WHYTE'S ONLINE SUMMER ART SALE Monday 6 July 2020

WHYTESS I N C E 1 7 8 3
,
SUMMER
Ends Monday 6 July 2020 6PM-10PM

SUMMER ONLINE ART AUCTION – 6 JULY 2020
LIST OF ARTISTS REPRESENTED IN THIS AUCTION
Alexander, Douglas: 161
Armstrong, Arthur: 39-41
Bacon, Francis: 78
Banksy, : 112
Barton, Mary Georgina: 169
Behan, John: 60, 80, 120
Belton, Liam: 101
Blackshaw, Basil: 81, 82
Bourke, Brian: 47, 48
Bowen, Gretta: 43
Bradley, Aidan: 98
Bradshaw, Alan: 216
Brennan, Michael George: 127
Breslin, Rory: 121
Brohan, James S.: 197
Brophy, Elizabeth: 225, 226
Browne, Sarah: 239
Byrne, Gerard: 202-204
Cahill, Richard Staunton: 128
Calvert, Henry: 157
Campbell, George: 34-38
Campbell, John Henry: 129-140
Campbell, Paddy: 122
Caracciolo, Niccolo d’Ardia: 167
Carey, Joseph William: 164
Carr, Tom: 44
Carson, Robert Taylor: 219-221
Chalon, Alfred Edward: 143
Clarke. Margaret: 171
Clarke, Harry: 152, 153
Clear, Ciarán: 4
Conor, William: 18
Craig, James Humbert: 14
Cullen, Stephen: 233
Dali, Salvador: 113-116
Davidson, Colin: 93, 94
Davidson, Lilian Lucy: 168
Davis, Gerald: 59
de Brí, Orla: 117, 118
Dylan, Bob: 109
Egan, Felim: 54
Emin, Tracey: 110, 111
English, James: 198, 201
Flanagan, Terence P.: 84-87
Foley, Michael: 124
Frost, Sir Terry: 57
Gale, Martin: 99
Gibson, Colin: 230, 231
Gillespie, George K.: 5, 6, 11,
12, 176
Gracey, Theodore James: 160
Greengrass, William: 24
Hanley, James: 103
Harper, Charles: 105
Hennessy, Patrick: 199
Henry, Paul: 15, 16
Hockney, David: 79
Hone, Evie: 23
Hovenden, Thomas: 146
Howard, Ken: 174
Howet, Marie: 26
Ibbini, Julia: 241, 242
Irwin, Clara: 165
Jones, Patrick: 58
Keating, Seán: 19, 20
Kelly, John: 104
Kernoff, Harry: 28
King, David G.: 223
Kingerlee, John: 106-108
Knuttel, Graham: 208-213
le Brocquy, Louis: 62-77
le Jeune, James: 10
Leonard, Patrick: 195, 196
Lewis, Edward Morland: 27
Loane, Cecilia: 145
Lyle, Susan Letitia: 144
Maccabe, Gladys: 186, 187
MacGonigal, Maurice: 17
Maderson, Arthur K.: 188, 189
Maguire, Cecil: 8A, 9
McCaig, Norman J.: 177
McCartney, J.: 217
McDonnell, Hector: 100
McKee, Stephen: 238
McKelvey, Frank: 13
McLoughlin, Cian: 102
McSweeney, Seán: 88, 89
McWilliam, Frederic E., 46
Miller, Nick: 90
Morle, Stuart: 199A
Mulhall, William: 240
Murphy, Noel: 97
Nisbet, Tom: 222
O'Brien, Gretta: 96
O'Connor, James Arthur: 125
O'Doherty, Eamonn: 119
O'Donnell, Henry C.: 173
O'Halloran, James: 232, 235
O'Keefe, Noelle: 236
O'Malley, Jane: 55
O'Malley, Tony: 49, 52, 53, 56
O'Neill, Daniel: 29-32
Orpen, Sir William: 21, 22
Potter, George: 98A
Rae, Isobel: 147
Rivers, Larry: 112A
Robinson, Markey: 180-185
Roche, Oisín: 207
Roche, Tom: 218
Ryan, Thomas: 200
Schwatschke, John: 214, 215
Scott, William: 50, 51
Shelbourne, Anita: 91
Sheridan, Noel: 92
Skelton, John Francis: 1-3
Sloan, Joseph: 123
Smith, John Noel: 95
Solomons, Estella Frances: 172
Somerville, Edith Oenone: 168A
Steyn, Stella: 169A, 170
Stordy, Attributed to John: 141
Sutton, Ivan: 205, 206
Swift, Patrick: 83
Taylor, Maeve: 234
Teeling, Norman: 227-229
Till, Walter: 158
Treacy, Liam: 190-194
Walsh, Owen: 237
Warhol, Andy: 61
Warren, Barbara: 42
Webb, Kenneth: 178, 179
Wilks, Maurice Canning: 7, 8,
166, 175
Williams, Alexander: 159, 162
Yeats, Jack Butler: 154, 155
Yeats, John Butler: 148-151
TOPOGRAPHICAL AND GENERAL INDEX
Antrim: 11, 14, 165 Australia:
147
Austria: 217
Bahamas: 53
Belfast: 43, 46
Belgium: 26
Books: 26
Carlow: 140
Cork: 27, 99, 144, 168A,
234, 235
Donegal: 12, 166, 176
Down: 6, 30, 87, 175
Dublin City: 6, 133-138,
227-229, 231, 233, 237
Dublin County: 128-130, 172,
202-204, 207
England: 24, 31, 57, 78, 79,
112, 143, 169, 174, 241, 242
Equestrian: 157, 186
France: 10, 188, 189
Galway: 5, 7, 8, 8A, 9, 15, 37,
161, 162, 164, 205
Germany: 126
Italy: 148, 167, 199A
Jordan: 241, 242
Kerry: 2, 3
Kildare: 139, 186
Kilkenny: 140
London: 31, 169, 195
Mayo: 159
Maritime: 1, 4, 205
Military: 147
Railway: 21, 158
Religious: 23
Sligo: 168
Spain: 4, 38, 113-116, 196, 220
Sport: 18, 24, 215, 216
USA: 61, 112A, 219, 230
Wales: 27
Waterford: 140
Wexford: 206
Wicklow: 125, 132, 171

VIEWING
AUCTION
ENQUIRIES
Whyte's 38 Molesworth Street Dublin D02 KF80
676 2888 E-mail: info@whytes.ie
Licensed by the Property Services Regulatory Authority. Licence No: 001759
BIDS
01 676 2888
-mail bids@whytes.ie
Whyte’s Auction App
available for free download
MONDAY

What Is A Timed Auction?
Timed auctions don’t have an auctioneer calling the bids – there’s just a bidding time frame and whoever bids highest during
the time frame wins. Each lot can be bid on for a defined time period. At the end of this period, the bidder who has submitted
the highest bid wins the lot, provided the bid exceeds the reserve price.
You tell us the most you’re willing to pay – and we’ll bid intelligently for you, only bidding enough for you to meet the reserve or
stay in the lead. Don’t worry, your max bid is not disclosed, and is held in confidence on our bidding system.
If someone bids higher than your ‘maximum’, we will send you an 'outbid alert' via email to let you know, so you can decide
whether to bid more.
You'll know it's a timed auction as the end time will be displaced on the lot page. If a bid is placed in the last 5 minutes of the
defined time period, the time period will be extended by 5 minutes. This prevents 'sniping', where a bidder times a bid as the lot
closes, denying others the chance to counter.
Go here to bid : http://www.bid.whytes.ie
More details:
Before the auction starts you can leave bids – your top bid is not revealed, and your bid will start at one step above the
previous bid or at the start price if no other bid. You will be notified by email if you get outbid before the auction starts. Once
the auction starts - on 6 July at 6pm -email notifications cease and you should follow the auction on-line to see how your
bids are doing.
When the auction starts: The bidding for each lot is opened for 5 minutes at a start price determined by the reserve or bids
already received. Each lot will be open and remain open for bidding until its end time is reached; the end time will be extended
by 5 minutes if another bid is received.
During this period of open bidding you will be able to see the current highest bid on each lot. You may place a higher bid at the
defined bidding increment you choose. Bidders are automatically informed by email if they are the winning bidder, or if they
have been outbid by another competing bidder.
At the end time, if there are no further bids and the highest bid offered equals or exceeds the reserve price the lot is sold.
How to bid:
• Log in or register at www.bid.whytes.ie
• Visit the timed online auction catalogue
• Find the lot number you are interested in.
• Place your maximum bid which will be kept secret by the system, the current highest bid will be displayed
• The minimum bid required to beat the highest bid will also be shown.
• When you place your maximum bid, the system will automatically bid for you – only enough to meet the reserve or to stay in
the lead, up to your maximum if necessary. Example: Bidder A leaves a maximum bid of €100, bidder B leaves a maximum bid
of €200 on the same lot. Bidder B then has the winning bid unless another bid that beats B’s maximum is received before the
end time.
• If you are outbid you will be notified immediately by email. You have up to the end time to counter bid.
• To increase your bid, simply log in and increase your bid.
• When the timed auction finishes, winning bidders will be notified by email. The timed lots will close at the specified date and
time and will close in chronological order with 1 minute between each lot before it closes.
• Buyers Premium of 20% plus VAT (24.6% in total) will be added to your winning bid amount. Your invoice will detail all the
payment, collection and shipping particulars. There is no additional fee for bidding online with Whyte's.
HELP?
Our team are available to assist Monday to Friday 10am to 5pm and on the sale day 10am to 10pm at 01 6762888
(+35316762888) and bids@whytes.ie Live Chat is available on our website www.whytes.ie

IMPORTANT NOTES
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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.
(b) The purchaser of each lot shall immediately on its sale, if required by the
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
may put up again and re-sell the lot; 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 expenses of re-sale
which shall become a debt due from him.
(c) Where an agent purchases on behalf of an undisclosed client such agent
shall be personally liable for payment of the purchase money to the
auctioneer and for safe delivery of the lot to the said client.
Clause 3
(a) The auctioneer reserves the rights to bid on behalf of clients including
vendors, but shall not be liable for errors or omissions in executing
instructions to bid.
(b) The auctioneer reserves the rights, before or during a sale, to group
together lots belonging to the same vendor, to split up and to withdraw any
lot or lots at the auctioneer's absolute discretion and without giving any
reason in any case.
(c) The auctioneer acts as agent only, and therefore shall not be liable for any
default of the purchaser or vendor.
Clause 4
(a) Each lot shall be at the purchaser's risk from the fall of the hammer and
shall be paid for in full before delivery and taken away at his expense within
one day of the sale. The buyer will be responsible for all removal, storage and
insurance charges in respect of any lot which has not been collected within
one day of the date of sale. (b) If any purchaser fails to pay in full for any lot
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.
(c) Interest at 2 per cent per month and legal costs (if any) for recovery of
monies due shall be payable by the purchaser on any overdue account.
Clause 5
(a) All lots are made available for inspection before each sale and each buyer,
by making a bid, acknowledges that he has satisfied himself as to the physical
condition, age and catalogue description of each lot (including but not
restricted to whether the lot is damaged or has been repaired or restored).
(b) All lots are sold with all faults and imperfections and errors of description
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

,
Note: the following prefixes are widely used with the initials of academies and
institutions:
A Associate
F Fellow
H Honorary academician or member or council member
P President
PP Past President
VP Vice President
b. born
BWS British Watercolour Society
CH Companion of Honour
cm. centimetre or centimetres
d. died
exh. exhibited
FBA Federation of British Artists
fl. flourished
FRIBA Fellow Royal Institute of British Architects
ICA Institute of Contemporary Arts
IELA Irish Exhibition of Living Art
IMMA Irish Museum of Modern Art
in. inch or inches
MBE Member of the Most Excellent Order of the British Empire
NA National Academy, New York
NCA National College of Art, Dublin
NCAD National College of Art & Design, Dublin
NEAC New English Art Club
NGI National Gallery of Ireland
NWS National Watercolour Society
OBE Officer of the Most Excellent Order of the British Empire
OM Order of Merit
OWS Old Watercolour Society, London
PS Pastel Society, London
RA Royal Academy, London
RBA Royal Society of British Artists
RBS Royal Society of British Sculptors
RCA Royal College of Art
RE Royal Society of Painter-Etchers and Engravers
RDS Royal Dublin Society
RHA Royal Hibernian Academy, Dublin
RI Royal Institute of Painters in Watercolours
RIA Royal Irish Academy
ROI Royal Institute of Oil Painters
RP Royal Society of Portrait Painters
RSA Royal Scottish Academy
RSMA Royal Society of Marine Artists
RSW Royal Scottish Society of Painters in Watercolour
RUA Royal Ulster Academy of Arts
RWA Royal West of England Academy, Bristol
RWS Royal Society of Painters in Watercolour
SWA Society of Women Artists
WCSI Watercolour Society of Ireland
References:
Snoddy Theo Snoddy, Dictionary of Irish Artists 20th
Century, 2nd edition, Dublin, 2002
Strickland Walter G. Strickland, A Dictionary of Irish Artists
Dublin, 1913
ABBREVIATIONS

4
1
John Francis Skelton (b.1954)
MEN AND BOATS
oil on board
signed lower left
10 by 24in. (25.4 by 61cm)
Frame:
17 by 30in. (43 by 76cm.)
Condition:
Excellent condition.
€600-€800 (£540-£720 approx.)
Click here for more images and to bid on this lot1

SUMMER ONLINE ART AUCTION - Ends Mondy 6 July 2020 6PM- 10PM 5
2
ATLANTIC EDGES AND THE SKELLIGS, COUNTY KERRY
oil on board
signed lower right; titled on reverse
10 by 24in. (25.4 by 61cm)
Frame:
17 by 30in. (43 by 76cm.)
Condition:
€600-€800 (£540-£720 approx.)

6
3
ROCKY ENCLOSURE, KERRY
oil on canvas
signed lower left; inscribed with title and initials on reverse
10 by 24in. (25.4 by 61cm)
Frame:
16.5 by 31in. (42 by 79cm.)
Condition:
€600-€800 (£540-£720 approx.)

4
Ciarán Clear (1920-2000)
NIGHT FISHING, TENERIFE
oil on board
signed lower right; signed again, titled and with artist’s address [The Studio, Rush, Co. Dublin] inscribed
on reverse
10 by 20in. (25.4 by 50.8cm)
Frame:
14.5 by 25in. (37 by 64cm.)
Condition:
€1,500-€2,000 (£1,350-£1,800 approx.)

8
5
George K. Gillespie RUA (1924-1995)
EVENING LIGHT, KILLARY, COUNTY GALWAY
oil on canvas
signed lower left; inscribed with title on reverse
20 by 30in. (50.8 by 76.2cm)
Frame:
24.5 by 34in. (62 by 86cm.)
Condition:
Painting is in overall good stable condition.
Provenance:
Whyte’s, 1 October 2012, lot 156;
Private collection
€1,500-€2,000 (£1,350-£1,800 approx.)

6
RIVER LAGAN NEAR HILLSBOROUGH, COUNTY DOWN
oil on canvas
signed lower left; with Oriel Gallery label on reverse
18 by 24in. (45.7 by 61cm)
Frame:
23 by 29in. (58 by 74cm.)
Condition:
Good, no apparent faults.
Provenance:
The Oriel Gallery;
Private collection
€1,500-€2,000 (£1,350-£1,800 approx.)

10
7
Maurice Canning Wilks RUA ARHA (1910-1984)
MOUNTAINS AND LAKE, WEST OF IRELAND
oil on canvas
signed lower left; with Bell Gallery label on reverse
18 by 24in. (45.7 by 61cm)
Frame:
24 by 30in. (61 by 76cm.)
Condition:
This work appears to be in good condition. The canvas is stable. There are very slight cracks visible on
close inspection in the white of the sky. This has not led to flaking of the paint. There is some surface dirt
visible on close inspection.
€2,000-€3,000 (£1,800-£2,700 approx.)

8
Maurice Canning Wilks RUA ARHA (1910-1984)
TWELVE PINS FROM INISHFREE ISLAND, COUNTY GALWAY
oil on canvas
signed lower right; titled on label on reverse
16 by 20in. (40.6 by 50.8cm)
Frame:
22 by 25in. (56 by 64cm.)
Condition:
There are cracks visible in the paint on close inspection, most notably in the sky upper right. This has
led to some slight flaking of the paint. The canvas is taut and stable. Surface dirt and yellowing visible
throughout and the work.
€1,000-€1,500 (£900-£1,350 approx.)

12
8A
Cecil Maguire RHA RUA (1930-2020)
CONNEMARA LANDSCAPE
oil on board
signed lower right; titled and with artist’s [Lurgan] address on reverse
24 by 36in. (61 by 91.4cm)
Frame:
34 by 46in. (86 by 117cm.)
Condition:
€6,000-€8,000 (£5,410-£7,210 approx.)
Click here for more images and to bid on this lot8A

14
9
Cecil Maguire RHA RUA (1930-2020)
WAYSIDE COTTAGE AND WILD POPPIES, CONNEMARA, 1982
oil on board
signed and dated lower right
16 by 20in. (40.6 by 50.8cm)
Frame:
24 by 28in. (61 by 71cm.)
Condition:
Good, no apparent faults,
€3,000-€4,000 (£2,700-£3,600 approx.)

10
James le Jeune RHA (1910-1983)
STREET SCENE IN BRETON VILLAGE
oil on canvas
signed lower right; inscribed with title on WB Simpson dealer’s label on reverse
14 by 16in. (35.6 by 40.6cm)
Frame:
19 by 21in. (48 by 53cm.)
Condition:
Provenance:
Private collection, Scotland;
Thomas R. Callan Ltd., Ayr, April 2018, lot 15;
Whence purchased by the present owner
€2,000-€3,000 (£1,800-£2,700 approx.)

16
11
GARRON HEAD, ANTRIM COAST
oil on canvas
signed lower right; titled on label on reverse
12 by 16in. (30.5 by 40.6cm)
Frame:
20 by 24in. (51 by 61cm.)
Condition:
This work appears to be in excellent condition.
Provenance:
Whyte’s, 29 September 2014, lot 6;
Private collection
€600-€800 (£540-£720 approx.)

12
NEAR GLENTIES, COUNTY DONEGAL
oil on canvas
signed lower left; titled on label on reverse
20 by 30in. (50.8 by 76.2cm)
Frame:
25 by 35in. (64 by 89cm.)
Condition:
This work appears to be in very good condition. The canvas is taut and stable. There are no signs of
cracking or flaking.
€2,000-€3,000 (£1,800-£2,700 approx.)

18
13
Frank McKelvey RHA RUA (1895-1974)
CATTLE GRAZING BY A COTTAGE
oil on canvas
signed lower left
20 by 27in. (50.8 by 68.6cm)
Frame:
27 by 34in. (69 by 86cm.)
Condition:
This work appears to be in very good condition. The canvas is taut and stable. There are no signs of
cracking or flaking. There are some spots of surface dirt visible on close inspection. The work may benefit
from a clean.
€4,000-€6,000 (£3,600-£5,410 approx.)

14
James Humbert Craig RHA RUA (1877-1944)
GLENARIFF, COUNTY ANTRIM
oil on panel
signed lower left; titled on reverse
11.75 by 16.75in. (29.8 by 42.5cm)
Frame:
21 by 26in. (53 by 66cm.)
Condition:
This work appears to be in very good condition. The panel is clean and stable. There are no signs of
€3,000-€5,000 (£2,700-£4,500 approx.)

20
15
Paul Henry RHA (1876-1958)
CLADDAGH VILLAGE, 1928
oil on board
signed lower right; with William Rodman & Co. [Belfast] label on reverse
12 by 9in. (30.5 by 22.9cm)
Frame:
20 by 17in. (51 by 43cm.)
Condition:
On close examination hairline cracks visible in the houses, centre. Small losses visible in lower centre.
Minor drying cracks to sky area above houses, right. Minor surface dirt on close inspection throughout.
Board in good stable condition. Presented unglazed.
Provenance:
Magee Gallery, Belfast, 1952;
Private collection;
Adam’s, 7 August 1975, lot 45;
Private collection
Literature:
Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and
London, 2007, p. 237, catalogue no. 674
Dr Kennedy writes:“The Claddagh, from the Irish‘An Cladach’, meaning‘The Sea-shore’, was a small
fishing village on the edge of Galway city. It was demolished some years ago. A drawing in one of Henry’s
sketchbooks (National Gallery of Ireland) may refer in part to this composition. A similar composition to A
Western Village (cat. 675), which is dated 1928.”
€40,000-€60,000 (£36,040-£54,050 approx.)

22
16
Paul Henry RHA (1876-1958)
THE POTATO DIGGERS
lithograph
title and description on promotional label on reverse
12 by 13.50in. (30.5 by 34.3cm)
Frame:
15.75 by 17.75in. (40 by 45cm.)
Condition:
The proceeds of the sale of this work will be donated to the Society of St Vincent de Paul.
€100-€150 (£90-£140 approx.)

17
Maurice MacGonigal PPRHA HRA HRSA (1900-1979)
THE FARMER [THE LUCKY PENNY]
oil on board
signed lower right; titled and with Dawson Gallery label on reverse
25 by 11in. (63.5 by 27.9cm)
Frame:
33.5 by 20in. (85 by 51cm.)
Condition:
One chip in paint lower centre visible on close inspection. Otherwise, good stable condition.
Provenance:
From the collection of Agnes and Jack Toohey;
Adam’s, 26 March 2013, lot 4;
Private collection
Exhibited:
Dawson Gallery, Dublin;
’The Collector’s Eye’Exhibition, Model Arts and Niland Gallery, January to February 2004;
Hunt Museum, Limerick, March to April 2004, catalogue no. 17
Literature:
‘The Collector’s Eye’, 2004 (illustrated p.10);
Hickey, Nora, Reading 20th Century Irish Art, The Hunt Museum, Limerick, 2004
€5,000-€7,000 (£4,500-£6,310 approx.)

24
18
William Conor OBE RHA RUA ROI (1881-1968)
EXERCISING THE GREYHOUNDS, c.1920s-1930s
crayon and oil on paper
signed twice lower left
28.75 by 23.75in. (73 by 60.3cm)
Frame:
38 by 33in. (97 by 84cm.)
Condition:
Paper has been laid down on board and lightly varnished. Two significant tear repairs with retouching
visible in raking light: left side“L”shaped tear 12”horizontal and 9“ vertical; right side (centre, above dogs
heads) 13”horizontal. Two minor 1”repaired tears at top edge left and right of centre.
Presented in a contemporary gilt frame; unglazed
This lively scene of greyhounds and their handlers is an unusual subject in Conor’s oeuvre. The six figures
(three human, three canine) fill the canvas with urgent movement, their positions suggesting that they
are about to emerge from the picture at any moment. The matt surface produced by the mix of crayon
and oil paint seems at odds with the energy of the scene depicted, yet it is typical of Conor’s technique.
The artist first used wax crayon while working as a commercial lithographer in Belfast and continued to
incorporate the medium into drawings and paintings throughout his career.
The son of a Belfast metal worker, Conor attended the Belfast School of Art and spent a brief period
in Paris prior to the outbreak of World War One. During the conflict, he worked as an official war artist
recording munition works, army camps and the training exercises of the Ulster Division. Through the
late 1910s and early 1920s, Conor became more of an established name in Irish and British artistic
circles, showing regularly in group exhibitions in London, Manchester, Liverpool, and Glasgow, as well as
numerous solo exhibitions in Dublin and New York.
Conor exhibited a painting titled Exercising Greyhounds on two occasions: at the Royal Institute of Oil
Painters, London in 1934 (catalogue no. 157) and at the Royal Hibernian Academy (cat., no. 200), however
it is unclear whether either of these was the present work, or a similar painting sold through Christies in
2007, for £90,000 (The Irish Sale, 10 May 2007, lot 118). The more unusual form of signature, with a broad
‘W’resting over the artist’s surname appears on a small number of paintings from the 1920s and 1930s.
Although Conor completed numerous official portrait commissions, he is best known for his depictions
of everyday and working-class life in Belfast, encompassing scenes of work and leisure. Depictions
of animals or sporting scenes are unusual; however, a series of works showing horse racing, now in
the collection of the National Museums Northern Ireland, contain the same sense of movement and
excitement captured in Exercising Greyhounds.
Dr Kathryn Milligan
€12,000-€18,000 (£10,810-£16,220 approx.)

26
19
Seán Keating PPRHA HRA HRSA (1889-1977)
STUDY FOR SACRED AND PROFANE LOVE, 1937
charcoal heightened with white
signed centre
30 by 28.50in. (76.2 by 72.4cm)
Frame:
42.5 by 41in. (108 by 104cm.)
Condition:
Framed to show raw edges to irregular shaped artwork. Edges show wear and minor tears. Paper laid flat
to support.
Provenance:
Kenny Gallery, Galway;
Private collection
€2,500-€3,500 (£2,250-£3,150 approx.)

20
Seán Keating PPRHA HRA HRSA (1889-1977)
MAN ON LADDER
charcoal heightened with white
signed lower right
28 by 16in. (71.1 by 40.6cm)
Frame:
34.5 by 23in. (88 by 58cm.)
Condition:
Tear (2in.) visible to upper edge tight to frame. Pinholes in upper corners. Rippling to paper also visible.
Provenance:
Private collection
€1,500-€2,000 (£1,350-£1,800 approx.)

28
21
Sir William Orpen KBE RA RI RHA (1878-1931)
THE NIGHT MAIL, THE ENGINEMEN, 1924
poster
Published by the London Midland & Scottish Railway (LMS), printed by Bemrose & Sons Ltd.
18.50 by 23in. (47 by 58.4cm)
Frame:
20 by 24.5in. (51 by 62cm.)
Condition:
Some minor staining and rubbing to lower margin. Unglazed.
This is one of a series of five posters commissioned by the LMS from Royal Academy artists. Each received
a fee of £100 and royalties from the sale of the prints.
€300-€500 (£270-£450 approx.)

22
Sir William Orpen KBE RA RI RHA (1878-1931)
THE DRAUGHTSMAN AND HIS MODEL, 1910
photogravure
signed, titled and dated in the plate
6.50 by 8.75in. (16.5 by 22.2cm)
Frame:
15 by 18in. (38 by 46cm.)
Condition:
One spot of foxing in the upper right quadrant. No tears or creases apparent. Paper is laid flat to the
backing board.
Published by the Chenil Galleries, Chelsea, in 1913.
€500-€700 (£450-£630 approx.)

30
23
Evie Hone HRHA (1894-1955)
HEAD OF CHRIST
lithograph
with Dawson Gallery framers label on reverse
15 by 11in. (38.1 by 27.9cm)
Frame:
23 by 19in. (58 by 48cm.)
Condition:
Overall good stable condition.
The proceeds of the sale of this work will be donated to the Society of St Vincent de Paul.
€150-€200 (£140-£180 approx.)

24
William Greengrass (English, 1896-1970)
RUGBY, 1933
linocut in colours on Japanese mulberry tissue; (no. 24 from an edition of 50)
signed, titled, dated and numbered lower left; with William Weston Gallery label on reverse
7.75 by 10.50in. (19.7 by 26.7cm)
Frame:
17.5 by 21.5in. (44 by 55cm.)
Condition:
Provenance:
William Weston Gallery, London;
Private collection
William Greengrass, born in Hertfordshire, was a member of the Grosvenor School of Modern Art, a group
committed to creating art for“regular folk, sold at a price the average man pays for his beer or his cinema
tickets”, as the teacher Claude Flight put it.. Their medium was the humble linocut, where cheap linoleum
flooring was used as printmaking tool. Their subject matter came from a burgeoning everyday world of
sport, including football, rugby, tennis, athletics, horseracing, picnics in the park, daytrips via new public
transport, jazz and nightclub dancing.
€3,000-€5,000 (£2,700-£4,500 approx.)

32
26
Marie Howet (Belgian 1897-1984)
A LA SOURCE D’ARA: ÉPOPÉE ACCOMPAGNÉE DE VINGT-CINQ AQUARELLES D’IRLANDE, 1934
(no. 15 from an limited edition of 125 copies)
signed and numbered on limitations page; (rear)
12 by 16in. (30.5 by 40.6cm)
Condition:
Some wear and staining to slipcase. Internally bright and clean. A very nice copy of a beautifully
decorated book.
Foreword by Stephen Gwynn. Limited Edition. Number 15 of 125 Copies. Signed by the Artist. [Paris],
Duclos et Colas, 1934. Oblong Folio.
Unnumbered text pages with elegantly designed text.
Various black and white Illustrations, including a Map of Ireland and 25 fine full page pochoir plates
executed by Jean Saude after artwork by Marie Howet; with the original tissue guards. Includes a loosely
inserted broadside printing in French of a letter to Marie Howet the artist and author of the book when it
came out, from Seamus Mac Call, the author of‘And So Began the Irish Nation’. Signed and numbered (15)
by Marie Howitt on the limitation page. Also includes the artist’s original aluminium stencil plates and
accompanying photograph of her artwork to rear. Housed in original paper covered boards with green
spine. Upper board beautifully decorated. In original green slipcase with embossed black and white
decoration.
Marie Howet travelled frequently abroad, including a visit to Ireland in the mid-1920s with a solo show
of her work held in the Gresham Hotel in Dublin 1927. It is thought that Drogheda artist Nano Reid was
influenced by a visit to an exhibition of the Belgian artist’s work in 1937 encouraging her own boldly
linear, highly subjective mode of representation. (1)
1 https://www.irishtimes.com/culture/art-and-design/visual-art/friends-in-art-reunited-1.1239011
€600-€800 (£540-£720 approx.)

34
27
Edward Morland Lewis (Welsh, 1903-1943)
UNION QUAY, CORK, c. 1937
oil on canvas
inscribed on reverse; also with Leicester Galleries label on reverse
18 by 24in. (45.7 by 61cm)
Frame:
23 by 29in. (58 by 74cm.)
Condition:
The work appears to be in very good condition. The canvas is taut and stable. There are no signs of
cracking or flaking of the paint. There is some surface dirt visible on close inspection.
Exhibited:
‘Artists of Fame and of Promise’, Leicester Galleries, London, July to September 1940, catalogue no. 60
Edward Morland Lewis was born in Carmarthen in 1902. He trained at St John’s Wood School of Art and at
the Royal Academy Schools, London where he met Sickert. Morland Lewis promptly left the academy to
work under Sickert as pupil and assistant. In 1930 he joined the London Artists’Association and exhibited
with this group until it disbanded in 1934.
Many of his paintings were based on photographs he took himself. Like Sickert, he tended to paint
patchwork areas of colour laid over warm under-painting. He concentrated on the seaside towns of south
Wales, Ireland, northern France and Spain. A comparison of one of his photographs with the painting
of the same scene reveals how completely he transformed the information from one medium into the
language of another. The main composition is faithfully transcribed, but the tonal relationships are
slightly exaggerated.
He joined the staff of Chelsea College of Art, where his colleagues included Henry Moore, Graham
Sutherland and John Piper.
He died in north Africa in 1943 while on active service as a camouflage officer.
€2,000-€3,000 (£1,800-£2,700 approx.)

36
28
Harry Kernoff RHA (1900-1974) RHA (1900-1974)
ROGER CASEMENT IN THE DOCK
oil on paper
signed upper right
7.75 by 5.75in. (19.7 by 14.6cm)
Frame:
14.5 by 12.5in. (37 by 32cm.)
Condition:
Provenance:
deVere’s, 9 October 2012, lot 90;
Private collection
€800-€1,200 (£720-£1,080 approx.)

38
29
Daniel O’Neill (1920-1974)
BIRD’S NEST, 1950
oil on canvas
signed upper left; inscribed with artist name, title and original owner‘s name on Institute of
Contemporary Art, Boston, Massachusetts label on reverse; also dated [1950] in pencil on reverse
14 by 18in. (35.6 by 45.7cm)
Frame:
18 by 22in. (46 by 56cm.)
Condition:
Good stable condition. Some minor surface dirt visible. Areas of impasto appear intact and stable.
Painting is presented unglazed in what appears to be its original frame.
Provenance:
David Rago, 09 Nov 2019
Lambertville NJ, United States
Private collection, Virginia;
David Rego, American & European Art, 9 November 2019, Lambertville, New Jersey, lot 748;
Private collection
Exhibited:
Boston Institute for Contemporary Art, 1950
Daniel O’Neill’s work had been exhibited in 1947 New York as part of a group show in association with
the American Artists Galleries and the following year in a group show held in Los Angeles. In 1950, his
dealer Victor Waddington organised a travelling group exhibition in America, which included Daniel
O’Neill, Gerard Dillon and George Campbell in association with the Institute of Contemporary Art, Boston,
and New Irish Painters. The present work was included in that important exhibition.
€6,000-€8,000 (£5,410-£7,210 approx.)

40
31
LONDON STREET
oil on canvas
signed lower right; original label inscribed with title on reverse
16 by 14.50in. (40.6 by 36.8cm)
Frame:
21 by 19.5in. (53 by 50cm.)
Condition:
Painting is in overall good stable condition. Possible pinprick loss visible to upper right edge close to
frame.
Provenance:
Whyte’s, 4 March 2013, lot 104;
The artist’s London home is depicted in this streetscape. O’Neill lived in London from 1958 to 1971. His
work from this time onwards was increasingly introspective and often desolate.
€4,000-€6,000 (£3,600-£5,410 approx.)

42
32
THE APPRENTICE CLOWN, 1971
oil on board
signed lower right; titled and dated on reverse
16 by 12in. (40.6 by 30.5cm)
Frame:
20 by 16in. (51 by 41cm.)
Condition:
This work appears to be in very good condition. The board is clean and stable. There are no signs of
Provenance:
Collection of George and Maura McClelland;
Thence by descent
€8,000-€12,000 (£7,210-£10,810 approx.)

34
George Campbell RHA (1917-1979)
BROWN STILL LIFE
oil on board
signed lower left and lower right; titled on reverse
36 by 30in. (91.4 by 76.2cm)
Frame:
39 by 33in. (99 by 84cm.)
Condition:
Board in good stable condition. Chip of paint loss to lower right corner.
€6,000-€8,000 (£5,410-£7,210 approx.)

44
35
BOG AND ROCK
oil on panel
signed lower right
20 by 30in. (50.8 by 76.2cm)
Frame:
27.5 by 37in. (70 by 94cm.)
Condition:
Provenance:
Christie’s-Hamilton Osborne King, Dublin, 26 May 1993, lot 135;
Private collection;
Christie’s-Hamilton Osborne King, Dublin, 28 June 1995, lot 223;
Private collection
€3,000-€5,000 (£2,700-£4,500 approx.)

37
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)
Frame:
27.5 by 32.5in. (70 by 83cm.)
Condition:
Work is in overall good stable condition.
Provenance:
Ritchie Hendriks Gallery, Dublin;
Private collection
€1,000-€1,500 (£900-£1,350 approx.)

46
38
NIGHT IN A SPANISH TOWN
ink, watercolour and gouache
signed lower right and, inverted, upper left
10 by 8in. (25.4 by 20.3cm)
Frame:
18 by 16in. (46 by 41cm.)
Condition:
Provenance:
From the collection of the late Madge Campbell, wife of the artist;
Private collection
€500-€700 (£450-£630 approx.)

39
Arthur Armstrong RHA (1924-1996)
LIGHT ON THE SEA
oil on board
signed in pencil lower left; inscribed with title and dimensions on reverse
12 by 16in. (30.5 by 40.6cm)
Frame:
17.25 by 21.25in. (44 by 54cm.)
Condition:
€800-€1,200 (£720-£1,080 approx.)

48
40
THE FOUR SEASONS (SET OF FOUR)
watercolour; (4) (framed together)
one signed
5 by 7.50in. (12.7 by 19.1cm)
Frame:
29 by 33in. (74 by 84cm.)
Condition:
Provenance:
Private collection
€1,000-€1,500 (£900-£1,350 approx.)

41
AUTUMN LANDSCAPE
oil on board
signed lower left; titled on reverse
30 by 36in. (76.2 by 91.4cm)
Frame:
35.5 by 41.5in. (90 by 105cm.)
Condition:
This work appears to be in very good condition. The board is clean and stable. No cracking or flaking of
the paint.
€3,500-€4,500 (£3,150-£4,050 approx.)

50
42
Barbara Warren RHA (1925-2017)
CONNEMARA BEACH
oil on canvas
signed lower left
20 by 24in. (50.8 by 61cm)
Frame:
26 by 29.5in. (66 by 75cm.)
Condition:
Painting is loose within the frame and canvas requires tensioning. Stretcher bar impression visible to left
and right sides. Surface dirt visible.
€1,200-€1,500 (£1,080-£1,350 approx.)

43
Gretta Bowen (1880-1981)
FESTIVAL (“THE TWELFTH”)
oil on board
signed lower left and titled on reverse; titled
on Tom Caldwell Gallery label on reverse; also
inscribed“No. 5”on reverse
15 by 18in. (38.1 by 45.7cm)
Frame:
24 by 21in. (61 by 53cm.)
Condition:
Provenance:
Tom Caldwell Gallery;
Private collection
Born in Dublin on New Years’Day, 1880, Gretta Bowen began painting quite late in life. Having
experimented with left-over paint belonging to her sons George and Arthur Campbell, her talent as an
artist was discovered and much to her surprise, lead to her first solo show in Belfast in 1955. Rather than
trade on her sons’artistic reputations, she decided not to sign her name as Gretta Campbell but instead
with her maiden name, Bowen. In describing her unique style, The Times wrote in 1955:“Rhythm and
movement are the characteristics of her work. There is nothing static in it. She will paint children at play,
a fun fair, nuns in procession, children on their way to confirmation, a Twelfth of July Orange procession,
a military band or dockside scene – and whatever she paints conveys a feeling of brightness, of delight
in life”. (See Snoddy, page 40). Numerous successful solo shows followed at the David Hendriks Gallery,
Dublin, the Bell Gallery, Belfast, the Tom Caldwell Gallery, Dublin and Belfast and also at the Oireachtas,
the RHA and the Ulster Society of Women Artists.
Other depictions of“The Twelfth”(also called the Glorious Twelfth or Orangemen’s Day) is an Ulster
Protestant celebration held on 12 July each year) have been painted by the artist, one other example was
exhibited through the Emer Gallery in their major show of her work in autumn 2009.
€800-€1,200 (£720-£1,080 approx.)

52
44
Tom Carr HRHA HRUA ARWS (1909-1999)
FIGURE BY A LAKE, 1946
watercolour
signed and dated lower left
9.50 by 12.75in. (24.1 by 32.4cm)
Frame:
17 by 21in. (43 by 53cm.)
Condition:
€400-€600 (£360-£540 approx.)

46
Frederick Edward McWilliam RA HRUA (1909-1992)
STUDIES FOR WOMEN OF BELFAST, 1972
pen, ink and wash on paper
11 by 16in. (27.9 by 40.6cm)
Frame:
20 by 24.5in. (51 by 62cm.)
Condition:
Painting is in overall good stable condition. Some rippling to paper visible and one slight crease visible in
raking light near head of largest figure.
Provenance:
McWilliam Estate / Mayor Gallery, London;
Private collection;
Whyte’s, 26 November 2012, lot 217;
€1,000-€1,500 (£900-£1,350 approx.)

54
47
Brian Bourke HRHA (b.1936)
CARTHAGINIANS, DRUID, 1992
pastel and watercolour
signed, titled and dated along lower edge
21.21 by 14.25in. (53.9 by 36.2cm)
Frame:
32 by 25in. (81 by 64cm.)
Condition:
Provenance:
Where purchased by the present owner
Carthaginians was a Frank McGuinness Play, staged by Druid in 1992 in Galway and Derry.
€600-€800 (£540-£720 approx.)

48
Brian Bourke HRHA (b.1936)
LANDSCAPE POLLING, 1966
oil on canvas
signed, inscribed and dated on reverse
49 by 33in. (124.5 by 83.8cm)
Frame:
50 by 34in. (127 by 86cm.)
Condition:
Good condition. No cracking or flaking of the paint. Canvas is stable. Some surface dirt visible on close
inspection. One slight chip in the paint along the left centre edge.
Provenance:
Dawson Gallery, Dublin;
Private collection;
Private collection
Exhibited:
‘Brian Bourke: New Paintings’, Dawson Gallery, Dublin, 6-23 September 1967
€3,000-€5,000 (£2,700-£4,500 approx.)

56
49
Tony O’Malley HRHA (1913-2003)
OWL, 1967
oil on canvas; (unframed)
signed with initials lower left; dated lower right; signed, titled and dated on reverse
14 by 18in. (35.6 by 45.7cm)
Frame:
Condition:
This work appears to be in good condition. The canvas is stable. There is some surface dirt visible on close
inspection. There is some cracking visible on close inspection. However, this has not led to flaking of the
paint.
Provenance:
Collection of George and Maura McClelland;
Thence by descent
€5,000-€7,000 (£4,500-£6,310 approx.)

50
William Scott CBE RA (1913-1989)
STILL LIFE, 1988
lithograph; (no. 12 from an edition of 100)
signed lower right; numbered and dated lower left
22.75 by 30.50in. (57.8 by 77.5cm)
Frame:
32.5 by 39in. (83 by 99cm.)
Condition:
Provenance:
Whyte’s, 17 September 2007, lot 28;
Private collection
Literature:
Brian Balfour-Oatts, William Scott: A Survey of his Original Prints, Archeus Fine Art, London, 2005, listed as
no. 60, illustrated p. 447
Printed at the Curwen Studio and published by the William Scott Foundation.
€3,000-€5,000 (£2,700-£4,500 approx.)

58
51
William Scott CBE RA (1913-1989)
STILL LIFE WITH MUG, 1968
gouache
signed and dated lower right; inscribed with tile and original purchaser’s name on Hanover Gallery label
on reverse
13.50 by 19.50in. (34.3 by 49.5cm)
Frame:
22.5 by 28in. (57 by 71cm.)
Condition:
Good stable condition. Paper is clean with no apparent spotting or staining. Some minor rippling visible
at edges. Float mounted and glazed.
Provenance:
Hanover Gallery, London, 1969;
Where purchased by a Mr Brooks Walker;
with the Oriel Gallery, Dublin;
Where acquired by the present owner in 2000
This work is registered in the William Scott Archive as number 2349.
We are grateful to the William Scott Archive for their assistance in cataloguing this work.
€15,000-€20,000 (£13,510-£18,020 approx.)

60
52
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)
Frame:
21 by 29in. (53 by 74cm.)
Condition:
Painting is in overall good stable condition. Paper shows minor rippling.
€4,000-€6,000 (£3,600-£5,410 approx.)

53
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)
Frame:
22.5 by 30.5in. (57 by 77cm.)
Condition:
Paper shows minor rippling. Overall good stable condition.
Provenance:
Newlyn Orion Gallery, Penzance;
Private collection
Exhibited:
‘Island & Ocean’, Newlyn Orion Art Gallery, Penzance, October 1986, catalogue no. 20
€3,000-€4,000 (£2,700-£3,600 approx.)

62
54
Felim Egan (b.1952)
UNTITLED, 1991
watercolour
13.50 by 13.50in. (34.3 by 34.3cm)
Frame:
26.5 by 22in. (67 by 56cm.)
Condition:
€400-€600 (£360-£540 approx.)

55
Jane O’Malley (b.1944)
UNTITLED ABSTRACT, 1975
pastel and gouache
signed and dated in pencil lower right
9.25 by 13.50in. (23.5 by 34.3cm)
Frame:
16.5 by 21in. (42 by 53cm.)
Condition:
Good condition. No rips, tears or creases evident. Colours remain strong.
€300-€500 (£270-£450 approx.)

64
56
ARMOIRE SUISSE WITH CAT AND PORTRAIT OF JANIE, 1973
watercolour
signed with initials lower left; signed, titled, dated and with Taylor Galleries label on reverse
11.50 by 8.50in. (29.2 by 21.6cm)
Frame:
20.5 by 17in. (52 by 43cm.)
Condition:
This work appears to be in very good condition. There is some rippling apparent and the work would
benefit from being re-laid to the backing board. No rips, tears or creases apparent. Colours remain strong.
Provenance:
Taylor Galleries, Dublin;
Private collection
Exhibited:
Taylor Galleries, November 2002, catalogue no. 71
€1,000-€1,500 (£900-£1,350 approx.)

57
Sir Terry Frost RA (English, 1915-2003)
UNTITLED ABSTRACT
acrylic and collage on card
signed lower left
25 by 12.50in. (63.5 by 31.8cm)
Frame:
32 by 17in. (81 by 43cm.)
Condition:
Painting is in overall good stable condition. Slight creases visible at lower right corners of the red painted
canvas section.
Provenance:
Christie’s, 15 July 2010, lot 178;
Private collection
Sir Terry Frost RA was an English abstract artist, who worked in Newlyn, Cornwall. Frost was renowned
for his use of the Cornish light, colour and shape. He became a leading exponent of abstract art and a
primary figure of the British art world of the latter half of the twentieth century.
€4,000-€6,000 (£3,600-£5,410 approx.)

66
58
Patrick Jones (b.1948)
YELLOW MAN, 1976
acrylic on canvas
signed, titled, dated and with Hillsboro Fine Art label on reverse
30.50 by 23.50in. (77.5 by 59.7cm)
Frame:
31 by 24in. (79 by 61cm.)
Condition:
Provenance:
Hillsboro Gallery, Dublin;
Private collection
Exhibited:
‘Jones Survey’, Hillsboro Gallery, Dublin, 6 June to 6 July 2013
€500-€700 (£450-£630 approx.)

59
Gerald Davis (1938-2005)
ANCIENT PLACE
oil on card
signed lower right
8.50 by 8.50in. (21.6 by 21.6cm)
Frame:
17 by 17in. (43 by 43cm.)
Condition:
This work appears to be in very good condition. The card is clean and stable. No cracking or flaking of the
paint.
€250-€350 (£230-£320 approx.)

68
60
John Behan RHA (b.1938)
BIRD, 1970
watercolour
signed and dated [3rd Feb] lower left
20 by 14in. (50.8 by 35.6cm)
Frame:
27 by 21in. (69 by 53cm.)
Condition:
€300-€500 (£270-£450 approx.)

61
After Andy Warhol (American, 1928-1987)
MARILYN MONROE
Rosenthal porcelain plaque; (no. 43 from an edition of 49)
numbered on label verso and on accompanying certificate
19.50 by 19.50in. (49.5 by 49.5cm)
Frame:
20.25 by 20.25in. (51 by 51cm.)
Condition:
With original presentation box.
€500-€700 (£450-£630 approx.)

70
62
Louis le Brocquy HRHA (1916-2012)
THE TÁIN. ULSTER RISES FROM ITS PANGS, 1969
lithographic brush drawing; (no. 20 from an edition of 70)
signed, numbered and dated lower right
14.75 by 21in. (37.5 by 53.3cm)
Frame:
20.5 by 26in. (52 by 66cm.)
Condition:
Some slight areas of foxing visible in the lower right corner and left centre edge. The work has been
glued to the backing board. No rips, tears or creases evident.
Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example
is no. 5 in the series.
€500-€700 (£450-£630 approx.)

63
THE TÁIN. THE BEGETTING OF CONCHOBOR, 1969
15 by 21in. (38.1 by 53.3cm)
Frame:
20.5 by 26in. (52 by 66cm.)
Condition:
€1,500-€2,000 (£1,350-£1,800 approx.)

72
64
THE TÁIN. WARRIOR KILLED, 1969
15 by 21.25in. (38.1 by 54cm)
Frame:
21.5 by 27in. (55 by 69cm.)
Condition:
€1,500-€2,000 (£1,350-£1,800 approx.)

65
THE TÁIN. MEDB, 1969
21 by 15in. (53.3 by 38.1cm)
Frame:
27 by 21.5in. (69 by 55cm.)
Condition:
Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof.
€1,500-€2,000 (£1,350-£1,800 approx.)

74
66
CASHEL, 1987
watercolour
signed and dated lower left; with Taylor Galleries label on reverse
6.75 by 9.75in. (17.1 by 24.8cm)
Frame:
17.5 by 19.5in. (44 by 50cm.)
Condition:
Provenance:
Private collection
€4,000-€6,000 (£3,600-£5,410 approx.)

67
SELF PORTRAIT, 1947
aquatint; (no. 23 from an edition of 75)
signed with initials and numbered lower right
7.25 by 6.50in. (18.4 by 16.5cm)
Frame:
13 by 12in. (33 by 30cm.)
Condition:
€800-€1,200 (£720-£1,080 approx.)

76
68
TWO STUDIES TOWARDS AN IMAGE OF JAMES JOYCE, 1982 (DIPTYCH)
watercolour and crayon; (2); (framed together)
signed, inscribed with title, medium, dimensions, date and location [New York] on reverse; also with
artist’s archival number [W. 653] on reverse
17.25 by 14.25in. (43.8 by 36.2cm)
Frame:
23 by 35.5in. (58 by 90cm.)
Condition:
Painting is in overall very good stable condition. Mount board appears to be original and is unlikely to be
acid-free. Backing board to frame includes the artist’s description and shows some staining. It would be
prudent for the future owner to replace the framing materials with conservation grade mount board etc
to preserve the condition going forward.
Provenance:
Private Irish collection;
Thence by descent to the present owner
Louis le Brocquy’s critically acclaimed‘Head’series began in 1964, following a visit to the Musée de l’Homme, the
anthropological museum, in Paris, marking a significant turning point for the artist. Le Brocquy was compelled by the idea of
the head which he described as:‘The mysterious box which contains the spirit: the outer reality of the invisible interior world
of consciousness.’(1)
Initially, he created a series of anonymous ancestral heads - generalised images suggesting unnamed predecessors. Arising
from that phase, the theme evolved into his series of portraits of well-known creative individuals, mainly writers and artists
that he had met - like Samuel Beckett, James Joyce, John Montague, and (when le Brocquy was a child) WB Yeats but also
some that he revered and knew from their work, such as James Joyce, with whom he identified as a fellow Dubliner.
Le Brocquy’s portrait subjects involved several versions. The multiple representations of a single subject reflected his desire
to capture something of their complexity and range. While clearly individualised portraits, this body of work demonstrates
significant features in common. Each head emerges, disembodied, usually against a plain background. While the portrait
subject is recognisable and readily identified, the heads have an intangible quality to suggest the character and creativity
behind the surface reality of the face.
The present work is remarkable in comprising of two studies of James Joyce, reflecting the concept of multiplicity and, as one
appears more complete in terms of surface and tangibility than the other, suggesting the imaginative processes. Similarly,
the different treatment of the eyes indicates both inward and outward vision. As the artist himself explained of his multiple
images of Joyce:‘It remains an unending task. For to attempt today a portrait, a single static image of a great artist like Joyce
seems to me futile as well as impertinent.’(2)
Louis le Brocquy interpreted the writer’s creative output as a kind of quest or
odyssey, noting how images of James Joyce induced:‘those larger feelings of reverence, compassion and wonder which we all
share in face of that unique boat-shaped head - the raised poop of the forehead, the jutting bow of the jaw - within which he
made his heroic voyage, his navigatio.’(3)
Dr Yvonne Scott,
June 2020
Louis le Brocquy,‘Notes on painting and awareness’, in 1
Dorothy Walker (ed.), Louis le Brocquy, Dublin, 1981, p. 139.
2
Le Brocquy, op. cit., p. 151.
3
Le Brocquy, op. cit., p. 152.
€30,000-€40,000 (£27,030-£36,040 approx.)

78
69
IMAGE OF W. B. YEATS, 1975
poster
signed with initials and dated in the plate upper right; signed again in the plate lower left
28 by 20in. (71.1 by 50.8cm)
Frame:
36 by 28in. (91 by 71cm.)
Condition:
This work appears to be in good condition. There are no rips, tears or creases to the paper. Colours
remain strong. There is some staining visible in the upper and lower margins.
Original poster advertising an exhibition of works by Louis le Brocquy‘À la recherche de W. B. Yeats: Cent
Portraits Imaginaire’, October-November 1976, Musée d’Art Moderne de la Ville, Paris.
€600-€800 (£540-£720 approx.)

70
CÚCHULAINN, 1974
aquatint on Arches paper; (no. 56 from edition of 75)
signed and numbered lower left
15.50 by 15.50in. (39.4 by 39.4cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
Sheet size, 26 by 19.5in.
Seven Aquatints, published by Maeght Editeur, Paris, including Head and Handprint, Mycenean Gold
Mask, Image in Darkness, Head on a Red Ground, Lemon, No Lemon and Cúchulainn all on Arches paper
printed in an edition of 75 by Atelier Maeght, St. Paul, France.
€1,000-€1,500 (£900-£1,350 approx.)

80
71
IMAGE IN DARKNESS, 1974
aquatint on Arches paper; (no. 57 from edition of 75)
15.50 by 15.50in. (39.4 by 39.4cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

72
RECONSTRUCTED HEAD, 1974
aquatint on Arches paper; (no. 58 from an edition of 75)
16 by 16in. (40.6 by 40.6cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

82
73
MYCENEAN GOLD MASK, 1974
Intaglio print on paper; (no. 57 from an edition of 75)
15.50 by 15.50in. (39.4 by 39.4cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

74
HEAD AND HANDPRINT,1974
15.50 by 15.50in. (39.4 by 39.4cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

84
75
HAND, 1971
lithograph on handmade rag paper; (no. 11 from an edition of 70)
signed, dated and numbered lower right
15.75 by 13.25in. (40 by 33.7cm)
Frame:
17.5 by 15in. (44 by 38cm.)
Condition:
Exhibited:
‘Louis le Brocquy’, Gimpel and Weitzenhoffer, New York, 27 April to 15 May 1971, catalogue no. 25
(illustrated on front cover of catalogue)
€1,000-€1,500 (£900-£1,350 approx.)

76
LEMON, 1974
aquatint; (no. 60 from an edition of 75)
16 by 16in. (40.6 by 40.6cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

86
77
NO LEMON, 1974
6 by 6.75in. (15.2 by 17.1cm)
Frame:
28 by 22in. (71 by 56cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

78
After Francis Bacon (1909-1992)
POSTER FOR EXHIBITION AT THE MARLBOROUGH- GERSON EXHIBITION
lithograph; (unframed)
29.50 by 20in. (74.9 by 50.8cm)
Frame:
Condition:
Depicts Bacon’s portrait of Isabel Rawsthorne Standing in the Street in Soho, 1967, printed in Switzerland.
€300-€500 (£270-£450 approx.)

88
79
After David Hockney RA (b.1937)
ILLUSTRATIONS TO GRIMM’S FAIRY TALES, 1971
offset lithograph poster
13.50 by 10in. (34.3 by 25.4cm)
Frame:
21.25 by 18in. (54 by 46cm.)
Condition:
Poster advertising a travelling exhibition organised by the Circulation Department of the Victoria and
Albert Museum, 1971. An example of this poster can be found in the collection of the V&A, London (ref
no.
E.1295-1974).
€100-€150 (£90-£140 approx.)

80
John Behan RHA (b.1938)
BOTTLES
etching; (no 12 from an edition of 12)
signed lower right; numbered lower left
11.75 by 17.50in. (29.8 by 44.5cm)
Frame:
19 by 24in. (48 by 61cm.)
Condition:
Painting is in overall good stable condition. Slight crease in lower right corner.
€150-€250 (£140-£230 approx.)

90
81
Basil Blackshaw HRHA RUA (1932-2016)
PORTRAIT OF A YOUNG MAN
oil on board
signed lower left
17.50 by 14in. (44.5 by 35.6cm)
Frame:
20.75 by 17.5in. (53 by 44cm.)
Condition:
Minor loses losses throughout most notably extreme upper right and to left of subject’s forehead.
€800-€1,200 (£720-£1,080 approx.)

82
Basil Blackshaw HRHA RUA (1932-2016)
FIGURE WITH SHEEP
ink; (unframed)
signed on reverse
7.75 by 9.75in. (19.7 by 24.8cm)
Frame:
Condition:
Stain visible to the right of figure.
Provenance:
Collection of George and Maura McClelland
€300-€400 (£270-£360 approx.)

92
83
Patrick Swift (1927-1983)
TREE
watercolour
signed lower left
17 by 24in. (43.2 by 61cm)
Frame:
24.25 by 31in. (62 by 79cm.)
Condition:
Rubbing in the extreme right upper corner. Otherwise very good condition.
€1,000-€1,500 (£900-£1,350 approx.)

84
Terence P. Flanagan RHA PPRUA (1929-2011)
A LITTLE LAKE, 1985
oil on canvas
signed and dated lower right; with Hendriks Gallery label on reverse
20 by 40in. (50.8 by 101.6cm)
Frame:
25 by 45in. (64 by 114cm.)
Condition:
Painting is in good stable condition.
Provenance:
Hendriks Gallery, Dublin;
Private collection
Exhibited:
‘T.P. Flanagan RHA’, Hendriks Gallery, Dublin, 25 October to 17 November 1985, exhibition no. 8
€3,000-€5,000 (£2,700-£4,500 approx.)

94
85
SUMMER, LAGAN, 1985
watercolour
signed and dated centre right; signed, titled and with Tom Caldwell Galleries label on reverse
21 by 29.25in. (53.3 by 74.3cm)
Frame:
30 by 37in. (76 by 94cm.)
Condition:
Provenance:
Tom Caldwell Galleries, Belfast;
Where purchased by the father of the present owner
€1,500-€2,000 (£1,350-£1,800 approx.)

86
A LARGE DEMESNE, 1980
watercolour
21.50 by 29.50in. (54.6 by 74.9cm)
Frame:
26.5 by 34in. (67 by 86cm.)
Provenance:
Whyte’s Important Irish Art auction, 30 November 2011, lot 55;
Possibly a view of Lissadell House, Co. Sligo.
€2,000-€3,000 (£1,800-£2,700 approx.)

96
87
DRUMBO SPRING, 1984
watercolour
signed and dated centre right; with Tom Caldwell Galleries label on reverse
15 by 18.50in. (38.1 by 47cm)
Frame:
24 by 27in. (61 by 69cm.)
Condition:
Provenance:
Tom Caldwell Galleries, Belfast;
Where puchased by the father of the present owner
€1,000-€1,500 (£900-£1,350 approx.)

88
Seán McSweeney HRHA (1935-2018)
BOGLAND, 2000
oil on canvas
signed and dated lower left; signed again on reverse
18 by 24in. (45.7 by 61cm)
Frame:
27 by 33in. (69 by 84cm.)
Condition:
This work appears to be in very good condition. The canvas is clean and stable. No cracking or flaking of
the paint.
€3,000-€5,000 (£2,700-£4,500 approx.)

98
89
Seán McSweeney HRHA (1935-2018)
TREES IN THE WIND, 1999
oil on board
signed and dated lower left
9 by 11.75in. (22.9 by 29.8cm)
Frame:
17 by 20in. (43 by 51cm.)
Condition:
Provenance:
Acquired from the artist;
Private collection
€2,000-€3,000 (£1,800-£2,700 approx.)

90
Nick Miller (b.1962)
CLEARED MOUNTAIN, 2006
Chinese ink and watercolour on paper
signed and dated lower right; with partial Rubicon Gallery label on reverse
60.50 by 48.50in. (153.7 by 123.2cm)
Frame:
60.5 by 48.5in. (154 by 123cm.)
Provenance:
Rubicon Gallery, Dublin;
Private collection;
Exhibited:
Centre Culturel Irlandais, Paris, 2007;
Limerick City Gallery, 2008;
Rubicon Gallery, Dublin, 2008
Literature:
TRUCKSCAPES : Drawings from a mobile studio, Rubicon Gallery, Dublin, 2007, p.46
€3,000-€4,000 (£2,700-£3,600 approx.)

100
91
Anita Shelbourne RHA (b.1938)
THE TREE OF LIFE
acrylic on canvas
signed lower right; signed and with artist’s label on reverse
20 by 24in. (50.8 by 61cm)
Frame:
21 by 25in. (53 by 64cm.)
Condition:
€800-€1,200 (£720-£1,080 approx.)

92
Noel Sheridan (1936–2006)
WHITE FIGURE IN A LANDSCAPE
oil and crayon on board
16.50 by 23.50in. (41.9 by 59.7cm)
Frame:
19 by 26in. (48 by 66cm.)
Condition:
Provenance:
Whyte’s, 19 February 2007, lot 195;
Private collection
€500-€700 (£450-£630 approx.)

102
93
Colin Davidson RUA (b.1968)
STORMONT GATE LODGE, 2002
oil on canvas
signed lower left
24 by 30in. (61 by 76.2cm)
Frame:
31.5 by 37.5in. (80 by 95cm.)
Condition:
Excellent condition. Very heavily impastoed.
€2,500-€3,500 (£2,250-£3,150 approx.)

94
Colin Davidson RUA (b.1968)
STANDING NUDE 4, 2003
oil on canvas
signed and dated lower right; signed, titled and dated on reverse; with Solomon Gallery label also on
reverse
30 by 14in. (76.2 by 35.6cm)
Frame:
37 by 21in. (94 by 53cm.)
Condition:
Excellent condition. Very heavily impastoed.
Provenance:
Solomon Gallery, Dublin;
Where purchased by the previous owner;
Whyte’s, 4 March 2013, lot 232
Exhibited:
‘New Works 2002-2003’, Solomon Gallery, Dublin, 15 April to 7 May 2003, catalogue no. 2
€1,200-€1,500 (£1,080-£1,350 approx.)

104
95
John Noel Smith (b.1952)
UNTITLED FIELD PAINTING (DIPTYCH) 2004
oil on canvas; (unframed)
signed and titled with archive number [0410] on reverse
12 by 20in. (30.5 by 50.8cm)
Frame:
Condition:
Unframed, on two stretchers, good, no apparent faults.
€1,000-€1,500 (£900-£1,350 approx.)

96
Gretta O’Brien (b.1933)
MORNING LIGHT, 2003
oil on canvas
signed lower right; signed, titled and dated on reverse
16 by 24in. (40.6 by 61cm)
Frame:
25 by 33in. (64 by 84cm.)
Condition:
€600-€800 (£540-£720 approx.)

106
97
Noel Murphy (b.1970)
UNTITLED, 1991
pastel
15 by 11in. (38.1 by 27.9cm)
Frame:
24 by 20in. (61 by 51cm.)
Condition:
€500-€700 (£450-£630 approx.)

98
Aidan Bradley (b.1961)
TRINITY COLLEGE, DUBLIN, 2014
oil on board
19.25 by 19.25in. (48.9 by 48.9cm)
Frame:
28 by 28in. (71 by 71cm.)
Condition:
€800-€1,200 (£720-£1,080 approx.)

108
98A
George Potter RHA (1941-2017)
WOMAN NO. 2, 2011
charcoal on Fabriano paper
signed upper left; titled on Taylor Galleries label on reverse; also with RHA exhibition labels on reverse
29.50 by 21.25in. (74.9 by 54cm)
Frame:
41 by 31in. (104 by 79cm.)
Condition:
Provenance:
RHA, Dublin;
Private collection
Exhibited:
RHA Annual Exhibition, Dublin, 2011;
’George Potter - Selected Works’, Taylor Galleries, Dublin, 6-28 July 2018, catalogue no. 20
€1,000-€2,000 (£900-£1,800 approx.)

99
Martin Gale RHA (b.1949)
LANDSCAPE, CORK, 1995
watercolour
signed and dated lower right; with Taylor Galleries label on reverse
5.25 by 9.50in. (13.3 by 24.1cm)
Frame:
14.5 by 19in. (37 by 48cm.)
Condition:
Overall good stable condition. Minor rippling to paper. Raw edges showing. Staining visible to mount
board but artwork appears to be free from staining.
Provenance:
Morgan O’Driscoll, 10 February 2014, lot 73;
Private collection
€600-€800 (£540-£720 approx.)

110
100
Hector McDonnell RUA (b.1947)
SEWING BOX SHOP, 2003
oil on board
signed with initials and dated lower right
14 by 11in. (35.6 by 27.9cm)
Frame:
23 by 21in. (58 by 53cm.)
Condition:
€1,000-€1,500 (£900-£1,350 approx.)

101
Liam Belton RHA (b.1947)
STILL LIFE WITH THREE EGGS
oil on canvas
signed lower right
20 by 30in. (50.8 by 76.2cm)
Frame:
28 by 38in. (71 by 97cm.)
Condition:
This work appears to be in very good condition. The canvas is clean and stable. No cracking or flaking of
the paint. Some surface dirt visible along the upper centre edge.
€4,000-€6,000 (£3,600-£5,410 approx.)

112
102
Cian McLoughlin (b.1977)
CAFE SCENE
oil on board
signed lower right
19.75 by 29.75in. (50.2 by 75.6cm)
Frame:
28 by 38in. (71 by 97cm.)
Condition:
€2,000-€3,000 (£1,800-£2,700 approx.)

103
James Hanley RHA (b.1965)
CAPTAIN SENSIBLE, 1992
oil on canvas
signed, titled and dated on reverse
40 by 21in. (101.6 by 53.3cm)
Frame:
42.5 by 23.5in. (108 by 60cm.)
Condition:
Provenance:
deVere’s, 27 November 2013, lot 82;
Private collection
€2,000-€3,000 (£1,800-£2,700 approx.)

114
104
John Kelly RHA (1932-2006)
HEAD [2]
oil on canvas board
signed lower right; with RHA exhibition label on reverse
11 by 9in. (27.9 by 22.9cm)
Frame:
20.5 by 20in. (52 by 51cm.)
Condition:
Provenance:
RHA, Dublin;
Private collection
Exhibited:
RHA Annual Exhibition, 2001
€400-€500 (£360-£450 approx.)

105
Charles Harper RHA (b.1943)
LIFE’S TURMOILS
gouache on paper laid on card
signed lower right
18.50 by 23.75in. (47 by 60.3cm)
Frame:
25.5 by 30in. (65 by 76cm.)
Condition:
Slight tear visible to centre left at edge. Crease visible to upper centre at edge.
€800-€1,200 (£720-£1,080 approx.)

116
106
John Kingerlee (b.1936)
UNTITLED
mixed media with collage element
signed with monogram lower left
11.50 by 15.50in. (29.2 by 39.4cm)
Frame:
21 by 26in. (53 by 66cm.)
Condition:
€500-€700 (£450-£630 approx.)

107
WOMAN, 1985
mixed media on board
signed and dated lower left; signed and inscribed with title, date and artist’s address and with inscribed
[27] on gallery label on reverse
23 by 11in. (58.4 by 27.9cm)
Frame:
36 by 23.25in. (91 by 59cm.)
Condition:
€600-€800 (£540-£720 approx.)

118
108
HUMAN STUDY, 1993
pencil and ink
signed with monogram and dated lower left
6.75 by 4in. (17.1 by 10.2cm)
Frame:
16 by 12.25in. (41 by 31cm.)
Condition:
€100-€150 (£90-£140 approx.)

109
Bob Dylan (b.1941)
VISTA FROM BALCONY [DRAWN BLANK SERIES]
giclée print on Hahnemüle Museum Etching Paper; (no. 140 from an edition of 295); (unframed)
signed lower right; numbered lower left
21.50 by 15.50in. (54.6 by 39.4cm)
Frame:
0 by 0in. (0 by 0cm.)
Condition:
Accompanied by a certificate of authenticity from Washington Green Fine Art.
While legendary singer-songwriter Bob Dylan needs no introduction, his drawings, paintings, and
silkscreen-on-canvas compositions are not as well-known as his music. Dylan has been making art since
the 1960s, when he came on the scene as a young folk singer in Greenwich Village. Much of his work is
generated out of his tours and reflects the impressions made upon him by the people and places he has
encountered. Dylan’s“Drawn Blank”series, produced between 1989 and 1992 while touring America,
Europe, and Asia, forms a large part of his output. These expressionistic drawings, and the paintings born
out of them, include street and interior scenes, landscapes, portraits, nudes, and still lifes—images as
poetic and personal as his music.
€800-€1,000 (£720-£900 approx.)

120
110
Tracey Emin CBE, RA (b.1963)
KISSING YOU, 2014
Polymer gravure; (no. 47 from an edition of 100)
signed, dated and numbered lower right; titled lower left
8 by 11.50in. (20.3 by 29.2cm)
Frame:
18.5 by 21in. (47 by 53cm.)
Condition:
Tracey Emin evidences what she calls“the magic and alchemy”of printmaking in this metaphysically-
charged work. It’s one of three special prints the artist created for Royal Academy Editions.
€800-€1,000 (£720-£900 approx.)

111
Tracey Emin CBE, RA (b.1963)
MY HEART IS WITH YOU ALWAYS, 2015
offset lithograph in colours on silk finish paper; (from an unnumbered edition of 500)
27.50 by 19.75in. (69.9 by 50.2cm)
Frame:
28 by 20in. (71 by 51cm.)
Condition:
€800-€1,200 (£720-£1,080 approx.)

122
112A
Larry Rivers (American, 1923-2002)
THE LITTLE RED SCHOOLHOUSE RAFFLE TICKET BOOK, 1978
lithograph; (no. 5 from an edition of 30)
signed and numbered lower right
7 by 12in. (17.8 by 30.5cm)
Frame:
13 by 18in. (33 by 46cm.)
Condition:
Work is in good stable condition.
Produced as a fund raiser in 1978
€200-€300 (£180-£270 approx.)

124
113
Salvador Dali (Spanish, 1904-1989)
GALA, 1977
silver relief plaque; (numbered 1089)
8.50 by 6.50in. (21.6 by 16.5cm)
Frame:
15 by 13in. (38 by 33cm.)
Condition:
€500-€700 (£450-£630 approx.)

114
EVA ESPACIAL, 1977
8.50 by 6.50in. (21.6 by 16.5cm)
Frame:
15 by 13in. (38 by 33cm.)
Condition:
€500-€700 (£450-£630 approx.)

126
115
LE FECUNDIDAD, 1977
8.50 by 6.50in. (21.6 by 16.5cm)
Frame:
15 by 13in. (38 by 33cm.)
Condition:
€500-€700 (£450-£630 approx.)

116
AUTOGRAPH
red ink on card; (unframed)
1968 (15 April) Invitation from the French Consul, New York to Dali and his wife to a reception, signed by
Dali on reverse in red ink.
4 by 3in. (10.2 by 7.6cm)
Frame:
Condition:
Good condition.
€250-€300 (£230-£270 approx.)

128
117
Orla de Brí (b.1965)
ALTERNATE VIEW, 2008
bronze; (no. 1 from an edition of 5)
signed, dated and numbered lower right
24 by 4.75 by 3.75in. (61 by 12.1 by 9.5cm)
Frame:
24 by 4.75in. (61 by 12cm.)
Condition:
Excellent condition. Some minor dirt to crevasses.
Provenance:
Acquired directly from the artist by the present owner
This work can be wall mounted.
The artist says this piece is about perspective, how we view ourselves and our surroundings.
We are grateful to the artist for her kind assistance in cataloguing this lot.
€3,000-€5,000 (£2,700-£4,500 approx.)

118
Orla de Brí (b.1965)
EXPLORE, 2007
bronze on honed slate; (no. 2 from an edition of 3)
signed with initials on reverse; signed, dated and numbered at base
18.25 by 14.25 by 6in. (46.4 by 36.2 by 15.2cm)
Frame:
18.25 by 14.25in. (46 by 36cm.)
Condition:
Provenance:
Solomon Gallery, Dublin;
Where purchased by the present owner
Exhibited:
‘Secret Garden’, Solomon Gallery at the Iveagh Gardens (off Harcourt Street), Dublin, 15-27 May 2008
We are grateful to the Solomon Gallery for their kind assistance in cataloguing this lot.
€3,000-€5,000 (£2,700-£4,500 approx.)

WHYTE'S ONLINE SUMMER ART SALE Monday 6 July 2020

WHYTE'S ONLINE SUMMER ART SALE Monday 6 July 2020

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WHYTE'S ONLINE SUMMER ART SALE Monday 6 July 2020