WHYTE'S_IRISH_INTERNATIONAL_ART_26_SEPTEMBER_2022.pdf

WHYTES
S I N C E 1 7 8 3
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IRISH & INTERNATIONAL ART
MONDAY 26 SEPTEMBER 2022 AT 6PM

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IRISH & INTERNATIONAL ART - 26 SEPTEMBER 2022 AT 6PM
MONDAY 26 SEPTEMBER 2022 AT 6PM
Cover: Lot 23, Jack Butler Yeats, The Changing Dawn, 1946
Opposite: Lot 74, Donald Teskey, Composition with Steps, Dún Laoghaire and Monkstown, County Dublin, 2003
Page 2: Lot 59, Pauline Bewick. Their Cat, 1978
Page 4: Lot 76, John Shinnors, Black and White She Scarecrow
Page 6: Lot 19, Roderic O’Conor, Seated Breton Girl with Long Hair, 1900
Page 8, 9: Lot 31, Harry Kernoff, Liberty Hall, Dublin (Night), 1934
Page 138: Lot 70, Hector McDonnell, Irish Bar at Garrison, New York
Back cover: Lot 55, William Scott, Chinese Orange III, 1969
Whyte’s Auction App
available for free download
VIEWING
At our galleries
Wednesday to Friday 21-23 September, 10am to 5pm
Saturday & Sunday 24 & 25 September, 1pm to 5pm
Monday 26 September, 10am to 4pm
AUCTION
Monday 26 September at 6pm, The Freemasons Hall
Molesworth Street, Dublin 2
Online at bid.whytes.ie
Telephone and absentee bidding available, details below
ENQUIRIES
Whyte's 38 Molesworth Street Dublin D02 KF80
Tel: +353(0)1 676 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: +353(0)1 676 2888 E-mail: bids@whytes.ie
Live bidding and on-line bids: bid.whytes.ie
WEBSITE
Visit www.whytes.ie for extra images, including works in
domestic settings, app to show pictures on your walls,
condition reports and extra notes including artist biographies.

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CONTENTS
Whyte's Terms & Conditions 5
Important Notes 7
Topographical and General Index 140
Index of Artists inside back
This catalogue was compiled by Peter Whyte, Matthew Slack, and edited by
Ian Whyte with contributions from Dickon Hall, Adelle Hughes, Dr Ray Johnston,
Prof Liam Kelly, Dr Róisín Kennedy, Prof Kenneth McConkey, Dr Kathryn Milligan,
Dr Éimear O’Connor and Dr Yvonne Scott.
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 2022 Whyte & Sons Auctioneers Limited. All rights reserved.
ENQUIRIES
This catalogue:
Peter Whyte
Ian Whyte
Accounts:
Sabina van Heerden
Bids & General
Enquiries:
Michelle Bourke
CONTACTS
E-mail
info@whytes.ie bids@whytes.ie
Telephone
01 676 2888 (+3531 676 2888 from UK and elsewhere)
Postal address
38 Molesworth Street, Dublin D02 KF80, Ireland
Websites
whytes.ie whytes.com bid.whytes.ie
All Whyte’s catalogues are checked against The Art Loss Register of stolen or
missing works of art and antiques.
Michelle Bourke BA
Associate Director,
Admin & Compliance
Matthew Slack BA MA
Associate Director, Curator
Sabina van Heerden
Head of Accounts
Ian Whyte
Chairman Emeritus
Licensed Auctioneer 001759-002045
Marianne Whyte
Managing Director
Peter Whyte BA
Director, Head of Art
Sarah Gates BA
Consultant
Adelle Hughes BA MA
Consultant

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WHYTES
S I N C E 1 7 8 3
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IRISH & INTERNATIONAL ART · 26 SEPTEMBER 2022 AT 6PM
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

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IRISH & INTERNATIONAL ART · 26 SEPTEMBER 2022 AT 6PM
IMPORTANT NOTES
ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 5
BUYERS’PREMIUM
20% (excluding VAT) is added to the hammer price of all lots. VAT at 23% is
charged on the Buyers’Premium only.
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 Freemasons Hall, Molesworth Street, Dublin 2
and the sale starts at 6pm.
Bidder registration will take place at The Freemasons Hall from 5pm on
Monday 26 September and the sale starts at 6pm.
COLLECTION OF LOTS
Collection of purchases may be effected from our galleries, 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.

Monday 26 September 2022 at 6pm, Lots 1-150

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1
Ciaran Clear (1920-2000)
MOONLIGHT, ATLANTIC COAST
oil on board
signed and titled on reverse
8 by 12in. (20.3 by 30.5cm)
Frame Dimensions: 12 by 16in. (30.5 by 40.6cm)
€2,000-€3,000 (£1,720-£2,590 approx.)
Click here for more images and to bid on this lot1

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2
MOONRISE, ATLANTIC COAST
oil on board
signed lower right; signed and titled on reverse
8 by 12in. (20.3 by 30.5cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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3
NIGHT - CONNEMARA COAST
oil on board
14.50 by 20in. (36.8 by 50.8cm)
Frame Dimensions: 18.5 by 24.5in. (47 by 62.2cm)
€3,000-€5,000 (£2,590-£4,310 approx.)

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4
RETURNING FROM EVENING DEVOTIONS
oil on board
10.25 by 14in. (26 by 35.6cm)
Frame Dimensions: 13.25 by 17in. (33.7 by 43.2cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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5
James S. Brohan (b.1952)
A DAY IN THE BOG
oil on canvas
signed lower left; titled on reverse
24 by 30in. (61 by 76.2cm)
€4,000-€6,000 (£3,450-£5,170 approx.)

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6
Liam O’Neill (b.1954)
LAUNCHING THE BOAT
oil on canvas
signed lower right
30 by 40in. (76.2 by 101.6cm)
€10,000-€15,000 (£8,620-£12,930 approx.)

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7
Arthur K. Maderson (b.1942)
THE WEIR, NEAR LISMORE, COUNTY WATERFORD
oil on board
signed lower left; signed and titled on reverse
47 by 47in. (119.4 by 119.4cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

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8
Arthur K. Maderson (b.1942)
AUTUMNAL EVENING
oil on board
signed lower left; signed and titled on reverse
32 by 44in. (81.3 by 111.8cm)
Provenance:
Whyte’s, 27 November 2017, lot 170;
Private collection
€4,000-€6,000 (£3,450-£5,170 approx.)

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9
George K. Gillespie RUA (1924-1995)
TROUT STREAM, NEAR CLIFDEN, CONNEMARA, COUNTY GALWAY
oil on canvas
signed lower left; titled on artist’s label on reverse
24 by 36in. (61 by 91.4cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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10
George K. Gillespie RUA (1924-1995)
FIGURES IN A COASTAL LANDSCAPE
oil on canvas
signed lower left
24 by 36in. (61 by 91.4cm)
Frame Dimensions: 30.75 by 42.75in. (78.1 by 108.6cm)
€2,500-€3,500 (£2,160-£3,020 approx.)

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11
Paul Nietsche (1885-1950)
FARM IN THE MOURNES, 1939
oil on canvas
signed and dated lower right
36 by 28in. (91.4 by 71.1cm)
Frame Dimensions: 42 by 34.5in. (106.7 by 87.6cm)
Provenance:
Adam’s, 28 March 2007, lot 133;
Private collection
€2,500-€3,500 (£2,160-£3,020 approx.)

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12
James Humbert Craig RHA RUA (1877-1944)
GHOLLA BRISTHA IN THE ROSSES, COUNTY DONEGAL
oil on canvas
signed lower left; titled on Combridge’s Fine Art label on reverse
18 by 24in. (45.7 by 61cm)
Provenance:
Skinner, USA, 20 September 2013, lot 686;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

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13
William Percy French (1854-1920)
WHERE THE MOUNTAINS OF MOURNE SWEEP DOWN TO THE SEA
watercolour
signed lower right
7.50 by 13.50in. (19.1 by 34.3cm)
€3,000-€5,000 (£2,590-£4,310 approx.)

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14
COLLECTING TURF, WEST OF IRELAND
watercolour
signed lower left
6.75 by 9.75in. (17.1 by 24.8cm)
€4,000-€6,000 (£3,450-£5,170 approx.)

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15
GLENVEAGH CASTLE, COUNTY DONEGAL
watercolour
signed with initials lower right
9.25 by 13.50in. (23.5 by 34.3cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

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16
BOG LAKE
watercolour
signed lower left
6.75 by 9.75in. (17.1 by 24.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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17
Sir John Lavery RA RSA RHA (1856-1941)
MOONLIGHT - THE BRIDGE, 1912
oil on canvas
signed lower right
25 by 30in. (63.5 by 76.2cm)
Frame Dimensions: 32 by 37in. (81.3 by 94cm)
Provenance:
Collection of Lord Lucas;
Thence by descent to his sister, Lady Lucas;
Phillip’s, London, 7 June 1994, lot 36;
Whence purchased by the Jefferson Smurfit Group;
Private collection, Dublin;
Whyte’s, 26 April 2005, lot 110;
Private collection;
Whyte’s, 1 October 2018, lot 23;
Private collection
Exhibited:
‘A Retrospective Exhibition of the works of John Lavery, 1880-1914’, Grosvenor Gallery, London, 1914,
catalogue no. 146
During his sojourns in Tangier Lavery painted many‘nocturnes’which, for the most part, depict the bay and the flat slab-like
architecture of the old walled city. Overlooking the sea at night, noting subtle transitions of grey and blue, he adopted the
vocabulary of Whistler, an artist he greatly respected.
As a landscape nocturne, the present canvas is however, unusual. Although Lavery frequently painted in the hills around the
city from the flat rooftop of his villa, he seldom ventured forth into these areas at night.‘Protected’by the Great Powers, on
account of its strategic importance, the city was surrounded by brigands and rebel groups who reaped rich rewards from
kidnapping prominent western visitors. In March 1912 with the French invasion of Morocco, conditions improved and order
was restored. It may have been at this point not long before his return to London that the present canvas was executed. The
scene depicted is likely to be in close proximity to Lavery’s villa and studio on what was then known as Mount Washington,
a secluded area now completely transformed by modern houses. Lavery’s house, studio and extensive hillside garden, later
owned by the de Laurier family, has now passed to S.A.R. Mohammed VI, King of Morocco, as a private residence, and access is
no longer possible.
The present picture’s companion, a late afternoon landscape from the same vantage point, titled My House in Morocco
(Kirkcaldy Galleries) also dates from 1912. Smaller in size to the present work, it too was painted from the bridge over Oued-el-
Youd, then known as the Jews’River.
Here the river, little more than a stream, snakes across the picture, forming an indigo pool to the side of the bridge, and
balancing the dark shapes of the trees on the right. The inky hillsides and warm grey of the sky are combined to create the
eerie sense of moonlight, picking out the tiny figures on the bridge and the houses in the distance. A single star twinkles in
the sky and all is still. The impression was sufficiently haunting for Lavery to wish to recall the painting from its then owner,
Lord Lucas, for his major retrospective exhibition at the Grosvenor Gallery in 1914. Liberal politician, and keen flyer, Lucas was
killed in a dogfight with enemy aircraft over the German lines in 1916. Unmarried, his titles and estate passed to his sister.
Professor Kenneth McConkey
€30,000-€40,000 (£25,860-£34,480 approx.)

27

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18
Sir John Lavery RA RSA RHA (1856-1941)
THE LADY PARMOOR, 1919
oil on canvas
signed lower right; signed, titled and dated on
reverse
30 by 25in. (76.2 by 63.5cm)
Frame Dimensions: 36.5 by 31.5in. (92.7 by 80cm)
Provenance:
Lord and Lady Parmoor by descent;1
Adam’s, 11 December 1990, lot 73;
Where purchased and by descent to the previous
owners;
Private collection;
Whyte’s, 30 September 2013, lot 33;
Private collection
Exhibited:
Royal Academy, London, 1920, catalogue no. 159
With the cessation of hostilities on the Western Front in
November 1918, Lavery was much in demand. Not yet released
from his commission as an Official War Artist, he had a large
commemorative oil painting depicting the surrender of the
German Navy to complete. He was also given the additional task
to tour supply depots and hospitals in Northern France before
they were dismantled and record women’s work behind the
lines. While his diary quickly filled with portrait commissions,
normal everyday life in the busy studio in Cromwell Place,
South Kensington, did not resume until after his holiday in
February 1919 at Baron d’Erlanger’s villa at Sidi-bu-Said on the
bay of Tunis. 2Back for the start of the London Season, sittings
began with feverish intensity and within the year he completed
portraits of Duff Cooper, Lady Diana Manners, Flora Lion (sold
in these rooms, 19 February 2007, lot 93 for €24,000), Lord
Londonderry, the aviator, Sir John Alcock, and other prominent
society figures. Among these was Marion Emily Ellis, who in
July of that year became the second Baroness Parmoor. The
portrait may indeed have been painted as a wedding gift from
Charles Cripps, 1st Baron Parmoor, to his bride.3 Cripps and
his new wife were both staunch anti-war Liberals, Marion’s
radicalism being deeply ingrained by family tradition.4 Her
mother, Maria Rowntree, was one of the eminent Quaker
philanthropist dynasty that hailed from York.5 No social butterfly,
she had been an implacable campaigner against conscription,
narrowly escaping imprisonment for her convictions. During
the twenties she and her husband veered increasingly towards
the Labour Party, he becoming Leader of the House of Lords
and a supporter of Ramsay MacDonald. It was this formidable
personality who sat for the painter in 1919 and no doubt they
discussed his recent exploits as a war artist, flying over the North
Sea convoys in airships on the look-out for enemy men-of-war.
Lavery too had pacifist sympathies, but his task at this point was
to find an arrangement of colour and form that matched his
subject and the scheme he adopted in The Lady Parmoor was
a familiar one. His favoured 30 by 25in. canvases were ideally
suited to half-lengths and the sitter, dressed in dark blue-grey
and black, relieved with a fur stoll provided an ideal‘harmony
in brown’. It was a variation on a sequence which began in
1894 with the portrait of Esther McLaren, exhibited at the Royal
Academy as Lady in Brown. It was memorably revisited with his
first portrait of Hazel Trudeau, as Brown Furs (Dame en Noir)
c.1906, (Dublin City Gallery, The Hugh Lane.) and in the years
which followed, reworked it in early portraits of Lady Diana
Manners and Lady Gwendoline Churchill (both c.1913, private
collections).6 Fine furs, Lavery felt, tended to flatter a sitter and in
the present example they lead the eye to one of his most serious
female subjects. At this point Marian Cripps had taken up the
causes of reconciliation and fighting famine in war-torn Europe
and post-revolutionary Russia. She would go on to lead the
World YWCA and the Women’s International League for Peace
and Freedom, and in her seventies, at the end of a very active
career, she spoke out against the use of nuclear weapons. For
Lavery, the drama he sought for The Lady Parmoor contained
distinct echoes of the past and intimations of the future. Its Old
Master tonalities took him back to his days as a copyist in the
Prado, while they anticipate the haunting cadences of his second
half-length treatment of Gwendoline Churchill in 1920 and the
visual éclat of The Gold Turban, 1928 (both private collections).
Prof. Kenneth McConkey
Fig 1 Brown Furs (Dame en Noir) c. 1906,
Dublin City Gallery, The Hugh Lane
Footnotes:
1 It has not been possible to determine precisely when the present
picture left the Cripps family. A number of dispersals of land and
chattels took place during and after the Second World War from the
family estate at Parmoor House, Buckinghamshire.
2 Kenneth McConkey, John Lavery, A Painter and his World, 2010,
(Edinburgh, Atelier Books), pp. 143-5.
3 Parmoor’s first wife, Theresa Potter, sister of the Fabian, Beatrice
Webb, died in 1893. Marian Ellis was forty-one at the time of their
marriage on 14 July 1919. By that year, Lavery had painted the
portrait of Violet Mary Nelson, (private collection), the future wife of
Parmoor’s son, Frederick Heyworth Cripps, by his first marriage.
4 Marion’s twin sister, Edith, who shared her views, was in fact
imprisoned in 1918.
5 The Rowntree family philanthropy was a direct result of her uncle,
Joseph Rowntree’s encounter at the age of fourteen with victims of
the Irish Famine.
6 McConkey, 2010, pp. 108-9.7 McConkey, 2010, p. 179.
€40,000-€60,000 (£34,480-£51,720 approx.)

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19
Roderic O’Conor (1860-1940)
SEATED BRETON GIRL WITH LONG HAIR, 1900
oil on canvas
signed with initials and dated lower right; with artist’s studio stamp on reverse
25.50 by 21.50in. (64.8 by 54.6cm)
Provenance:
Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956;
Roland, Browse & Delbanco;
Christie’s, Belfast, 30 May 1990, lot 489;
Private collection;
Thierry-Lannon & Associés, Brest, 4 May 2019, lot 160;
Private collection
Literature:
Jonathan Benington, Roderic O’Conor: A Biography, with a Catalogue of his Work, Irish Academic Press,
Dublin, 1992, catalogue no. 93, p. 201
In this sizeable preparatory oil Roderic O’Conor demonstrates the power that can be generated
from an artist’s initial reaction to his subject. Such works are usually meant as tools; for recording the
sitter’s features, the pose, their shape and proportions. The present work however goes beyond mere
observation and delivers a taste of that spontaneous urgency an artist feels to capture the essence of his
subject in a precise moment in time.
The palette is limited, the background is complementary but not distracting and gestural marks compose
the chaise on which the model sits. O’Conor’s focus is on her and her utterly hypnotic gaze depicted
through two dashes of dark paint. This colour is picked up to the back of her head and in the fabric of her
dress which outlines her figure and serves to‘push’her forward within the composition. The application
of the paint is lively and fluid and there is a‘watery’quality to the oil paint which is thinly applied to stain
rather than fully cover, allowing the texture of the canvas to play its role in the rhythm of the painting.
The sitter’s body language, with her arms at either side tucked under the ruffles of her dress and legs set
apart suggest perhaps a nervousness in her role as model.
Adelle Hughes,
September 2022
€30,000-€40,000 (£25,860-£34,480 approx.)

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20
Jack Butler Yeats RHA (1871-1957)
INTERIOR OF ONE OF THE SEVEN CHURCHES
watercolour over pencil; (double-sided)
3.50 by 5in. (8.9 by 12.7cm)
Provenance:
Collection of Ernie O’Malley;
Private collection
With a second work exposed on reverse. Second work reads:“Pray for the soul of Charles Shaughnessy
and Elnor Shaughnessy 1708”and pictures Christ on the cross flanked by mourners.
See whytes.ie for additional images.
€1,000-€1,500 (£860-£1,290 approx.)

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21
HEADSTONES
watercolour over pencil
with annotations in pencil
5 by 3.50in. (12.7 by 8.9cm)
Provenance:
Collection of Ernie O’Malley;
Private collection
€800-€1,000 (£690-£860 approx.)

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22
ILLUSTRATION TO‘RHYMES OF THE GITANOS’, 1908
Indian ink on card
signed with monogram lower right
5 by 6.50in. (12.7 by 16.5cm)
Provenance:
The artist’s estate;
Dawson Gallery, Dublin;
Where purchased by Gerard Dillon, 1971;
James Adam, 11 December 1991, lot 85;
Private collection
Literature:
Pyle, Hilary, The Different Worlds of Jack B. Yeats:
His Cartoons and Illustrations, Irish Academic Press,
Dublin, 1762, catalogue no. 1464, p. 245;
’Rhymes of the Gitanos’, translated by George Borrow,
A Broadside no. 7, December 1908
This drawing is the original artwork made by Jack
B. Yeats for reproduction on the second page of
A Broadside, December 1908. A Broadside was
produced monthly by Yeats’s sisters, Lily and Lollie,
at the Cuala Press in Churchtown from 1908 to
1915. Each issue features the text of two poems by
contemporary writers or anonymous ballads, chosen
by Jack Yeats. Each Broadside is illustrated by three
images, all by Jack, which were made in Indian ink
that could be easily reproduced as line block prints
and then hand-coloured. The underlying pencil lines
are still visible in this drawing.
The Rhymes of the Gitanos illustrates an apparent
translation of a Romany ballad by the English
linguist and writer, George Borrow (1808-1881).
Borrow is best known for his fictionalised accounts
of gypsy life and culture, notably Lavengro (1851)
and the Romany Rye (1857). His interest in Romany
culture was apparently inspired by a visit to a gypsy
encampment near Norwich which was followed
by a lifetime of extensive travel and research. In
Yeats’s drawing a young gypsy girl listens enthralled
to her flamboyantly dressed companion. The girl’s
elongated pose with arms drawn down and head
lifted with eyes wide with wonder convey the power
of the performance. The musician holds a bow and
box fiddle in his hands and his mouth is open wide as
he sings the outrageous lyrics of Burrow’s song. This
tells of the adventures and woes of a travelling gypsy
man who declares:
O, I am not of gentle clan,
I’m sprung from gypsy tree;
And I will be no gentleman;
But an Egyptian free…
The musician’s eyes meet that of his listener, enticing
her into a world of fantasy and make believe.
The two figures sit in a barrel tent, of the kind used in
many of Yeats’s paintings of the West of Ireland. They
appear to be cocooned from the world around them,
surrounded by the dark black of the interior. Beneath
their feet are piles of leather belts, buckles and
saddles, the detritus of the gypsy’s trade. To the left
the rolling waves of the ocean with a galleon at sail
on the horizon evoke the adventure and exoticism of
the song and of the imaginative life of the vagrant.
Yeats presents a romantic view of nomadic life in
which material hardship is recompensed by creative
and social freedom. Nora McGuinness has linked
the words and imagery of A Broadside to wider
nationalist feelings of the early 20th century in which
the figures’rejection of the trammels of ordinary life
have a distinctively subversive intention. 1 Yeats’s
use of simple hatching lines to depict the shadow in
the brim of the singer’s hat, on the base of the fiddle
and on the side of the tent are rudimentary and
decorative. This deceptively basic method of drawing
signifies the moral authenticity of the poem and the
lifestyle extolled by the image. It conjures up the
crude but genuine imagery of the ballad sheets of
earlier centuries.
The work was acquired by the artist, Gerard Dillon,
from the Dawson Gallery in 1971.
Dr Róisín Kennedy
July 2022
1. Nora McGuinness, The Literary Universe of Jack B. Yeats, Catholic
University of America Press, 1992, p.37
€4,000-€6,000 (£3,450-£5,170 approx.)

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23
THE CHANGING DAWN, 1946
oil on canvas
signed lower right; titled on reverse
14 by 21in. (35.6 by 53.3cm)
Provenance:
Victor Waddington Galleries, Dublin, 1946;
Collection of Mrs Cahill, Dublin;
James Adam, 5 November 1969, lot 17;
de Veres, 27 November 2007, lot 38;
Private collection
Exhibited:
‘Jack B. Yeats: Oil Paintings’, Victor Waddington Galleries, Dublin, 30 October to 8 November 1946,
catalogue no. 15
Literature:
Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, Vol.II,
p. 694, catalogue no. 770
€250,000-€350,000 (£215,520-£301,720 approx.)

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The Changing Dawn is an important late painting by Jack B. Yeats. It was included in an exhibition of his
work held at the Victor Waddington Galleries in Dublin in late 1946, where it received much attention,
even stirring up some controversy. The painting depicts a young man looking back over his shoulder
at a glorious seascape. A deep blue expanse of water extends behind him, and a soaring white edifice
marks the edge of the composition on the right. This could be based on a sea wall or tall building and the
painting was jokingly referred to by one writer in 1946 as‘a kind of Vico Road: Morning Glory’. 1
The bright tonalites of the painting, especially the azure water and the terraces of flowers and plants,
evoke a Mediterranean ambiance that was seen to be different from Yeats’s normal West of Ireland vista.
In addition, the congenial mood of the painting was perceived by several critics as marking a departure
in Yeats’s late style. The distinguished writer and journalist, Arthur Power, writing in the Irish Times,
declared that‘Yeats’s vision is more distinguished then ever; for whereas before it was often tormented
to excess, it has now become static - a faith, and as a shell echoes the sea, so the coloured fabric of the
world he paints seems to echo a greater harmony.’2
Yeats was at the height of his fame as a modern artist when he painted The Changing Dawn and his
move away from the traumatic subject matter of such paintings as Death for Only One or Tinkers’
Encampment. Blood of Abel did not meet with universal approval with one reviewer taking exception
to the change in tone. The consensus was however overwhelmingly in favour of Yeats’s use of brighter
tonalities and optimistic mood. 3‘Perhaps, here is heralded the dawn of yet another Yeats period’4,
declared one writer, while another pronounced that Yeats‘had reached new heights in The Changing
Dawn.’5

The complex construction of the moving figure whose form is moulded out of numerous colours
contrasts with the simplicity of the sea behind. This juxtaposition is a familiar trope in Yeats’s late work.
A considerable part of the composition is devoted to the sky which, as the title suggests, is transforming
from night into day. Strokes of deep yellow mark the fall of the emerging sunlight on the face and
shoulder of the young man and the hat that he waves behind him. Dark clouds, reflected in the black
shapes on the water below, are dissipating into fragile accumulations of swirling turquoise, pink and
yellow, heralding the beginning of a new day.
Dr Róisín Kennedy
August 2022
1. Quidinunc,‘Irishman’s Diary’, Irish Times, 7 November 1946, p. 5.
2. Arthur Power, Irish Times, 31 October 1946, p. 9.
3. Irish Independent, 30 October 1946, p.2.
4. Sunday Independent, 3 November 1946.
5. Irish Press, 30 October 1946, p. 4.
€250,000-€350,000 (£215,520-£301,720 approx.)

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24
Grace Henry HRHA (1868-1953)
MADONNA OF THE WEST
oil on canvas
signed lower right
25 by 20in. (63.5 by 50.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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25
Mainie Jellett (1897-1944)
BABBIN AND BETTY, FITZWILLIAM SQUARE, DUBLIN, 1918
watercolour
9.75 by 8.50in. (24.8 by 21.6cm)
Provenance:
The artist’s estate;
Collection of Mavis Arnold;
Private collection;
Private collection
From an early age Jellett painted her youngest sisters Babbin and Betty (or Rosamund and Elizabeth),
both on holidays in Co. Donegal and at home, on Fitzwilliam Square. The present work relates to an oil
painting of the same year, Babbin and Betty, illustrated in Bruce Arnold’s book, Mainie Jellett and the
Modern Movement in Ireland, page 27.
€3,000-€4,000 (£2,590-£3,450 approx.)

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26
RIVER MOUTH, 1946
oil on canvas
signed lower left; with exhibition labels on reverse
14 by 21in. (35.6 by 53.3cm)
Provenance:
Bought at the 1946 Victor Waddington Galleries exhibition by Mrs Cahill;
Collection of Balbinder Gill;
Montpelier Sandelson, Modern British Art and Contemporary Art;
Whyte’s, 28 April 2008, lot 58;
Private collection
Exhibited:
‘Jack B. Yeats: Oil Paintings’, Victor Waddington Galleries, Dublin, 30 October to 8 November 1946,
catalogue no. 3
Literature:
Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, Vol.II,
p.686, catalogue no. 761
€200,000-€300,000 (£172,410-£258,620 approx.)

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In this nocturnal view of the mouth of a wide river at the point where it flows into the open sea, the diagonal
expanse of the fast flowing water dominates the composition, creating a tremendous sense of movement. In
contrast to this dynamic force, a man is depicted seated on the left bank of the river. His hands folded, he calmly
surveys the scene. The enclosed form of his body, with hands and knees drawn together, suggest the coldness of
the night but, more crucially, act as a counterpoint to the freedom of the flowing water in front of him. To balance
the composition Yeats depicts glimpses of the farther bank. Part of this, a tiny island with green and yellow foliage,
is just visible in the distance. Beyond it a larger form, the same dark blue colour as that of the water, can just be
made out. It appears to be a ship in the bay beyond the river. Its large scale and its position on the open water
contrast with the static and contemplative quality of the figure in the foreground.
The man’s black peaked hat and prominent moustache give him the appearance of earlier nautical figures by Yeats,
such as his sailors and pilots. The latter, whom Yeats had known as a boy in Sligo, took on almost heroic proportion
in his work. The pilot relied on his knowledge of the local terrain and of the dangers of the tides and currents to
fulfil his important task of guiding ships in and out of the harbour. His skills were greatly valued particularly in a
community which relied so heavily on the sea. Yeats, whose family were merchants and ship-owners, was well
aware of the significance of the pilot and the experienced sailor to Irish life. But later such figures came to be
associated with the free spirited travellers who peopled so many of Yeats’s paintings. In this context the sailor was
depicted as an unconventional, romantic figure who understood the power of the natural world and was able to
survive within it.
Similar figures to the one depicted here recur in Early Afloat, (private collection, 1947), where the sailor is shown
walking with his oars towards a boat, and in the much earlier, On a Western Quay, Sligo, (private collection, 1923).
In River Mouth, the dramatic lighting, coming from the lower left hand corner of the composition, spotlights the
man and his strange, nomadic surroundings. He sits outside a shack and the two handles of his oars are clearly
visible behind him.
The theme of the river recurs in many of Yeats’s oil paintings, a large group of them dating, like this example, to
the mid 1940s. The fast flowing river was used by Yeats in both his painting and his writing as a metaphor for the
power of the natural world, and by extension, for life itself. When watched by the human figure, the river becomes
a symbol of universality and timelessness as opposed to the ego of the individual. Such a contemplation of the
natural world represented a vital communion between the individual and the more enduring forces of nature.
Yeats’s father, John Butler Yeats, remembered how Jack always regretted not spending more time looking over the
bridge into the river in Sligo, as a young boy.1 He clearly felt that such an activity was not wasting time but was a
way of connecting to the earth itself. As an old man, as Yeats was when he painted this work, the metaphor was
even more poignant.
Dr Róisín Kennedy
1 Quoted in Hilary Pyle, Jack B. Yeats. A Biography, 1970, p. 19,
and Nora A. McGuinness, The Literary Universe of Jack B. Yeats,
1992, p. 115.
€200,000-€300,000 (£172,410-£258,620 approx.)

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27
Colin Middleton MBE RHA RUA (1910-1983)
FISH BUYERS: ARDGLASS, 1951
oil on canvas
signed lower centre; signed, titled and dated [Feb/Mar] on reverse
20 by 24in. (50.8 by 61cm)
Exhibited:
‘Recent Paintings by Colin Middleton’, Victor Waddington Galleries, Dublin, April 1953, catalogue no. 8
Although Colin Middleton lived near Ardglass for less than four years it was a time of immense
importance for him as an artist, and the period and the location retained a symbolic significance for
many years after he left.
In December 1948, Middleton became a contracted gallery artist with Victor Waddington, and the regular
payments he received enabled him to move with his family to Ardglass the following year to paint full-
time; they remained there until December 1952. Despite the financial and health problems Middleton
experienced during these years, it was also a period when the exhibitions Waddington organised in
Dublin, London, Europe and the USA brought his work to a new and receptive audience and he gained
widespread critical recognition.
Ardglass itself also inspired Middleton, both the fishing village and the landscape surrounding it. The
history and legends of the community based around the fishing fleet, as well as the courage and drama
that Middleton found there and the daily way of life, all contributed to his work. The intensity of these
subjects were conveyed powerfully through the expressionist technique that Middleton had been
moving towards since the mid-1940s, with its intense use of colour, energetic paint surface and dynamic
impasto.
Fish Buyers: Ardglass is one of a small number of canvases based on activities around the port and fishing
boats. There is an almost hallucinatory quality to the scene, illuminated by the early morning light with
splashes of highlighted colour set against the grey morning sky streaked with light, as highly-abstracted,
tightly-packed figures move across the picture space. The moment is specific, yet also suggests a
traditional activity in Ardglass in which these figures take on a powerfully mythic identity.
The painting was included in Middleton’s solo exhibition at the Victor Waddington Gallery in Dublin in
April 1953 (catalogue number 8, £65), and then subsequently shown at the gallery’s summer exhibition
that same year. By the time it was exhibited Middleton was living in Bangor, but for another couple of
years he continued to work from ideas inspired by Ardglass.
Dickon Hall
August 2022
€20,000-€30,000 (£17,240-£25,860 approx.)

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28
Rosaleen Brigid Ganly HRHA (1909-2002)
CAT AND SUNFLOWERS
oil on canvas
signed with initials lower right; inscribed on label on reverse
30 by 20in. (76.2 by 50.8cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

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Margaret Stokes (1915-1996)
THE BATHERS
oil on canvas
signed with initials lower right; signed again on reverse
16 by 14in. (40.6 by 35.6cm)
Provenance:
Adam’s, 26 September 2001, lot 64;
Private collection
€1,000-€1,500 (£860-£1,290 approx.)

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Harry Kernoff RHA (1900-1974)
EXTENSION IN TIME SPACE, OR, TIME SPACE IS CURVED, 1941
oil on panel
signed lower right; inscribed with an original poem by Kernoff, dated and signed again on reverse
12 by 16in. (30.5 by 40.6cm)
Provenance:
Whyte’s, 21 February 2006, lot 148;
Private collection
Exhibited:
Possibly at the RHA, Dublin, 1941, catalogue no. 11, as Extension in Time Space (£100-0-0);
’Old and New Paintings by Harry Kernoff RHA’, Studio Arts Club, Dublin, 6-20 October 1942, catalogue no.
42 (as Space-Time is Curved);
’Harry Kernoff Memorial Exhibition’, Hugh Lane Gallery, Dublin, 14 December 1976 to 30 January 1977,
catalogue no. 30 (lent by Lena Kernoff);
’The 30th Anniversary Exhibition of Harry Kernoff’, Spiller Art Gallery, Dublin, 16-26 February 2005,
catalogue no. 17
With an original poem by Kernoff inscribed on reverse:“Round the golden sun, the planet called Mars
/ Elliptically revolves the whole year round / Mere satellite subordinate to stars / But relative no matter
where we’re bound. / Though small we have a place in stellar space / Which meets in the womb of future
time / Curved space that parabolic fits the rhyme. / Perhaps the fate that holds the human race / Destined
for evolutions future grace / The arches of the years so infinite / Extending to great empyrean height /
As man moves forward on this narrow path / So careless of the coming aftermath / to celestial fourth
dimensional place”.
€5,000-€7,000 (£4,310-£6,030 approx.)

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31
LIBERTY HALL, DUBLIN (NIGHT), 1934
watercolour
signed and dated lower right; with original inscribed label detailing title and artist’s address [13 Stamer
Street, Dublin] on reverse
18 by 21.50in. (45.7 by 54.6cm)
Provenance:
Adam’s, 29 March 2000, lot 23;
Private collection
Writing after Harry Kernoff’s death in 1975, John Nolan hailed the artist as‘the artist of the workers’,
noting his lifelong‘identification with progressive, radical, working class ideas.’In his art, one of Kernoff’s
most manifest displays of sympathy with the political left came through his repeated depiction of Liberty
Hall on Eden Quay, then a former hotel building rather than the modernist tower seen there today.
The building had an illustrious history in the early twentieth century: in 1912, it was purchased by the
Irish Transport and General Workers Union and the following year, it housed a soup kitchen during the
Lockout. As the headquarters of the Irish Citizen Army, copies of the Proclamation of the Irish Republic
were printed there and it suffered heavy shelling in 1916. Along with his repeated depiction of the
building, Kernoff reinforced his belief in the site as a symbol by including it in his woodcut portrait of
James Connolly, replaced in later printings by the plough and the stars.
The earliest extant sketch by Kernoff of Liberty Hall is dated to 1928 (National Gallery of Ireland),
although he first exhibited a version of the composition at the Royal Hibernian Academy in 1927. It was
not unusual for Kernoff to rework compositions in several media (including pen and ink, watercolour, oils,
and woodcut) across a broad time span. In the present work, he characteristically depicts a cross-section
of Dublin’s working population, from labourers and dockers to aproned women and busy mothers. The
building is bathed in light, with an open door and the shadows of people at work inside its walls: this is
Liberty Hall a bastion of political enlightenment and community organization in the heart of Dublin city.
Dr Kathryn Milligan
August 2022
€20,000-€30,000 (£17,240-£25,860 approx.)

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PORTRAIT OF GINGER
charcoal and pastel over pencil
signed lower right; inscribed lower left
14 by 10.75in. (35.6 by 27.3cm)
The Irish Societies and Sketching Clubs Index of Exhibitors lists a watercolour by Kernoff of Ginger -
Buachaill Nuachtán [price £25-0-0], catalogue no. 24 shown at the Oireachtas Art Exhibition in 1950. It is
possible this is a study for that work.
€800-€1,200 (£690-£1,030 approx.)

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Thomas Ryan PPRHA (1929-2021)
DUBLIN PUB INTERIOR
watercolour
signed lower left
9.75 by 7.50in. (24.8 by 19.1cm)
Provenance:
Purchased directly from the artist by the present owner
€800-€1,200 (£690-£1,030 approx.)

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BEND IN THE ROAD, HOWTH, COUNTY DUBLIN, 1937
watercolour
signed and dated lower left
9 by 13in. (22.9 by 33cm)
Provenance:
Phillips, London, 2 November 1999, lot 38;
Private collection
While perhaps best known for his depictions of Dublin’s busy streets, the county’s suburbs were also a
frequent subject of Harry Kernoff’s work. Spanning the bay from Bray and Sandycove to Portmarnock and
Donabate, the artist was not immune to the lure of a seaside town, and the resulting coastal views are
among some of his finest landscape scenes. Depictions of Howth, such as the present work, appeared in
the artist’s exhibitions from late 1920s. This colourful view of the popular tourist and day tripper spot was
conceived of slightly later: the preparatory pencil sketch, now in the National Gallery of Ireland, is dated
to 20 June 1937 with the inscription,‘View of Howth’. Filled with characteristic details such as courting
couples, running children and a sign for‘Doyle’s’tea shop’(along with a glimpse into its interior) Kernoff
also masterfully captures the changing gradient of Howth hill, with a jigsaw of slopping roofs, steep
paths, and the cliff face, spanning out to the beach beyond. A larger version of this scene in oils is extant,
along with other views of Dublin Bay and Balscadden Bay which date to the same period, all capturing
the area’s natural beauty and charm.
Born in London in January 1900, Kernoff moved to Dublin with his family in 1914. While working as an
apprentice cabinet maker with his father, the young artist attended classes at the Kevin Street Technical
Schools, before moving to the Dublin Metropolitan School of Art. In 1923, Kernoff was awarded the
Taylor Scholarship and his first solo exhibition was held in the rooms of the Society of Dublin Painters in
1927. Over the following decades, Kernoff dedicated his painting practice to the representation of daily
life in Ireland’s towns and cities.
Dr Kathryn Milligan
August 2022
€10,000-€15,000 (£8,620-£12,930 approx.)

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36
Seán Keating PPRHA HRA HRSA (1889-1977)
GOOD OLD STUFF, c.1928
oil on board
signed lower right
28.25 by 36in. (71.8 by 91.4cm)
Provenance:
Private collection
Exhibited:
‘Annual Exhibition’, Royal Academy, London,1928, catalogue no. 217;
Walker Art Gallery, Liverpool, 1928;
’Annual Exhibition’, RHA, Dublin, 1929, catalogue no. 14;
Helen Hackett Gallery, New York, 1929;
Museum of Irish Art, New York, 1931/2;
’Seán Keating Exhibition’, Victor Waddington Galleries, Dublin, 1947;
’Seán Keating Retrospective Exhibition’, Municipal Gallery, Dublin, 1963, catalogue no. 24;
’Seán Keating: In Focus’, Hunt Museum, Limerick, June to September 2009
Literature:
‘Ireland Painters, 1600-1940’, Anne Crookshank and The Knight of Glin, fig. 385 on p. 281;
’Seán Keating; In Focus’, Dr. Éimear O’Connor, 2009, illustrated p. 21 and again p. 53;
’Seán Keating: Art, Politics and Building the Irish Nation’, Dr. Éimear O’Connor, Kildare, 2012, p. 91, illustrated p. 92
Known for his overtly nationalist paintings made between 1915 and 1924, the series of images of citizen heroes that Seán
Keating made after that date indicate a lot about his unceasing confidence in the Irish people, even if he was relentlessly
disappointed with the governing classes. Keating’s choice to use the common people as models in non-commissioned work
from the 1920s onwards was an expression of his democratic spirit, and in doing so, he was determinedly placing himself on
the progressive side of the political divide in Europe at that time.
Good Old Stuff is one of a group of paintings made in the late 1920s in which the artist was investigating both the process,
and the inherited wisdom of old age, but through the lens of allegory. Other paintings in the sequence include Past Definite,
Future Perfect (1928), Old Kitty (1928), The Turf Gatherer (1928) and two versions of Don Quixote (1927 and 1932). The old
man in Good Old Stuff is shown seated at a table on which there is a tea cup, a tea pot and a bottle of some sort of alcohol
- whiskey perhaps. However, given the artist’s predisposition to the use of symbolism, there is far more to this image than
simple witticism. The old man is shown seated in a secluded space. Stories from years long past are inscribed into the creases
of his face, and the veins in his hands. He is not actually looking at the containers on the table; he is in reflective mood and lost
in his own world. Yet, his far-off gaze is reassuring, calming, and gentle. The old man is good old stuff itself, and he has much
to offer anyone who cares to listen, or to see. Thus, Good Old Stuff was also a tribute to the wisdom and experience of old
age, which, as far as Keating was concerned, was equally as important to New Ireland as the exuberance and inexperience of
youth. The model for Keating’s Good Old Stuff remains unidentified, but he appeared in several paintings made by the artist
in the late 1920s, including The Models’Interval (1927) and the first version of Don Quixote (1927). In 1927, when Keating was
working on Don Quixote, he took several photographs of the old man seated at a table. The artist appears to have been very
happy with that composition, and when he began Good Old Stuff the following year, he used those photographs to recreate
the exact same pose, but placed his model holding a teacup instead of the infamous helmet that is central to the story of Don
Quixote.
Dr Éimear O’Connor HRHA
Resident Director, The Tyrone Guthrie Centre
€30,000-€50,000 (£25,860-£43,100 approx.)

61

62
37
SKETCHES [PICKETERS]
charcoal
signed in ink lower right
24.50 by 18.50in. (62.2 by 47cm)
Frame Dimensions: 32.5 by 26in. (82.6 by 66cm)
€1,200-€1,800 (£1,030-£1,550 approx.)

63
38
SYBIL’S HEAD
pastel
signed lower right
18.25 by 15.75in. (46.4 by 40cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

64
39
Basil Blackshaw HRHA RUA (1932-2016)
IRENE CALVERT MP, 1952
oil on canvas
signed and dated upper right
27 by 20in. (68.6 by 50.8cm)
Provenance:
Commissioned by the sitter;
Thence by descent;
Private collection
Exhibited:
CEMA‘Basil Blackshaw & Martin McKeown’, Donegall Street Gallery, Belfast, September 1952
It was following, and partly as a result of this commission, that the artist was commissioned to paint
the then Governor of Northern Ireland, Lord Wakehurst. Irene Calvert (1909–2000) was a Northern Irish
politician and economist. Born in Belfast, as Lilian Irene Mercer Earls, she studied at Methodist College,
Belfast. She studied economics and philosophy at Queen’s University, Belfast. In 1941 she was appointed
Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime
evacuees. In 1944, she contested a by-election for the Queen’s University Belfast constituency. She was
unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-
party) candidate, and on this occasion succeeded in taking a seat at Stormont. She held the seat until she
stood down at the 1953 election. In Parliament, she avoided the traditional Unionist versus Nationalist
arguments, which she regarded as a distraction from the real task of social reform, including the passage
of the Education Act, 1947. In her resignation speech, she did however question whether the Northern
Irish economy could thrive while the partition of Ireland continued. In 1950 Calvert began working at the
Ulster Weaving Company as an economist, and having successfully helped build up their institutional
sales was appointed a managing director. In 1956 she was invited to become a group chairman at the
Duke of Edinburgh’s Study Conference on Industry. She also served on the Belfast City Chamber of
Commerce, becoming its first woman president in 1965–1966. She also served on Queen’s University’s
Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive
manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she
worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party
until her death in 2000.
€4,000-€6,000 (£3,450-£5,170 approx.)

65

66
40
Maurice Canning Wilks RUA ARHA (1910-1984)
CONNEMARA MAN
oil on canvas
signed lower left; titled on reverse
25 by 30in. (63.5 by 76.2cm)
Provenance:
Purchased in the late 1940s directly from the artist and given as a wedding present to a couple in
Portadown, Co. Antrim in whose possession it remained until 2001;
Andersons Auction Rooms, Belfast, 1 October 2001, lot 77;
Private collection;
Whyte’s, 19 February 2002, lot 82;
Private collection
Wilks’depictions of the everyday people of the west of Ireland remain his most sought-after work with
scenes of labourers, fishermen and turf gatherers garnering much attention when offered due to their
rarity. The present work, Connemara Man, depicts the figure of a man dressed to brace the elements
standing at a slight angle to the viewer and with his right arm resting on a traditional handmade willow
turf basket. Beyond the stonewall in the middle distance is a cluster of cottages with turf neatly stacked
to the gable end. He is rooted to his environment. Wilks further reinforces this relationship through his
use of colour picking up dashes of the red from the fabric around his neck in the weave of the basket
and in the fleck of red on the cottage door. Similarly, the colour range found in the sky and sea can be
seen reflected back in the man’s clothes. The protagonist here shares his stage with the landscape, which
recalls the work of Paul Henry, the shimmering water and the Twelve Bens bringing the eye towards a
vast and changeable sky.
Wilks, like Henry, was born in Belfast, albeit thirty-four years later, and was educated there at the Malone
Public School. He attended evening classes at the Belfast College of Art and was later awarded the
Dunville Scholarship which allowed him to attend day classes. After college Wilks lived in Cushendun and
his early landscapes were dominated by views of Ulster and Connacht. He exhibited at the RHA in Dublin
as well as the Royal Ulster Academy and later internationally in London, Boston, Montreal and Toronto. In
his later years he painted scenes of Dublin bay from a summer studio he maintained in Sutton. His work
is found in numerous public collections throughout the island of Ireland.
Adelle Hughes,
September 2022
€15,000-€20,000 (£12,930-£17,240 approx.)

67

68
41
Gerard Dillon (1916-1971)
INISHLACKEN, GALWAY
watercolour
signed lower right; signed, titled and with dedication on reverse
9.25 by 11in. (23.5 by 27.9cm)
€2,000-€3,000 (£1,720-£2,590 approx.)

69
42
Stella Steyn (1907-1987)
STILL LIFE WITH FLOWERS
oil on canvas
with Stella Steyn Studio Sale stamp on reverse
30 by 36in. (76.2 by 91.4cm)
Provenance:
Stella Steyn Studio Sale, Thomson, Roddick and Medcalf Auctioneers, Carlisle, 16 May 2005, lot 93;
Private collection
€1,000-€1,500 (£860-£1,290 approx.)

70
43
David Jones CBE (1895-1974)
SHEEP AND BIRDS IN THE PARK, 1932
watercolour
with Fine Art Society [London] label on reverse
19 by 24in. (48.3 by 61cm)
Provenance:
Artist’s estate;
Anthony d’Offay, c.1979;
Private collection;
Fine Art Society, London, 2005;
Private collection
Exhibited:
‘The Twentieth Century’, The Fine Art Society, London, 2005, catalogue no. 13
€12,000-€18,000 (£10,340-£15,520 approx.)

71
44
FOUR SHAWLIES IN CONVERSATION
watercolour
signed lower left
11 by 7.50in. (27.9 by 19.1cm)
€1,000-€1,500 (£860-£1,290 approx.)

72
45
Evie Hone HRHA (1894-1955)
PREPARATORY DESIGN FOR‘RAISING THE DAUGHTER OF JAIRIS’, WASHINGTON CATHEDRAL, 1953
gouache
13.50 by 9.50in. (34.3 by 24.1cm)
Provenance:
Morgan O’Driscoll, 23 November 2020, lot 31;
Private collection
€800-€1,200 (£690-£1,030 approx.)

73
46
THE LAST SUPPER
gouache, crayon and pencil on card
signed centre
17 by 27in. (43.2 by 68.6cm)
Frame Dimensions: 24.25 by 34.25in. (61.6 by 87cm)
Provenance:
Private collection
Gerard Dillon has depicted himself as the Apostle to the left of Jesus.
€2,000-€3,000 (£1,720-£2,590 approx.)

74
47
Norah McGuinness HRHA (1901-1980)
KITTIWAKES, DUNMORE, COUNTY WATERFORD
oil on canvas
titled on reverse; also with artist’s studio label and Irish Exhibition of Living Art label on reverse
18 by 24in. (45.7 by 61cm)
Provenance:
Family of the artist;
Thence by descent;
Private collection
Exhibited:
‘Irish Exhibition of Living Art’,1948, catalogue no. 3
Norah McGuinness visited County Waterford numerous times during her life and frequently stayed with her artist friend Joan
Jameson (1892-1953). Jameson was born in London - the eldest daughter of Sir Richard John Musgrave, 5th Baronet - and
studied in Paris, at the Académie Julian. In 1920 she married Tom Jameson of Rock House, Ardmore, County Waterford and
together they relocated from London to Tourin, Waterford in 1929 and were part of a large social and artistic network of the
time which included McGuinness. A record of her time spent in Waterford in Jameson’s home vividly captures her enthusiasm
for the county’s landscape,
It was perhaps on one of these trips that McGuinness ventured further along the coastline to the fishery port of Dunmore East
which lies at the mouth of Waterford Harbour.
The area boasts three main Kittiwake colonies, the Outer Harbour being the largest where the birds can be viewed from a
number of vantage points at Badger’s Cove and Men’s Cove. It is possible that one of these locations was the inspiration for
the present work.
McGuinness was evidently pleased with the oil which she submitted to the Irish Exhibition of Living Art for exhibition in
1948. She was a founding member of the IELA five years previous alongside Mainie Jellett, Evie Hone, Fr Jack Hanlon, Louis
le Brocquy and Margaret Clarke, having been conceived as an annual forum for those artists whose work was considered too
Modernist for the more traditional venues such as the Royal Hibernian Academy (RHA). Contemporary critics at this juncture
in her career described her work as“’At its best... forthright, spontaneous and dramatic”(Dublin Magazine, 1949) while on the
occasion of her first solo exhibition at the Leicester Galleries, The Studio spoke of,“courage, coupled with hidden knowledge, a
looseness of technique completely free of sloppiness and a richness of colour unusual in its mature balance”.
Two years after Kittiwakes, Dunmore was painted, this progressive artist, together with Nano Reid were the first Irish artists
chosen to represent Ireland at the Venice Biennale. Both female, Modernist and pioneering, this was a significant choice by the
fledgling Republic to showcase their country on an international stage.
Adelle Hughes,
August 2022
1 https://www.waterfordmuseum.ie/exhibit/web/Display/article/331/3/The_Ardmore_Journal_Joan_Jameson__Norah_
McGuinness__Two_Painters_In_Ardmore.html
€20,000-€30,000 (£17,240-£25,860 approx.)
“Norah often stayed at Rock House. Working with immediate perception of all that Ardmore showed her, she filled
notebooks with charcoal, pencil and watercolour sketches; no passing cloud or sun-hot rock went unnoticed; these records
formed the basis for some of her best paintings. She worked with delight and energy, seeing the bones of her picture
develop. An early riser, she was out every summer morning for a swim off the Boatcove. Hardly out of the water and dry
before her eye had seen and retained some angle of a gull’s flight or the structural perfection of a pile of lobster pots.“1

75

76
48
Daniel O’Neill (1920-1974)
A PROMISE MADE IS A DEBT UNPAID
oil on board
signed lower right; titled on Dawson Gallery label on reverse
18 by 24in. (45.7 by 61cm)
Provenance:
Collection of Dr John F. Boyle;
de Veres, 3 October 2006, lot 27;
Private collection
Born in Belfast in 1920 Dan O’Neill was largely self-taught as a painter and along with fellow Northern Irish artists Gerard
Dillon, Colin Middleton and George Campbell exhibited regularly in Belfast and particularly in Dublin with the Victor
Waddington Gallery who, in the 1940s/50s, successfully promoted O’Neill’s career at home and abroad, for example he
was included in group exhibitions in Canada and the USA. Early in his career O’Neill had worked for a short time in the
studio of Sidney Smith who, together with Gerard Dillon, introduced him to French art, inter alia Rouault, Cezanne and
Picasso. He also visited Paris for the first time c.1948/49. It may be noted that Waddington also represented Jack B. Yeats;
and O’Neill as well as Campbell made works as an homage to Yeats.
The title of the painting‘A Promise Made is a Debt Unpaid’would appear to be a line of verse taken from Robert Service’s
somewhat melodramatic poem‘The Cremation of Sam McGee’from the collection‘Songs of a Sourdough’(1907). Service
became known as‘The Bard of the Yukon’and the popular poem is about the death of a man prospecting for gold in
Alaska and north west Canada. The narrator in the poem struggles with delivering on a promise he made to McGee that
he would cremate his body rather than let him, as the prospector worried, be buried under snow and ice. The tone of
the poem’s development is one of tension, suspense and foreboding as well as perseverance - characteristics that often
define O’Neill’s work. Other lines in the poem, such as‘There are strange things done in the midnight Sun’and‘The
marge (shore) of Lake Lebarge’would seem to also strike correspondences with the O’Neill painting.
There are many examples in the artist’s work of female figures on a beach, often in small groupings where the sea is
often deployed as an atmospheric mood setting background element. This painting by the artist has two groups of
female figures and a child standing on what appears to be a lake shore, all wearing plain, simple full-length dresses in
light colours.
The startled group in the foreground is composed of three figures, two of whom look anxiously towards the viewer;
the other figure looks back towards a mid-distance group - a looking forward and a looking back. The orchestration
and disposition of the figures set the framework for apprehension. The ominous‘Yeatsian’sky, with its investment in
swirling liquid paint, what Calvin Bedient calls‘brush-storms’, further conspires in the sense of premonition. By contrast
the darker more textured landscape foreground is fired up by outbreaks and stretches of almost dayglo colours in red,
orange and yellow. It may be noted that O’Neill often deployed a limited range of rich colours and impasto to invoke a
visionary, unsettling atmosphere.
As in other works O’Neill in this painting registers a profound presentiment of something out of time and‘off stage’
which has unsettled the figures and disturbed the landscape - a promise made, a debt unpaid?
Prof. Liam Kelly
August 2022
€20,000-€30,000 (£17,240-£25,860 approx.)

77

78
49
Seán McSweeney HRHA (1935-2018)
CONWAY’S BOG, 1988
oil on board
signed and dated lower left; signed, titled, dated and with Kenny Gallery label on reverse
24 by 32in. (61 by 81.3cm)
Provenance:
Kenny Gallery, Galway;
Private collection
€6,000-€8,000 (£5,170-£6,900 approx.)

79
50
Norah McGuinness HRHA (1901-1980)
BLACK SEAWEED, 1969
oil on canvas
signed with initials lower right; titled and dated on
reverse
18 by 26in. (45.7 by 66cm)
During the late 1950s Norah McGuinness had
returned to live in Ireland and resided at a cottage
in the Dublin Mountains. It was from this location
she would travel to the shores of Sandymount
Strand to paint scenes such as the present work.
Black Seaweed, 1969 is typical of her work at this
time and brings together a number of recurring
elements in her work in both subject, colour tone
and technique.
Having been formally trained at the Metropolitan
School of Art, Dublin, the Chelsea Polytechnic,
London, and on Mainie Jellett’s advice, under
André l’Hôte in Paris, McGuinness, who was
originally from Derry, proved to be a rounded,
well travelled and informed artist at this point
in her career. The present works brims with this
confidence from the fluid brushwork to the
carefully constructed perspective. The lozenge
shaped pools of water - also a familiar motif - lend
a romantic quality to the work while the upright
rocks anchor the composition and link its different
elements together. McGuinness expertly uses
dashes of white in her palette to‘lift’the canvas
and create movement through the composition
from the swirling pools to the bright bills of what
appear to be three oystercatchers. The black
outlines lend a textile quality and a theatricality to
the present work which is unsurprising given the
artist’s expertise in these disciplines. McGuinness
created illustrations for Vogue and Harper’s Bazaar
and designed windows for Altman’s department
store on Fifth Avenue, New York as well as for
Brown Thomas in Dublin.
A major retrospective exhibition of the artist’s work
was held in Trinity College in Dublin in 1968 and
the show travelled to the Crawford in Cork and
later Brooke Park Gallery in Londonderry in 1969
the year Blackseaweed was painted.
Adelle Hughes,
August 2022
€10,000-€15,000 (£8,620-£12,930 approx.)

80
51
Charles Brady HRHA (1926-1997)
GEORGIAN DOORWAY
oil on canvas
indistinctly signed lower left
14 by 10in. (35.6 by 25.4cm)
Provenance:
Gifted by the artist to the parents of the present owner
€1,200-€1,500 (£1,030-£1,290 approx.)

81
52
Cecil King (1921-1986)
TOUCH
oil on paper
signed lower right; with David Hendriks Gallery label on reverse
18 by 14in. (45.7 by 35.6cm)
Provenance:
David Hendriks Gallery, November 1981;
Private collection
€1,200-€1,800 (£1,030-£1,550 approx.)

82
53
Tony O’Malley HRHA (1913-2003)
SELF-PORTRAIT, 1961
oil on wood panel
signed with initials and dated left centre
13 by 6in. (33 by 15.2cm)
Provenance:
Butler Gallery, Kilkenny, c.1990;
Private collection
€2,000-€3,000 (£1,720-£2,590 approx.)

83
54
Tony O’Malley HRHA (1913-2003)
BIRD, BRIGHT MORNING, TREVAYLOR, 1962
ink and watercolour
signed with initials lower centre; titled and dated [July] lower left
13.50 by 18.75in. (34.3 by 47.6cm)
Frame Dimensions: 21 by 26in. (53.3 by 66cm)
Provenance:
Private collection
€1,200-€1,500 (£1,030-£1,290 approx.)

84
55
William Scott CBE RA (1913-1989)
CHINESE ORANGE III, 1969
gouache
27 by 40in. (68.6 by 101.6cm)
Provenance:
Collection of Lord Hesketh deceased;
Kerlin Gallery, Dublin;
Private collection
The present gouache was painted by William Scott in 1969. 1 In that year, around twenty gouache paintings by
Scott were shown at the Richard Demarco Gallery during the Edinburgh Festival. 2 As this work demonstrates,
the artist had developed a distinctive approach to his imagery, in particular the conflation of still life with
abstraction. Over the decades, Scott had worked through a range of figurative themes, that is imagery that is
evidently drawn from the tangible physical world - landscape, the nude, still life - distilling and simplifying the
forms until, eventually, they gave way to full abstraction with his celebrated Berlin Blues series in the mid 1960s.
Scott’s approach to still life imagery was ground-breaking; initially prompted by the work of Chardin, Matisse, and
Bonnard, he looked to the familiar domestic environment of his working class origins for his forms, explaining that:
“the objects I painted were the symbols of the life I knew best.”3
William Scott did not represent these objects naturalistically, however; rather, he seems less interested in their
purposes than in their shapes, attracted to their potential for abstraction. Suggestive of a loose arrangement,
strewn on a rectangular table-top, Scott simplified the kitchen objects into flat shapes, carefully placed and spaced
across the surface of the painting to emulate their everyday reality. While earlier versions of the domestic theme
in Scott’s work often appear crowded and even chaotic, by the 1960s, a more airy and spacious aesthetic is in
evidence.
The majority of Scott’s artworks at this time are titled for their colours, and this work is no exception. While
‘Chinese orange’suggests the spherical form of the fruit, the phrase alludes in particular to the orange-red tone
that appears recurrently in his work. Scott has utilised the paint medium to create a slight‘halo’effect along
the outlines of some of the objects. However minimalistic they may appear, their artistic hand-painted quality
contrasts to the strict precision of‘hard edge’machine-aesthetic art that emerged in the US in the 1950s. In Scott’s
paintings, such object-forms resonate visually against their background.
The‘cut off’element of the first object on the left, whose profile evokes a heat-blackened pan, draws on late
nineteenth-century artistic practice under the influence both of Japanese prints and of the emerging significance
of photography. In Scott’s work it suggests that the image continues beyond the picture frame, into the‘real’world.
Through such methods, William Scott’s work hovers between abstraction and experience.
Dr Yvonne Scott,
August 2022
1. It is identified in the online William Scott Catalogue Raisonné, under‘Works on Paper’as‘Chinese Orange III’.
2. Norbert Lynton, William Scott, London 2007, p.466.
3. Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in ibid., p.30.
€40,000-€60,000 (£34,480-£51,720 approx.)

85

86
56
Micheal Farrell (1940-2000)
FIRST REAL IRISH POLITICAL PICTURE, MISS BRIDGIT O’MURPHY D’APRES BOUCHER BOUCHERIE A LA
MODE IRLANDAISE, 1978
watercolour
signed and dated lower right; titled and dated lower left and lower right
22.50 by 30in. (57.2 by 76.2cm)
Marie Brigitte O’Murphy (1729–1793), was a mistress to King Louis XV of France from 1755 to 1757. She
was one of twelve children of Daniel Morfi and Marguerite Iquy. She was the elder sister of Marie-Louise
O’Murphy. In 1755, she was recruited to replace her sister as a petite maîtresse (unofficial mistress) of
the king in Parc-aux-Cerfs by Dominique Guillaume Lebel. Brigitte O’Murphy was fired from her position
in 1757, and it is noted that she was given a pension on 26 July 1757. She never married. In 1770,
her pension was extended, and it was noted in the report filed in connection to this that she lived a
respectable life.
€1,500-€2,000 (£1,290-£1,720 approx.)

87
57
Barry Castle (1935-2006)
ONE OF SOSNO’S WOMEN, 1986
oil on board
signed with monogram and dated lower right; inscribed on Portal Gallery [London] label on reverse
39 by 24in. (99.1 by 61cm)
Exhibited:
Portal Gallery, London, September 1986
The daughter of author Maura Laverty, Barry Castle studied art at NCAD enrolling at the age of 15 and being taught by Seán
Keating, Maurice MacGonagle and John Kelly, but left after two years. She did not continue to paint until she was taught a
luminous technique by her self-taught husband Philip Castle (1929-2005). During her career Castle illustrated numerous books
including her mother’s book, The Queen of Aran’s Daughter. Many of the originals for her illustrative work are now housed in
the National Library of Ireland. Castle exhibited regularly from the 1970s in Dublin, Cork and London. She had her first major
exhibition with London’s Portal Gallery in 1974, her husband first exhibited there in 1969. The gallery hosted solo and joint
exhibitions of their work from the 1970s until the 1990s.
Alexandre Joseph Sosnowsky (1937 – 3 December 2013), better known by the name Sacha Sosno, was an internationally
renowned French sculptor and painter.[1] Working most of the time in Nice, in his last decades Sosno achieved international
recognition for his monumental outdoor sculptures in Côte d’Azur, France. Along with: Yves Klein, Arman and Cesar he was
part of the New Realist (Nouveau réalisme) movement . Sosno had a singular artistic approach: the concept of obliteration. His
sculptures are masked by empty or full space, inviting the viewer to use his own imagination.
€2,000-€3,000 (£1,720-£2,590 approx.)

88
58
Barry Castle (1935-2006)
SPARE THE ROD, 1980
oil on board
signed with monogram lower left; dated lower right; titled on Portal Gallery label on reverse
18 by 21.50in. (45.7 by 54.6cm)
The daughter of author Maura Laverty, Barry Castle studied art at NCAD enrolling at the age of 15 and
being taught by Seán Keating, Maurice MacGonagle and John Kelly, but left after two years. She did not
continue to paint until she was taught a luminous technique by her self-taught husband Philip Castle
(1929-2005). During her career Castle illustrated numerous books including her mother’s book, The
Queen of Aran’s Daughter. Many of the originals for her illustrative work are now housed in the National
Library of Ireland. Castle exhibited regularly from the 1970s in Dublin, Cork and London. She had her
first major exhibition with London’s Portal Gallery in 1974, her husband first exhibited there in 1969. The
gallery hosted solo and joint exhibitions of their work from the 1970s until the 1990s.
€1,500-€2,000 (£1,290-£1,720 approx.)

89
59
Pauline Bewick RHA (1935-2022)
THEIR CAT, 1978
watercolour
signed and dated lower right; titled on label on reverse
30.50 by 22.50in. (77.5 by 57.2cm)
€3,000-€4,000 (£2,590-£3,450 approx.)

90
60
INDIA EATING CHERRIES, TUSCANY, 1988
watercolour
signed, titled and dated [July/Aug] lower right; with Catto Gallery [London] label on reverse
22.50 by 30.50in. (57.2 by 77.5cm)
€3,000-€4,000 (£2,590-£3,450 approx.)

91
61
THE ORCHARD, 1963
oil on board
signed and dated lower left; signed and titled on reverse
34 by 24in. (86.4 by 61cm)
Provenance:
Private collection
€4,000-€6,000 (£3,450-£5,170 approx.)

92
62
Bob Dylan (American, b.1941)
ROOFTOP BAR [THE DRAWN BLANK SERIES], 2009
giclée print on Hahnemüle Museum etching paper; (no. 220 from an edition of 295); (unframed)
signed lower right; numbered lower left
21.50 by 15.25in. (54.6 by 38.7cm)
Sheet size: 27.5 by 22in.
Accompanied by a certificate of authenticity from Washington Green Fine Art
€1,500-€2,000 (£1,290-£1,720 approx.)

93
63
THREE CHAIRS [THE DRAWN BLANK SERIES], 2009
21.25 by 15.75in. (54 by 40cm)
Accompanied by a certificate of authenticity from Washington Green Fine Art.
€1,500-€2,000 (£1,290-£1,720 approx.)

94
64
WOMAN IN RED LION PUB - PORTFOLIO [SET OF FOUR] [THE DRAWN BLANK SERIES], 2008
giclée print on Hahnemüle Museum etching paper; (4) (each no. 112 from an edition of 295); (unframed)
each signed lower right and numbered lower left
21.50 by 16in. (54.6 by 40.6cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

95
65
TRUCK STOP [THE DRAWN BLANK SERIES], 2009
21.50 by 15.25in. (54.6 by 38.7cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

96
66
FISHERMAN [THE DRAWN BLANK SERIES], 2009
21.50 by 15.75in. (54.6 by 40cm)
€1,500-€2,000 (£1,290-£1,720 approx.)

97
67
MAN ON A BRIDGE - PORTFOLIO [SET OF FOUR] [THE DRAWN BLANK SERIES], 2008
each signed lower right and numbered lower left
21.50 by 16in. (54.6 by 40.6cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

98
68
Nathalie du Pasquier (French, b.1957)
SELTZER BOTTLE, 2004
oil on canvas
signed and dated on reverse
20 by 20in. (50.8 by 50.8cm)
Provenance:
Peppercanister Gallery, Dublin, 2013;
Private collection
€3,000-€5,000 (£2,590-£4,310 approx.)

99
69
Stephen McKenna PPRHA (1939-2017)
INTERIOR SCENE, 1997
oil on canvas
signed with monogram upper right; signed, dated and numbered [K979] on reverse
24 by 32in. (61 by 81.3cm)
€8,000-€12,000 (£6,900-£10,340 approx.)

100
70
Hector McDonnell RUA (b.1947)
IRISH BAR AT GARRISON, NEW YORK
oil on canvas
signed lower right; signed and titled on reverse
24 by 18in. (61 by 45.7cm)
€5,000-€7,000 (£4,310-£6,030 approx.)

101
71
Martin Gale RHA (b.1949)
THEIR PONIES, 2014
oil on canvas; (unframed)
signed, titled, dated and with Taylor Galleries label on reverse
39 by 47in. (99.1 by 119.4cm)
Provenance:
Taylor Galleries, Dublin;
Private collection
€6,000-€8,000 (£5,170-£6,900 approx.)

102
72
Louis le Brocquy HRHA (1916-2012)
HEAD OF W. B. YEATS (GREEN), 1991
silkscreen; (no. 15 from an edition of 35)
signed, numbered and dated lower right; with Apollo Gallery label on reverse
23 by 16in. (58.4 by 40.6cm)
Sheet size: 30 by 22 inches.
€2,000-€3,000 (£1,720-£2,590 approx.)

103
73
Louis le Brocquy HRHA (1916-2012)
A STUDY TOWARDS AN IMAGE OF JAMES JOYCE,
1982
watercolour and crayon
signed, titled, dated and numbered [W682] on
reverse (concealed by frame)
24 by 18in. (61 by 45.7cm)
Provenance:
Apollo Gallery, Dublin;
Private collection
According to Anne Crookshank:‘le Brocquy has
always been a great practitioner of watercolour
and the thin washes of his early oils have
much in common with this method. But… [h]
is watercolours have taken on a new value. The
irregular dabs of brilliant colour, purple, blue,
and green, as non-descriptive as the tesserae of a
Byzantine mosaic, build up the form of his heads
with a tense, nervous immediacy which oil with
its overlapping layers and opaque thickness never
can achieve. The traces of paper left between each
stroke, which enhance the brilliancy of the colours,
and the gleam of whiteness, which glows through
the paint, all help to create the truly magical
effect of images coagulating in front of your eyes,
coming alive, mediating, speaking, and ultimately
returning to their own imaginative genius. He
sometimes uses tissue paper to paint from, using
it in such a way that the creases make caesuras in
the strokes of paint. The results are deliberately
induced accidents which help to keep the images
at a distance from us, to give them reality only as
paintings, not as descriptive portraits ... The magic
of the quietness of le Brocquy’s oils is surpassed
only by the excitement of his watercolours. They
may be as still as the oils. But the sheer joy of their
running, smudged, fragmented, clear colours
brings vital reality to the spirit of his rediscovered
genius. In this aspect of his work, le Brocquy has
added a new dimension to his art. He has become
a great colourist.’...
€18,000-€22,000 (£15,520-£18,970 approx.)

WHYTE'S_IRISH_INTERNATIONAL_ART_26_SEPTEMBER_2022.pdf

WHYTE'S_IRISH_INTERNATIONAL_ART_26_SEPTEMBER_2022.pdf

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WHYTE'S_IRISH_INTERNATIONAL_ART_26_SEPTEMBER_2022.pdf