943)
RIVERDANCE (SET DESIGN)
oil on canvas
signed lower right
9.50 by 23.50in. (24.1 by 59.7cm)
€1,200-€1,500 (£1,030-£1,290 approx.)

120
101
Charles Brady HRHA (1926-1997)
TAN ENVELOPE, 1975
oil on paper
signed and dated upper right; titled on Tom Caldwell Gallery label on reverse
12.25 by 15.75in. (31.1 by 40cm)
€1,000-€1,500 (£860-£1,290 approx.)

102
Guggi (b.1959)
FISH AND CHIPS, 2000
oil and collage element on board
signed and dated lower right; inscribed with dedication [To ... thank you so much, Guggi 23/11/2000] on
reverse
21.75 by 31in. (55.2 by 78.7cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

122
103
Michael Canning (b.1971)
MINUTES, 2006
oil and wax on canvas laid on board
27.50 by 20in. (69.9 by 50.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

104
John Kingerlee (b.1936)
WHAT YOU FIND, 2017
oil on canvas
signed with monogram lower left; signed, titled and dated on reverse
16 by 19in. (40.6 by 48.3cm)
€1,000-€1,500 (£860-£1,290 approx.)

124
105
John Kingerlee (b.1936)
MAJESTIC, 2006
oil on board
signed with monogram lower left; signed, titled and dated on reverse
17.25 by 16in. (43.8 by 40.6cm)
€800-€1,200 (£690-£1,030 approx.)

106
John Noel Smith (b.1952)
COLLECTION OF PASTELS, 2004 (SET OF FOURTEEN)
pastel; (14)
all signed and dated
10 by 12.75in. (25.4 by 32.4cm)
€800-€1,000 (£690-£860 approx.)

126
107
Barry Castle (1935-2006)
TOO FAR OUT, 1997
watercolour
signed with initials and dated lower right; signed, titled, dated and inscribed [Not Waving But Drowning,
Stevie Smyth] on reverse
15.50 by 12in. (39.4 by 30.5cm)
Inspired by the poem‘Not Waving But Drowning’by Stevie Smith, published in 1957.
€600-€800 (£520-£690 approx.)

108
Marc Reilly (b.1956)
TREES, 2007
watercolour
signed lower left; dated [27.03.2007] lower right
25.50 by 32in. (64.8 by 81.3cm)
€600-€800 (£520-£690 approx.)

128
109
J. P. Donleavy (1926-2017)
PRAY HOMAGE TO THE NEW MOON, 1975
ink and watercolour
9.25 by 12.50in. (23.5 by 31.8cm)
Exhibited:
‘J. P. Donleavy, In Some of His Sins and Most of His Graces’, The National Arts Club, 15 Gramercy Park
South, New York, 11-22 May 2007, catalogue no. 26
Born in New York City of Irish parents, James Patrick Donleavy served in the US Navy during World War II.
He came to Dublin after the war on the GI Bill of Rights programme and studied microbiology at Trinity
College. Among his many friends were writers Patrick Kavanagh and Brendan Behan and painter Ralph
Cusack. Attracting controversy as a painter he exhibited in the Stephen’s Green Gallery in the late 1940s
and early 1950s. Jack Yeats commented favourably on his work, especially on his oil painting technique.
However it was as a writer that he was to find international fame and his first novel, The Ginger Man
(1955) was hailed as a comic masterpiece, and he had several best sellers in his career. He became an
Irish citizen in 1967 and lived in Mullingar, Co. Westmeath where he wrote, painted and farmed until his
death. While writing became his career his painting took a back seat but he returned to it many times
over the years, often providing illustrations for his books or for articles written in magazines such as The
New Yorker. He exhibited at the Tom Caldwell Gallery in the 1980s and had a joint exhibition in 1990 in
London with his daughter, Karen, a talented painter and highly successful ceramicist . In 2005 to 2007 he
exhibited in Dublin, London and New York with Damien Matthews Fine Art
€800-€1,200 (£690-£1,030 approx.)

130
110
Michael Kane (b.1935)
HEAD, 1993
acrylic on board
27 by 19.25in. (68.6 by 48.9cm)
€1,000-€1,500 (£860-£1,290 approx.)

111
David Clarke (1920–2005)
THROW OF THE DICE, 1981
pastel
signed and dated lower left
24.50 by 18.75in. (62.2 by 47.6cm)
Provenance:
€800-€1,200 (£690-£1,030 approx.)

132
112
David Clarke (1920–2005)
THE HAPPY PLACE
pastel
signed lower right; inscribed on reverse
38 by 24.50in. (96.5 by 62.2cm)
€600-€800 (£520-£690 approx.)

113
Anne Donnelly (b.1932)
SEAGULLS IN FLIGHT, 1998
oil on board
47.50 by 33.50in. (120.7 by 85.1cm)
Born in Belfast Donnelly grew up in County Carlow. She studied in the National College of Art in Dublin
graduating in 1953 and then went on to the Escuala de Bellas Artes in Madrid before finishing at the
Ecole Julienne in Paris in 1956.
Donnelly has exhibited since the 1950s in Ireland, Italy, Great Britain, France, Spain, Greece, Argentina,
Switzerland, USA (including MOMA) and Australia. In Ireland she shows regularly in the Peppercanister
Gallery in Dublin and the Claremorris Gallery, Co. Mayo.
€1,500-€2,000 (£1,290-£1,720 approx.)

134
114
Barrie Cooke HRHA (1931-2014)
LITTLE WANGANUI RIVER V, 1998
oil on canvas
38 by 40in. (96.5 by 101.6cm)
€3,000-€5,000 (£2,590-£4,310 approx.)

115
Basil Blackshaw HRHA RUA (1932-2016)
WINDOW
oil on canvas
signed lower right
19.50 by 15.50in. (49.5 by 39.4cm)
€3,000-€5,000 (£2,590-£4,310 approx.)

136
116
THREE FLOWERS
oil on board
signed lower left
9.75 by 7.75in. (24.8 by 19.7cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

117
SELF PORTRAIT, 1997
oil on canvas
signed lower right; signed, titled and dated [March‘97] on reverse; also with RHA exhibition label on
reverse
36 by 30in. (91.4 by 76.2cm)
A similar self portrait was exhibted at the RHA Annual Exhibition in 1997, catalogue number 26, illustrat-
ed on page 27 of the catalogue.
€10,000-€15,000 (£8,620-£12,930 approx.)

138
118
SELF PORTRAIT
oil on board
signed upper right
11.75 by 8.75in. (29.8 by 22.2cm)
€4,000-€6,000 (£3,450-£5,170 approx.)

119
LONE BOATMAN
oil on canvas
signed lower right
24 by 31.50in. (61 by 80cm)
This was a recurring subject for Blackshaw. He related to the current owner how he was intrigued one
time by the sight of a lone boatman on a lake who disappeared in a mist and then, as if by magic, reap-
peared. It was this type of quirky incident that often attracted him and inspired many of his paintings.
€8,000-€12,000 (£6,900-£10,340 approx.)

140
120
TOY DOG ON WHEELS
acrylic, charcoal and pencil on canvas
signed lower left
6 by 8.50in. (15.2 by 21.6cm)
€800-€1,200 (£690-£1,030 approx.)

121
BLACK TRACTOR ON PINK
acrylic, pastel and charcoal
signed lower left
7.50 by 11in. (19.1 by 27.9cm)
€1,000-€1,500 (£860-£1,290 approx.)

142
122
TRUCK
acrylic and pencil on board
signed lower left
8.25 by 11in. (21 by 27.9cm)
€1,000-€1,500 (£860-£1,290 approx.)

123
MCMUTT’S GREYHOUND
oil on board
signed
29.50 by 24.50in. (74.9 by 62.2cm)
“McMutt”was the nickname given by Blackshaw to a dog breeder whom he knew, and his implication
that his greyhounds were“mutts”and were not very good at racing.
€6,000-€8,000 (£5,170-£6,900 approx.)

144
124
Graham Knuttel (b.1954)
BIRD
painted ceramic
signed on circumference
22 by 22 by 2.50in. (55.9 by 55.9 by 6.4cm)
€800-€1,200 (£690-£1,030 approx.)

125
After Pablo Picasso (Spanish, 1881-1973)
VASE
glass
incised [Picasso] near the left handle; also incised [Picasso, ERMANNO NASON- IVR di MAZZEGA-MURA-
NO] on underside
11.50 by 8in. (29.2 by 20.3cm)
Between 1954 and 1957, Ermanno Nason produced works in glass after designs by Pablo Picasso, Marc
Chagall, Georges Braque and Jean Cocteau. Examples from this series are illustrated in Marino Barovier,
Venetian Art Glass 1840-1970, an American Collection, Stuttgart, 2004, pp. 320-329.
€3,000-€5,000 (£2,590-£4,310 approx.)

146
126
Markey Robinson (1918-1999)
MOTHER AND CHILDREN
bronze; (no. 1 from an edition of 5)
signed and numbered
12 by 5 by 4in. (30.5 by 12.7 by 10.2cm)
Exhibited:
‘Markey at 100: A Retrosective Exhibition’, Oriel Gallery, Dublin, 8-24 March 2018
€1,000-€1,500 (£860-£1,290 approx.)

127
Niall O’Neill (b. 1952)
ST. ANTHONY OF PADUA
bronze
17 by 7.50 by 2.50in. (43.2 by 19.1 by 6.4cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

148
128
Niall O’Neill (b. 1952)
ARCHER II (MAQUETTE)
bronze
20 by 14 by 12in. (50.8 by 35.6 by 30.5cm)
The public sculpture Archer II for which this is a maquette is located in Newtownsmith in Sandycove, Co.
Dublin.
€2,000-€3,000 (£1,720-£2,590 approx.)

129
Colm Brennan (b. 1943)
DOVES IN TUSCANY
bronze and stainless steel
18.50 by 10.50 by 8in. (47 by 26.7 by 20.3cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

150
130
Conor Fallon HRHA (1939-2007)
COCKEREL, 1990
bronze
signed and dated
12 by 8 by 6.25in. (30.5 by 20.3 by 15.9cm)
Dimensions of base: 4 by 9 by 6.5in.
€2,500-€3,000 (£2,160-£2,590 approx.)

131
Joseph Sloan (b.1940)
AQUADANCE, 2009
bronze; (unique)
signed and dated
12.25 by 16.50 by 3.75in. (31.1 by 41.9 by 9.5cm)
€800-€1,200 (£690-£1,030 approx.)

152
132
Joseph Sloan (b.1940)
CURRAGH, 2017
bronze; (no. 2 from an edition of 3)
signed, numbered and dated
4 by 14.25 by 4in. (10.2 by 36.2 by 10.2cm)
€1,000-€1,500 (£860-£1,290 approx.)

133
Clodagh Redden
WALKED BOAT
ceramic and slate
7.50 by 18 by 3.75in. (19.1 by 45.7 by 9.5cm)
€1,000-€1,500 (£860-£1,290 approx.)

154
134
John Behan RHA (b.1938)
SMALL FAMINE SHIP
bronze; (from an edition of 9)
21 by 19.25 by 6in. (53.3 by 48.9 by 15.2cm)
Provenance:
Jorgensen Fine Art, Dublin;
Private collection
Exhibited:
‘Sculpture’, Jorgensen Fine Art, Dublin, June 2010, catalogue no. 1 (illustrated on cover)
€6,000-€8,000 (£5,170-£6,900 approx.)

156
135
Rory Breslin (b.1963)
THE GUINNESS MASK
bronze with stainless steel; (no. 2 from an edition of 5)
signed and numbered
29.25 by 15.75 by 7in. (74.3 by 40 by 17.8cm)
The Guinness Mask is an interpretation of the keystone head on the historic St. James Gate entrance to
the Guinness brewery in Dublin. This enigmatic portrait of a youthful and confident woman, whose in-
tensive gaze evinces a determined character, is framed by waves of the ears of barley, and hops symbolic
of the making of ale. Probably a depiction of the agricultural deity Ceres or its Greek equivalent Demeter,
this rendition appears to depict the artist’s personification of Georgian beauty. The head diverges from a
classical sculptural rendering of the subject to what seems to be the artists sensitive use of the features
of perhaps a member of the Guinness family or someone close to him. When Arthur Guinness initially
leased St. Jame Gate in 1759, he brewed ale. It was another ten years, on the 19th May 1769 before he
exported his stout to England for the first time. The St. James arch was built adjacent to the site of the
original St. James Gate, the city’s western customs house which lay just outside the medieval city of Dub-
lin and was demolished in 1734. This gate’s keystone was said to have represented either St. James; Ceres
(the Goddess of Corn) or Bacchus (the Greek God of Wine and Merriment). The site was traditionally the
start of a pilgrimage to Compostela and pilgrims from all over Ireland used to gather on this site to start
the journey to Spain.
€5,000-€7,000 (£4,310-£6,030 approx.)

136
Rory Breslin (b.1963)
ST. PATRICK’S MASK
bronze; (no.1 from an edition of 3)
32.75 by 15.50in. (83.2 by 39.4cm)
Patrick’s Mask is an enlarged bronze interpretation of the stone depiction of St. Patrick guarding the East
entrance of the Chapel Royal in Dublin Castle.
Based on the original work in Portland stone by John Smyth, who also carved the renowned river key-
stones on the Custom House in Dublin, St. Patrick is paired with that of the head of Brian Boru at the
entrance of the Chapel.
This head in particular lends an almost baroque feeling to the entrance, it turns and seems to stare across
at Boru with perhaps a suspicious visage while the movement of both vividly animates the threshold.
With his undulating beard and hair crowned by his mitre this refined head perhaps expresses a pensive
and uneasy countenance.
The Chapel Royal in Dublin Castle was designed by the renowned architect Francis Johnson and was
opened on Christmas Day 1814 by the King’s representative in Ireland, Lord Lieutenant Whitworth.
€5,000-€7,000 (£4,310-£6,030 approx.)

158
137
Melanie le Brocquy HRHA (1919-2018)
MOTHER AND CHILD
bronze on black marble base; (no. 5 from an edition of 6)
signed with initials and numbered
10 by 6.25 by 5in. (25.4 by 15.9 by 12.7cm)
Dimensions of base: 2 by 8 by 7in.
Born in Dublin in 1919, Melanie Stewart, née le Brocquy, daughter of Albert and Sybil le Brocquy and
sister to the famous Irish artist Louis (1916-2012), attended the National College of Art before continu-
ing her studies at Geneva’s École des Beaux-Arts. She returned to Ireland where she studied at the RHA
School from 1937 to 1942. From 1938 on she was a regular exhibitor at the RHA Annual Exhibition. In
1981, le Brocquy was one of the founding memberds of Aosdána. She was made an Honorary Member
of the RHA in 1989 and her work was celebrated in a retrospective at the RHA in 1999. Melanie le Broc-
quy died on June 22 2018, in her 99th year, her husband, Stanley Stewart, Professor of Bacteriology and
Preventive Medicine at Trinity College Dublin (1952-1975), having predeased her.
€2,000-€3,000 (£1,720-£2,590 approx.)

Whytes Irish & International Art 2 December 2019

Whytes Irish & International Art 2 December 2019

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Whytes Irish & International Art 2 December 2019