Important Irish Art

Transcription

Important Irish Art

Important Irish Art
Including the Patrick McElroy Studio Sale
Wednesday 31st March 2010 at 6pm
Contacts for this sale
Brian Coyle FIAVI FRICS
James O’Halloran FIAVI
Stuart Cole MIAVI
David Britton BBS ACA
Director
s.cole@adams.ie
Director
d.britton@adams.ie
Eamon O’Connor BA
Jane Beattie BA MRICS
Associate Director
j.beattie@adams.ie
Nick Nicholson MIAVI
Kieran O’Boyle BA MIAVI
Associate Director
e.oconnor@adams.ie
Caroline Kevany BA
Aoife Leach MA
Chairman
Fine Art Department
caroline@adams.ie
Managing Director
j.ohalloran@adams.ie
Fine Art Department
aoife@adams.ie
Est 1887
26 St Stephen’s Green, Dublin 2.
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie www.adams.ie
Consultant
n.nicholson@adams.ie
Abigail Bernon BA
Fine Art Department
abigail@adams.ie
Fine Art Department
k.oboyle@adams.ie
Est 1887
IMPORTANT IRISH ART
AUCTION
Wednesday 31st March 2010 at 6.00pm
VENUE
James Adam Salerooms
26 St Stephen’s Green, Dublin 2
Ireland
SALE CODE
This sale may be referred to as 3095 in all correspondence
CATALOGUE
€15.00
or at www.adams.ie
Viewing : March 28th-31st
Adam’s, 26 st stephen’s green, Dublin 2.
Sunday 2.00pm - 5.00pm
Monday - Wednesday
9.30am - 5.00pm
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INFORMATION FOR PURCHASERS
1.
Estimates and Reserves
These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower
estimate.
2.
Paddle Bidding
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recommended
to register on viewing days.
3.
Payment, Delivery and Purchasers Premium
Thursday 1st April 2010, 10.00am - 1.00pm and 2.00pm -5.00pm. Under no circumstances will delivery of purchases be given whilst the auction is in
progress. All purchases must be paid for and removed from the premises not later than 5pm on Thursday 1st April 2010. Auctioneers commission on
purchasers is charged at the rate of 18% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque vouched to the satisfaction of the auctioneers,
prior to sale. Purchasers wishing to pay by credit card (Visa & Mastercard) may do so, however, it should be noted that such payments will be subject to
an administrative fee of 1.85% on the invoice total. American Express is subject to a charge of 3.65% on the invoice total. Please contact our accounts
department prior to sale with your payment queries. Artists Resale Rights (Droit de Suite) is NOT payable by purchasers.
4. VAT Regulations
All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is
inclusive of VAT. This is not recoverable by any VAT registered buyer.
5. Please note that imperfections are not stated.
6.
Absentee Bids
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone. However,
these services are subject to special conditions see conditions of sale in this catalogue. All arrangements for absentee bidding must be made before 5pm
on the day prior to sale.
7.
Acknowledgments
We would like to acknowledge, with thanks, the assistance of Dr. Eimear O’Connor, Dickon Hall, Dr. Brian Kennedy, Kevin Ruthledge, Dr. Denise Ferran,
Sile Connaughton - Deeny and Aoife Leach.
8.
These lots are being sold under our Conditions of Sale as printed in this catalogue and on display in the salerooms.
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1
Cecil Maguire RUA (b.1930)
Landscape near Roundstone
Oil on board, 51 x 61cm (20 x 24”)
Signed. Inscribed with title verso
Provenance: Collection of Raymond MacDonnell, Architect
€2000 - 3000
Important Irish Art 31st March 2010
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2
Maurice Canning Wilks ARHA RUA (1910-1984)
A County Antrim Lane, Cushendun
Oil on board, 30 x 35cm (12 x 12.75”)
Signed
€1000 - 1500
3
Mountain Landscape, Connemara
Oil on canvas, 34 x 44cm (13.5 x 17.5”)
Signed and inscribed with title verso
€1500 - 2000
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4
“John The Rocks”, Rockfort, Cushendun, Co. Antrim
Oil on board, 30 x 35cm (12 x 13.75”)
Signed
€2000 - 3000
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5
Fr ank Egginton RCA FIAL (1908-1990)
Tully Mountain From Lettergesh Connemara
Watercolour, 37 x 53cm (14.5 x 21”)
Signed and dated ‘73, title inscribed on label verso
€800 - 1200
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In the Kerry Mountains
Signed
€1500 - 2500
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7
Sheep Grazing in Bogland, Kerry
Signed and dated (19)’73
€1500 - 2500
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8
Lough Shindilla, Connemara
Watercolour, 38 x 53cm (15 x 20.75”)
Signed and dated 1978
€800 - 1200
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A Wet Day, Co. Donegal
€800 - 1200
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10
Lily Williams ARHA (1874-1940)
Cottage at Ticknock, Dundrum
Oil on canvas laid on board, 15 x 22.75cm (6 x 9”)
Signed with monogram
€1000 - 1500
Dublin born Lily Williams was first taught art by May Manning and later went on to the Dublin Metropolitan School
of Art where her contemporaries included Estella Solomons,Beatrice Glenavy and Cissie Beckett. She was well
known for her Republican sympathies and fell out with her family at the time of the rising. Her portrait of Arthur
Griffith is in the Hugh Lane Gallery Collection.
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11
May Guinness (1863-1955)
Harbour Scene
Signed
€1000 - 1500
12
Gr ace Henry HRHA (1868-1953)
Mending Nets, Chioggia
Signed
Dawson Gallery label verso
Together with a catalogue, Grace Henry, The Person
and Artist, by J.G. Cruickshank.
Grace Henry visited Venice and nearby Chioggia with
the writer and parliamentarian Stephen Gwynn in the
1920’s. It has been noted for being one of the happiest
periods in her eventful life judging from the many exceptional pictures that she produced whilst on her travels.
€2000 - 4000
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13
Little Waves, Achill
Oil on canvas, 37 x 44.5cm (14.5 x 17.5”)
Signed
€7000 - 10000
Grace Henry was the subject
of a very successful retrospective
at Jorgensen Fine Art in January
of this year.
Much of Grace Henry’s output is characterized by a lyrical quality. In this Landscape, for example, there is an emphasis on the curvilinear which, while respecting the topography of the scene,
emphasizes a gentle design aspect. In this she was, in her own words, ‘in revolt against the waning
inspiration of an outworn impressionism,’ which typified much art of her time. She, on the other
hand, preferred to think of a painting as ‘an arrangement of colours and planes on a flat surface,
not a hole in the wall through which nature is seen more or less uncritically’ (‘Grace Henry’, Father
Mathew Record, November 1942, p.4). She also preferred, as in this work, to juxtapose fairly large
masses of colour and form with one another so as to give solidity to the composition. But there is
too in her work a vivacity, at times an almost irresponsible gaiety and, as the Irish Times (15 August
1953) noted shortly after her death, her best work was always ‘highly individualistic, and free from
conventional inhibitions.’ All these qualities can be seen in this Landscape, which is possibly a scene
near Achill Sound, although of this one cannot be certain. Dated 1915-19 on stylistic grounds and
with regard to the fact that the artist left Achill Island late in the latter year.
Dr. S.B. Kennedy
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14
Evie Hone HRHA (1894-1955)
Design for Stained Glass Window in the Church of
The Immaculate Assumption, Farm Street, London
Gouache and wax crayon, triptych, 45.8
x 8.4cm each (18 x 3.25”)
Inscribed ‘The Assumption’
Provenance: From the McClelland
Collection and on loan to IMMA from 1999 - 2004
€1500 - 2500
15
St. Francis in the Garden
Gouache, lancet shaped, 26 x 7cm (10.25 x 2.75”)
and Blessed Virgin Mary and St. Gabriel,
3 light window designs by the same hand
together with three further works that are
thought to be possibly by the same hand
including: Women at the Well & Continental
Monotype
(6) unframed
Provenance: Leo Smith, The Dawson
Gallery, Dublin, and thence by descent
€500 - 700
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16
Barry Castle (1935-2006)
Soldier of the Lord
Oil on board, 122 x 68.5cm (48 x 27”)
Signed and dated ‘94, inscribed with title verso
Exhibited: “Autumn Exhibition”, The
Frederick Gallery, November 2000, catalogue no.
65, where purchased by the current vendor.
€3000 - 5000
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17
Martin Mooney (b.1960)
Still Life with Leeks
Signed, inscribed with title verso and dated 1997
Provenance: Purchased in May 1998 at a charity
sale in aid of “Camphill Communities
of Ireland” by the current owner
€8000 - 12000
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18
Still Life with Chinese Vase
Oil on canvas, 60 x 120cm (24 x 48”)
Signed, also signed, inscribed, dated 2000 and numbered MM209 verso
Exhibited: Martin Mooney Exhibition, The Solomon Gallery, Dublin, Oct/Nov 2000 where purchased
Literature: Full page illustration in the accompanying catalogue
€10000 - 15000
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19
Still Life Study with Flower
Oil on board, 23.5 x 32cm (9.75 x 12.5”)
Signed with initials and dated ‘05. Signed
again and inscribed with title verso
€2000 - 3000
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20
Maeve McCarthy RHA (b.1963)
Supermarket Asparagus
Oil on canvas, 25.5 x 30.5cm (10 x 12”)
Signed and dated ‘03
Exhibited: Royal Hibernian Academy Annual Exhibition 2004, catalogue no. 264, where purchased by the current owner
€700 - 1000
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21
Brian Ballard RUA (b.1943)
Still Life with Lemons & Jug
€2000 - 4000
22
Irises and Fruit
Oil on board, 24.5 x 34.5cm (9.75 x 13.5”)
€1500 - 2000
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23
Seated Figure with Flowers
Oil on board, 58.5 x 44cm (23 X 17.25”)
€2000 - 3000
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24
John Doherty (b.1949)
Eleana - Gets a Face Lift
Acrylic on canvas, 30.5 x 46cm (12 x 18”)
Signed, inscribed with title and dated ‘07 verso
Exhibited: “John Doherty, New Twists and Turns” Exhibition, The Taylor Gallery, Dublin, March-April ‘07, Catalogue number 13, where purchased by the current owner.
Literature: Full page illustration in accompanying exhibition catalogue
€6000 - 8000
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25
John Doherty (b.1949)
The Channel Wader
Acrylic on canvas, 56 x 61cm (22 x 24”)
Signed, dated 2006 and inscribed with title verso
Exhibited: The Royal Hibernian Academy, Annual Exhibition 2006, catalogue no 156,
where purchased by the current owner.
€8000 - 12000
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26
Blaise Smith (b.1967)
Red Barn near Gowran
Oil on gesso panel, 30.5 x 30.5cm (12 x 12”)
Signed verso
Exhibited: “Blaise Smith Exhibition” The
Molesworth Gallery, June 2000, catalogue no.
3, where purchased by the current owner.
€1000 - 2000
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Blaise Smith (b.1967)
Across Kilkenny
Oil on gesso panel, 30.5 x 30.5cm (12 x 12”)
Signed and inscribed on artist’s label verso
Exhibited: “Blaise Smith Exhibition” The
Molesworth Gallery, June 2000, catalogue no.
2, where purchased by the current owner.
€1000 - 2000
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28
Donald Teskey RHA (b.1956)
Layer Tilt II
Acrylic on paper, 76 x 76cm (30 x 30”)
Signed and dated ‘08. Inscribed artist’s label verso
€10000 - 15000
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Tony O’Malley HRHA (1913-2003)
The Cloister of Montregan, Bahamas
Acrylic on canvas, 120 x 89cm (47 x 35”)
Signed with initials, dated 1/ 1980
Provenance: Acquired directly from the artist’s studio; Solomon Gallery, Dublin; Private collection, Dublin.
Painted during one of O’Malley’s many summer visits to the Bahamas, The Cloister of Montregan, Bahamas is a vivid
composition that is typical of his work, with fields of colour and shapes and symbols that make up an abstracted bird’s eye
view. Here a number of colourful elements hint at manmade structures, from the overall division of the canvas into sections
that can be viewed as rooms, to smaller details such as a door like shape in the top right. The ecclesiastical nature of these
structures is evident from two Chi Rho symbols on the left side of the picture plain. Made up from the first two letters of
the ancient Greek word for Christ, the emblem has been used in Christian iconography for centuries, and is probably best
recognised by an Irish audience from a carpet page in the Book of Kells. O’Malley embeds the Chi Rhos in the composition,
along with vibrant forms that imply foliage and architectural elements, suggesting the ubiquitous Christian devotion of daily
monastic life. Yet the subtle incorporation of these emblems into a bright ground of colourful forms gives the composition an
overall decorative appeal that transcends religious conviction.
€35000 - 45000
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30
Crow Country 1980
Gouache and pumice on paper, 20 x 27.5cm (8 x 10.8”)
Signed with initials and dated 8/80, signed again,
inscribed with title and artist’s self portrait device
Exhibited: “Tony O’Malley Exhibition”, Irish
Museum of Modern Art, July 2001 - January 2002
Provenance: From the McClelland Collection
and on loan to IMMA from 1999 - 2004
€1500 - 2500
31
Winter Fields 1973
Gouache, 64 x 49cm (25.25 x 19.25”)
Signed and inscribed with title and dated 1/73
€2000 - 4000
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32
Mirror at Allen’s Cottage, New Mill (Self Portrait)
Gouache on paper, 39.5 x 28cm (15.5 x 11”)
Signed, inscribed with title and second title “Self Portrait”, and dated 20/5/77
Exhibited: “Tony O’Malley Exhibition”, Irish Museum of Modern Art, July 2001 - January 2002
Provenance: From the McClelland Collection, and on loan to IMMA from 1999 - 2004
€2500 - 3500
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33
Autumn and Black(1976)
(Winter Lines)
Gouache, 42 x 29cm (16.5 x 11.5”)
Signed with initials, inscribed with title
“Winter Lines” and dated Nov’ 76
€1200 - 1600
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2 Birds, St. Martin’s (1974)
Gouache on paper, 18 x 25.2cm (7 x 9.8”)
Signed with initials, dated 3/74 and inscribed with title
Exhibited: “Tony O’Malley Exhibition”, Irish Museum
of Modern Art, July 2001 - January 2002
€1500 - 2500
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35
Patrick Scott HRHA (b.1921)
Little Girl
Signed, signed again and inscribed with title verso
Exhibited: Irish Exhibition of Living Art 1958, catalogue no. 91
€5000 - 7000
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36
Gold Painting 4/93
Tempera and gold leaf on linen, 60.5 x 60.5cm (24 x 24”)
Signed and inscribed with title verso
€2500 - 3500
37
Patrick Scott HRHA (b. 1921)
Tangram IV (2005)
Carborundum and gold leaf, 66 x 76cm (26 x 30”)
Signed and numbered 58/75
Provenance: The Taylor Galleries, Dublin,
€1000 - 1500
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38
The Irish Border
Tempera on canvas, 61 x 61cm (24 x 24”)
Signed, inscribed with title and dated ‘87 verso
€1500 - 2500
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39
Martin Gale RHA (b.1949)
Sheltering Man
Oil on canvas,40 x 50cm (15.75 x 19.75”)
Signed
Exhibited: Martin Gale Exhibition, The Taylor Gallery, Dublin , October 2006, catalogue no. 4
Literature: Full Page Illustration in the accompanying catalogue
€2000 - 4000
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40
Martin Gale RHA ( b.1949)
A Search
Exhibited: Festival Art Exhibition, 1999
€3000 - 5000
41
Colin Middleton RHA MBE (1910-1983)
El Nene I
Signed with artist’s device, signed again and inscribed with title verso
Provenance: John Ross & Co. Belfast, 7th June 2000, catalogue no. 170, where purchased by the current owner.
There are occasions when Colin Middleton’s background as a damask designer created problems in his work as a painter,
but in the later work in particular, he is skillfully able to draw on it to enhance rather than overbalance a composition.
Pattern does dominate El Nene but the figures do not lose their solidity and weight nor does the space ever become too
flat. The abstract coherence of the mother and child gives them a greater universality because they do not become too
particular. Middleton’s post-war work had often created women who were inextricably a part of the landscapes they
inhabited. By the 1960s this had become less emotive and more detached, as he abstracted the female form to a point at
which it became a synthesis of the natural landscape and womankind, invested with the monumentality and fecundity
that we see in this work.
Dickon Hall
€20000 - 30000
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42
Ger ard Dillon (1916-1971)
A Flower for my Sweetheart
Linocut, 11.5 x 19cm (4.5 x 7.5”)
together with a Christmas card with three drawings
on a Waddington Gallery catalogue inscribed “To
Leo, A Happy Xmas old boy and all that” and dated
1960 & a print possibly by the same hand
(3) unframed
Provenance: Leo Smith, Dawson Gallery,
Dublin thence by descent
€300 - 500
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Nano Reid (1900-1981)
Guitar
Watercolour, 20.5 x 12.6cm (8 x 5”)
Inscribed with title also inscribed within “Best of
luck/Nano”
together with
Birds in the Meadow
Watercolour, 17 x 14cm (6.75 x 5.5”)
Signed inside card
(2) unframed
€400 - 600
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44
Romeo Charles Toogood RUA ARCA (1902-1966)
Smithfield 1951
Oil on board, 110 x 184cm (43 x 72.5”)
Signed with initials. Bearing brass plaque with inscription
Romeo Toogood studied at the Belfast School of Art and the Royal College of Art in London. Returning to his home town
of Belfast in 1930 he joined a small group of artists known as the Ulster Unit, and taught at various high schools and institutes including the Belfast College of Art where his students included Terence Flanagan and Basil Blackshaw. Toogood’s work was exhibited at the RHA, Ulster Academy of Arts, RUA and the Piccolo Gallery in Belfast. Following his death retrospectives were held by the Arts Council of Northern Ireland (1978) and the Bell Gallery (1989).
€2000 - 4000
45
George Campbell RHA (1917-1979)
My Cat & Flowers
Oil on board, 75 x 62.5cm (29.5 x 24.5”)
Original gallery label verso
Exhibited: The Ritchie Hendriks Gallery, Dublin, July 1963
There is a wonderful photograph of two men in a boat, one rowing the other holding onto a cat. These two men are Gerard
Dillon, the rower, and George Campbell, the cat-lover. The photo was taken in 1951 by James MacIntyre, a young artist who
spent a summer painting with Campbell and Dillon on the island of Inishlacken off the west coast. He wrote a lovely account
of this in his book, Three Men on an Island, where he tells us that the large white and ginger cat was known as Suzy Blue Hole,
‘discerningly named because of the colour of part of her anatomy’! Both George and his wife, Madge, were keen on cats; their
home featured many feline touches and George often painted cats.
When Dillon came to paint a portrait of Madge, he posed her sitting with a cat on her lap. Painted in the early 1960s, My
Cat and Flowers is typical of the way George was working at that time. It displays a fascination with underlying patterns and
rhythms; both the cat and the flowers are seen in planes of colour rather than realistically. He looks at his subjects, analyses
and reassembles them and represents them with a tessellated finish. He was apt to describe his west of Ireland landscape as
‘Connemara-tweed landscapes’ and ‘ Donegal-tweed landscapes’, that is, that they took on the appearance of the warp and weft
of a piece of textured fabric.
He treats this still-life in a similar manner. The knowingness of the cat’s eyes as he fixes his look upon us is quite startling; in
a sense, we, the viewers, become the subject of the painting. I am reminded of Lewis Carroll’s Cheshire Cat grinning at Alice
as he appears and disappears at will, engaging her in amusing but sometimes vexing conversation.and of George’s comment on
figures in his work : ‘I paint my figures merging - now you see me, now you don’t - poised on the edge of something - probably
nothing important.’
Síle Connaughton-Deeny, March 2010
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46
Marion King (1897-1963)
La Charmeuse de Legendes
Reverse painted on glass and contained within a
fretwork frame, 75 x 45cm (29.5 x 17.75”)
Signed
Inscribed artist’s exhibition label verso
Trim born Marion King was something of an inventor with her technique of painting on glass
which caused quite a stir in artistic circles. For information on her technique and her life see
Theo Snoddy Dictionary of Irish Artists.
€800 - 1200
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Melanie le Brocquy HRHA (b.1919)
The School Outing
Painted plaster relief plaque, 20 x 23cm (8 x 9”)
Signed
46
€500 - 700
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48
Mary Dor an (fl.1920-30’s)
Inspiration
Champleué enamel plaque on copper,
20 x 18cm (8 x 7.25”)
Exhibited: The 4th Arts & Crafts Society of
Ireland Exhibition, 1910
Irish Art Exhibition, Brussels, May 1930
Provenance: From the estate of the late Patrick McElroy
A student of Oswald Reeves’ at the Dublin Metropolitan School of Art. A piece by her can be found in the Royal Collection.
€2000 - 4000
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49
John Behan RHA (b.1938)
50
The Children of Lir
Bronze, 32cm high including base (12.5”)
Flight of Birds
Bronze, 45cm high including base (17.75”)
€2000 - 3000
€3000 - 5000
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51
Ghost Ship
Bronze, 57cm high, 59cm long (22 x 23.25”)
€5000 - 8000
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52
Gerda Frömel (1931-1975)
Disc (with Lozenge)
Bronze on a marble base, 38.5cm diameter (15.2”)
Exhibited: Gerda Frömel Retrospective Exhibition,
Hugh Lane Gallery, Dublin, June 1976, Cat. No. 40
€2000 - 4000
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Imogen Stuart RHA (b.1927)
King Laoghaire Greets Saint Patrick
Carved wooden disc mounted on handmade paper, 16 x 15cm (6.25 x 6”)
Signed, inscribed label verso
€500 - 700
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54
Catherine Greene (b.1960)
Harlequin on Horse
Bronze, 55.5cm high (21.75”)
Signed with initials, numbered II/V and dated ‘05
€3000 - 4000
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55
Edward Delaney RHA (1930-2009)
Walking Girl
Silver alloy on a marble base, 17cm high overall (6.75”)
Stamped with initials
€1500 - 2000
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Edward Delaney (1930-2009)
Figures and Horse
Mixed media, 56 x 80.5cm (22 x 31.75”)
This work comes from a series of work by
Delaney called the “Cuchulainn Suite” that
were exhibited at the Davis Gallery Sept. 1972
€400 - 600
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57
Ana Duncan (20th/21st Century)
Seated Woman
Bronze on a tall black marble base, 38.5cm (15”) overall
Signed and numbered 3/ 9
€800 - 1200
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John Coll (20th/21st Century)
Head of Samuel Beckett
Bronze, 30.5cm (12”) high
Provenance: From the Estate of Dr. Carmel Long and Richard Dennis Esq.
€1500 - 2500
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Sean Keating PRHA HR A HRSA (1889 - 1977)
(Don) Quixote
Signed
€15000 - 20000
Provenance: Victor Waddington Gallery Dublin, 1932; Carnegie Institute, Pittsburgh, 1933; Irish Art Rooms, New York 1934/1946; returned to Ireland
with Victor Waddington 1947; Victor Waddington Gallery Dublin, 1952; Seán Keating Retrospective, Municipal Gallery of Art, Dublin, 1963; private
collection.
Miguel de Cervantes published the first part of Don Quixote in 1605, followed by a second volume in 1615, and ever since the central eponymous and
comical character has been popular as a satirical metaphor for those not enamoured of the political classes, or of the self-satisfied. Formerly Alonso
Quijano, the delusional old man read so many chivalric novels that he lost his mind. Led by his over-ripe imagination, he decided to transform himself
into a knight. He created a cardboard helmet and found himself an ancient horse and an old suit of armour. In the guise of Don Quixote he took to
the road to live out a series of catastrophic events, but none of which related to chivalry. Along the way he acquired the services of an elderly assistant,
Sancho Panza, otherwise known as the magician, whose role was initially self-serving, yet ultimately he helped his master through the reality of the terrible tribulations that they encountered.
For Seán Keating the artistic and allegorical possibilities offered by literature were endless. A fluent French speaker, his interest in all things Spanish was
ignited on meeting his future wife, May Walshe, in 1916. Raised in a convent in Spain, May was so immersed in the culture that the language of her
dreams was Spanish. The first image in a series of three relating to Don Quixote was El Prestigiador Despojado (The Magician), a portrait of Sancho
Panza, which was painted by the artist in 1918. It is now in the collection of the Crawford Gallery in Cork.
Keating did not return to the theme again until the late 1920s, and when he did, it was Don Quixote’s character that offered him the opportunity to
allegorically critique the business and political classes at home and abroad. He painted the first of two versions of the unlucky knight in 1927, and sent it
immediately to the Carnegie Institute in Pittsburgh and to several exhibitions in New York. It is a quiet and contemplative painting in which Don Quixote sits in an undefined interior setting, his hand on his cardboard helmet, thinking about his supposedly chivalric deeds. It proved extremely popular
as a readily recognisable metaphor for the self-satisfied during the financially problematic years of the 1920s and 30s.
In 1932 Keating painted this second version of Don Quixote. It is a lively and expressive composition, which finds the self-constructed hero amid an
extraordinary setting that may relate to the second volume of the novel. Don Quixote is seated beneath a banner. It bears a full coat of heraldic arms that
identifies the sitter as a knight. He is portrayed in the manner of a Renaissance hero, complete with the accoutrements of his apparent success: sword,
helmet and book of knowledge. In the background there is a walled town, possibly Toledo, an ancient citadel replete with emblematic and symbolic
chivalric meaning. The irony for Keating, and for the audience familiar with the story, is that the seemingly impressive portrait and symbolic location is
the ultimate apotheosis of Don Quixote’s wild imagination. When transposed into the Irish, or even the international context, the image, like the first
version, offers a range of allegorical possibilities. As the painting was produced in the year that Cumann nGaedhael lost power to Fianna Fáil, it can be
justifiably understood as a metaphorical critique of the political classes, who, as far as the artist was concerned, had failed to fulfil the promise of the
Treaty of Independence. For its painterly style, use of colour and exterior setting, this second version of Don Quixote has far more in common with El
Prestigiador Despojado (The Magician) than the earlier, interior image.
Don Quixote is described in the novel as tall and gaunt. Keating always chose his models to suit the character he wanted to portray. In this instance, he
used a man with suitable physical attributes from among those that modelled the Dublin Metropolitan School of Art. The same man appears in both
versions of Don Quixote and in Quixote Model’s Interval (1927) (private collection) and Good Old Stuff (1928) (private collection).
Dr Éimear O’Connor
TRIARC-Irish Art Research Centre, TCD.
Dr O’Connor recently published Seán Keating in Context: responses to culture and politics in post-civil war Ireland, in which she compiled and contextualised all of the artist’s writings and broadcasts from 1924/1972, and Seán Keating in Focus, the catalogue for the eponymous exhibition at the Hunt
Museum in Limerick (June-September 2009). O’Connor is working on a monograph of Keating to be published in 2012, after which she intends to
publish a catalogue raisonne. She would be very grateful to receive all information about the artist and his work. She can be contacted at TRIARC-Irish
Art Research Centre, Provost’s Stables, Trinity College, Dublin 2, or at eioconno@tcd.ie
51
52
60
Muriel Br andt RHA (1909-1981)
The Pink Nightdress
Oil on board, 25 x 19cm (9.75 x 7.5”)
Signed
Inscribed artist’s label verso
€1000 - 2000
61
Estella Solomons HRHA (1882-1968)
Portrait of a Girl
Oil on canvas, 51 x 40.5cm (20 x 16”)
Provenance: The artist’s studio
Exhibited: Estella Solomons Exhibition, The Crawford
Gallery, Cork 1986, Cat. No. 99
€2000 - 3000
53
62
Manner of James Barry R A (1741-1806)
Portrait Of A Gentleman, believed to be Alexander Pope
Provenance: From a Private Dublin Collection
€2000 - 4000
63
Sar ah Purser HRHA (1848-1943)
Portrait of a Lady with a Scarf
Oil on board, 44.5 x 35.5cm (17.5 x 14”)
Provenance: The Artist’s Family
Exhibited: “Nathaniel Hill and the Bretons” Exhibition,
Milmo Penny Fine Art, Dublin, 2007
€2000 - 3000
54
64
William Sadler (18th/ 19th Century)
Figures before the Sugar Loaf; Stormy Landscape
Oil on panel, a pair, 18 x 28cm (7 x 11”); 18 x 27cm (7 x 10.5”)
(2)
€1500 - 2000
65
William Sadler (18th/ 19th Century)
Extensive Mountain Landscape
Oil on panel, 28 x 45cm (11 x 17.5”)
€1400 - 1800
55
66
James Arthur O’Connor (1792-1841)
River Landscape with Figure Sitting on Rocks
Oil on canvas, 38 x 54cm (15 x 21.25”)
Signed, dated indistinctly
€5000 - 6000
56
67
Edwin Hayes RHA RI ROI (1819-1904)
Storm Brewing
Oil on canvas, 30.5 x 50.5cm (12 x 19.75”)
Signed and dated indistinctly
€3000 - 4000
68
Fishermen in an open boat off a pier
€2500 - 3500
57
69
Shipwreck on a shore, with sailing ships in a bay
Oil on canvas, 41 x 61cm (16.25 x 24”)
Signed indistinctly, also with indistinct signature and inscription on stretcher and label fragment verso
€6000 - 8000
58
70
Fishing Boat Unloading on the Shore; Wave Study
Oil on board, a pair,13.5 x 22cm (5.25
x 8.75”); 13 x 22cm (5 x 8.75”)
Signed
(2)
€2000 - 3000
71
Coastal Study with Sailboat in the foreground
Oil on board, 16 x 29.5cm (6.25 x 11.5”)
€600 - 800
59
72
Rocks off Greystones, Co. Wicklow
Oil on board, 13.5 x 25cm (5.25 x 9.75”)
Signed
€1500 - 2500
73
Sailboats off the Coast, The Baily, Howth
Oil on board, 14 x 39cm (5.5 x 15.25”)
Signed
€1500 - 2500
60
74
Near Naples
Oil on board, 22 x 5.5cm (8.75 x 2.5”)
€500 - 700
75
A view towards Liverpool
Oil on board, 15 x 30cm (6 x 11.75”)
Signed, also signed verso
€1000 - 1500
61
76
Thomas Rose Miles RCA (fl.1869-1910)
“Rising Wind and Sea” (off Sheerness)
Signed, and also signed and inscribed with title verso.
€2000 - 3000
62
77
Evening, Kilkieran Bay
Oil on canvas, 55.5 x 91.5cm (22 x 36”)
Signed, also signed and inscribed with title verso
€4000 - 6000
63
78
Weed Gatherers, Bertraghboy Bay, Connemara
Signed, inscribed with title verso
€4000 - 6000
64
79
Alfred Nicholson (1788-1840)
A sketchbook with a quantity of sketches of Dublin Bay,
Howth, Lough Gill, Sligo from Hazelwood and
Holywell and Glencar Waterfall and surrounding
area (over 40 drawings)
Pencil, 28 x 15.5cm (11 x 6.25”)
Signed, inscribed “Nassau Street, Dublin, 2nd August
1816” on cover
Son of painter Francis Nicholson, Alfred lived in Ireland
between 1813-17
€400 - 600
80
William Henry Bartlett (1858-1932)
Barge on the River
Oil on board, 12 x 21cm (4.75 x 8.25”)
€800 - 1200
65
81
James Humbert Cr aig RHA RUA (1878-1944)
Donegal Lanscape
Oil on canvas 49.5 x 59..5cm (19.5 x 23.5”)
Signed
€7000 - 10000
66
82
David Hone PPRHA (b.1928)
Evening, Venice
Oil on board, 15 x 25cm (6 x 9.75”)
Signed
Inscribed original exhibition label verso
€800 - 1200
83
David Hone PPRHA (b.1928)
The Lagoon, Venice
Oil on board, 21 x 25cm (8.25 x 9.75”)
Signed
€800 - 1200
67
84
Thomas Ryan PPRHA (b.1929)
Bridge on the Broadmeadow River
Oil on canvas, 36 x 24cm (14 x 9.5”)
Signed. Signed again, numbered 113 and dated ‘79 verso
Inscribed studio label verso
€1500 - 2500
68
85
Kenneth Webb RUA (b. 1927)
East Ferry (Cork)
Oil on Canvas 37 x 90.5cm (14.6 x 35.7”)
Signed
€2500 - 3500
86
Kenneth Webb (b. 1927)
The Hunt (Possibly St. Stephen’s Day Hunt)
Mixed media 38 x 30cm (15 x 11.8”)
Signed
€1200 - 1500
69
87
Kenneth Webb (b. 1927)
Macroom Castle
Oil on canvas 37 x 90.5cm (94.6 x 35.7”)
Signed
€3000 - 4000
70
88
John Coyle RHA (20th/ 21st Century)
Ballyvaughan
Oil on board, 35 x 45cm (13.75 x 17.75”)
€1500 - 2000
89
Rosaleen Brigid Ganley RHA (1909-2002)
A Dark Day (Holmston Avenue)
Oil on board, 39 x 49.5cm (15.5 x 19.5”)
Signed
€800 - 1200
71
90
Richard Kingston RHA (1922 - 2003)
Landscape
Signed
€1200 - 1800
72
91
Nathaniel Hone RHA (1831-1917)
Sketch at Constantinople
Pencil and watercolour mounted on
card, 10.4 x 17.4cm (4.2 x 6.75”)
Stamped with studio monogram
together with four further watercolour landscapes
thought to be by the same hand (one with studio stamp)
(5)
€600-800
92 Mícheál MacLiammóir (1899-1978)
Costumes Design for “Full Moon for the Bride”
One pencil / one watercolour, 40 x
30cm each (15.75 x 11.75”)
Signed on the front
€300-500
73
93
Nathaniel Hone RHA (1831 - 1917)
Cattle on Foreshore with Ruins in the distance (Malahide)
Oil on canvas, 29.5 x 45.5cm (11.5 x 18”)
Signed with initials
€5,000 - 7.000
94
Jack B. Yeats RHA (1871-1957)
Downpatrick Head, Co. Mayo
Oil on board, 23 x 35.5cm (9 x 14”)
Signed
Provenance: Leo Smith, November 1946
Sir Hugh Beaver; thence by descent to Mrs. C. Lawson-Tancred; Christies, 17th November 1978, lot 164
Exhibited: Dublin, Stephen’s Green Gallery, Drawings and Paintings of Life in the West of Ireland, February-March
1921, no.13
Literature: Hillary Pyle, Jack B. Yeats; A Catalogue Raisonné of the Oil Paintings I, London, 1992, no.11, p.12
Hillary Pyle has described the view (pp.11-12), “Downpatrick Head, five miles north-east of Ballycastle, lies on the
right horizon, with the spectacular Doonbristy - the cliff with promontory fort cut off at the end of the Head - in
the centre”
€20000 - 30000
75
76
95
Alexander Williams RHA (1846-1930)
At Red Island, Skerries, Co. Dublin
Watercolour, 30 x 54cm
Signed and inscribed with title
€1,000 - 2,000
77
96
Fr ank McKelvey RHA RUA (1895-1974)
Bog Road, Co. Mayo
Signed
€8,000 - 12,000
78
97
George Russell Æ (1867-1935)
Children Playing on a Beach with Ball
€5,000 - 7,000
79
98
Jack Butler Yeats RHA (1871-1957)
‘In the Days of Chivalry’ - A Needle Affair (c.1902)
Watercolour, 36 x 53.5cm (14.1 x 21”) Signed
The backing board inscribed ‘To Leo/with best wishes/Dublin, November 1962/Victor”
Provenance: Given by Victor Waddington to the Dawson Gallery owner in November 1962. Leo Smith and thence by descent.
Exhibited:
“Jack B. Yeats, Watercolours and Drawing Exhibition” The Dawson Gallery, November/December 1962, catalogue no. 19.
“Jack B. Yeats Exhibition”North West Arts Festival organsied by Arts Council of Northern Ireland, Derry, April 1964, catalogue no. 11. May Festival
Belfast, May 1964, catalogue no. 11.
Literature: Pyle, Hillary; Jack B. Yeats, His Watercolours, Drawings and Pastels; IAP 1993, catalogue no. 421.
Hillary Pyle has written:
“The end of a jousting tournament at a country fair. It is heavily raining. Two men dressed as knights are losing their armour as they persist on cotinuing the fight, though their lances are broken and their horses have run away. The drawing has been dated 1894: but the style and subjectmatter suggest
the period of the juvenile plays. The forms, particularly the horses, are sketched loosely in dark tones, lifted by a wash of pale green and pink.”
The following Lots 120-126 are from the estate of Michael Butler Yeats, formerly a Senator and M.E.P, son of the poet W.B Yeats and grandson of the
painter John Butler Yeats. They are from the family collections, passed down by inheritance, and have never been exhibited. They are now offered for
sale by the executors of Michael Yeats.
€6000 - 8000
99
Patrick Hennessy RHA (1915-1980)
Never Ending Summer
Signed
Exhibited: Ritchie Hendriks Gallery, Dublin. Original label verso
In November 1964 at his annual exhibition at the Ritchie Hendriks Gallery, St. Stephens Green, Dublin, Patrick
Hennessy exhibited 23 paintings with a broad spectrum of subject matter, the content of his travels from the
previous year, the Irish countryside, still lives, rose studies, mementos from Spain, and a number of paintings of
Moroccan objects and countryside, Morocco was becoming a greater part of Hennessy’s life and he was spending
up to six months of the year there, avoiding the Irish winters for health reasons.
The painting ‘The Never Ending Summer’ a landscape is probably a view existing only in Hennessy’s mind, a blue
hazy sky, a dry arid vista with a high rocky mountain in the background dominating the centre of the canvas, a
low shallow stretch of water clearly below normal level with sun bleached stones from the river bed completing the
effect of a long dry period.
The inclusion of a spray of brilliant red roses with luxuriant green foliage that dominate the foreground and
contrasts sharply with the landscape is a Hennessy trademark and a device he used many times. The landscape has
all the elements of a Hennessy capriccio.
Kevin A. Rutledge
€7000 - 10000
81
82
100
Statue in French Garden
Oil on board, 33.5 x 26cm (13.25 x 10.25”)
and on loan to IMMA from 1999 - 2004.
Previously in the collection of Judge Meredith.
€1000 - 2000
101
The Fruit & Flower Seller
Watercolour, 21 x 28cm (8.5 X 11”)
Our thanks to Kevin Rutledge for his
assistance in cataloging this work.
€1500 - 2000
83
102
The Sanctuary
Oil on board, 50 x 40cm (19.75 x 15.75”)
Inscribed artist’s label verso
Patrick Hennessy returned home to Ireland from Scotland in 1939 and
after travel in France and Italy, he immediately commenced on a career
as a full time artist.
The painting ‘The Sanctuary’ dating from the early 1940’s depicts a
stone statue framed on each side by evergreen trees. The building in
the background and the water feature, are features of Kilruddery, Co.
Wicklow, an Elizabethan revival mansion and the home of the Earl’s
of Meath.
The statue is placed in front of the end of one of the long canals where
it dominates the full foreground, an air of decay is introduced by the
crumbling wall and the invading briar, the colour is low key and
muted, but the blue of the sky is reflected in the water brightening the
painting.
The statue is religious, possibly a saint rather than the Virgin Mary.
The contraposto pose increases the effect of the dominance in the
composition. The sleeveless arms and missing hands are thought
provoking. Hennessy often introduced bizarre or cryptic elements in
this type of painting particularly with statuary, e.g. ‘The Oracle’ from
the National Gallery of Ireland’s collection. Early Hennessy’s were
often bordering on the dreamlike or surreal. In this painting ‘The
Sanctuary’ is being offered without hands.
Kevin A. Rutledge
€1000 - 2000
84
103
Letitia Marion Hamilton RHA (1878-1964)
Blossoming Cherry Trees, Summertime;
(Study of a Venetian Villa on the Water verso)
This is thought to be Belgrade
€3000 - 5000
85
104
Letitia Marion Hamilton RHA (1878-1964)
Glengarriff, Co. Cork (1941)
Original inscribed artist’s exhibition label verso
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
€3000 - 5000
105
Paul Henry RHA (1876-1958)
A Village in the West of Ireland (1941)
Signed, also signed and inscribed with title verso
Provenance : Artist’s studio till 1957; deVere’s, Dublin, June 1997; Private Collection, Dublin,
Exhibited: “Recent paintings by Paul Henry” Exhibition Combridge’s Gallery Dublin Oct 1941 Cat. No. 7.
“Paintings and charcoals: Paul Henry” Exhibition Waddington Galleries Dublin Feb - March 1952 Cat. No. 14.
“Paul Henry Exhibition” The Studio,Bray Nov 1956 Cat. No. 13
“Paul Henry Retrospective Exhibition” The Ritchie Hendriks Gallery Dulin/ Belfast Museum and Art Gallery May - July 1957 Cat. No. 12
“Paul Henry Exhibition” Shannon Airport August 1957 Cat. No. 12
Literature: Kennedy,S.B., Paul Henry, Yale 2007, p.302
Dr. S.B.Kennedy writes that this painting was almost certainly painted in the spring of 1941 when Paul
Henry stayed for a time in Co. Kerry. Numbered 1020 in Dr. Kennedy’s ongoing Catalogue Raisonne.
€45000 - 55000
87
88
106
Mark O’Neill (b.1963)
In the Potting Shed
Oil on board, 62.5 x 56.25cm (24.5 x 22”)
Exhibited: Mark O’Neill Mini Exhibition,
The Frederick Gallery, October 1999
where purchased by current owner.
€3000 - 5000
89
107
Mark O’Neill (b.1963)
Gardens Green
Oil on board, 48.5 x 64.5cm (19 x 25.4”)
Exhibited: Mark O’Neill Mini Exhibition, The Frederick Gallery, October 1999
where purchased by current owner.
€3000 - 5000
90
108
Walter Verling HRHA (b. 1939)
Back Garden
Oil on board 27 x 34cm (10.5 x 13.5”)
Signed
€800 - 1200
109
Anita Shelbourne RHA (b.1938)
Beehive Hut, Slea Head, Co. Kerry
€800 - 1200
91
110
Brian Bourke HRHA (b.1936)
Knock-a-lough Winter 1977-78
Oil on paper laid on board, 66 x 51cm (26 x 20”)
Exhibited: Brian Bourke Exhibition, The Taylor Galleries, Dublin, October 1978, catalogue no. 21, where purchased by Mr. W.M. Roth
Provenance: From the collection of William and John Roth and their sale, Christies, May 2004, catalogue no. 90, where purcahased by the current owner
€1500 - 2500
92
111
Neil Shawcross RHA RUA (b.1940)
Telephone
Mixed media on board, 42 x 53.5cm (16.5 x 21”)
€2500 - 3500
112
Green Tea
Acrylic on board, 23 x 27.5cm (9 x 10.75”)
€1500 - 2000
93
113
Travelling Man (2003)
Mixed media on canvas, 73 x 63cm (28.75 x 24.75”)
Signed
€2000 - 4000
94
114
Female Nude in a Yoga Position
Watercolour and charcoal, 80 x 91cm (31.5 x 36”)
€2500 - 3500
95
115
William Crozier HRHA (b.1930)
Yellow Box
€6000 - 8000
96
116
Gr aham Knuttel (b.1954)
At the Tribunal
Signed
€1000 - 2000
117
The Ganster’s Mole
Pastel, 70 x 49.5cm (27.5 x 19.5”)
Signed
€800 - 1200
97
18
The Sinking of the Titanic
Oil on canvas, 91.5 x 184cm (36 x 72.5”)
Signed
€4000 - 6000
98
119
Noel Murphy (b.1970)
The Moon (II)
Acrylic on card, 8.59 x 26.5cm (11.5 x 10.5”)
Signed
Exhibited: “Noel Murphy Exhibition”, The
Gorry Gallery, April 2000, catalogue no. 42
€1000 - 2000
120
Ross Wilson (b.1957)
Night Poet, (Study of Seamus Heaney)
Signed with initials and inscribed with title
Exhibited: “Modern Ulster Exhibition”. The Eakin Gallery
Oct / Nov 2000 Cat. No. 69 where purchased
by current owner.
€500 - 800
99
121
Roy Lyndsay (b.1945)
Point-To-Point Meeting
Oil on canvas, 39.5 x 94cm (15.5 x 37”)
Signed
Provenance: The Lyndsay Gallery, Dublin
€4000 - 6000
100
122
Mick O’Dea RHA (b.1958)
Self-Portrait
Charcoal, 40 x 55.5cm
Signed, inscribed ‘Self-Portrait, Freagh Castle,
Miltown Malbay’ and dated September 1983 verso
€400 - 600
Mick O’Dea is the subject of a major article
in the current Irish Arts Review.
123
Mick O’Dea RHA (b.1958)
The Painter Seán McLeoud
Pastel, coloured pencil and chalk, 75 x 54cm (29.5 x 21.25”)
Signed with mongram and dated 15-11-84
€600 - 800
101
124
Desmond Hickey (1927-1998)
Still Life with Fish, Newspaper and Matchbox
Oil on canvas laid on board, 35.5 x 41cm (14 x 16.25”)
Signed
Provenance: The Lyndsay Gallery, Dublin
€1500 - 2000
102
125
John Shinnors (b. 1950)
St. John’s Square
Triptych 18 x 14.5cm each (7.2 x 5.75”)
Signed verso on panel III
Exhibited: “John Shinnors Exhibition”, The Taylor Gallery, Dublin, May 2007 where purchased by the current owner
Literature: Full page illustration in accompanying catalogue
€5000 - 7000
103
126
John Shinnors (b.1950)
Crane, Cathedral, St. Johns Square
Oil on canvas, 29.5 x 29.5cm (11.5” x 11.5”)
Signed and inscribed verso with title
€3500 - 5000
104
127
Sean Scully (b.1945)
Dark Fold
Aquatint, 102 x 72cm (40.2 x 28.5”)
Signed, inscibed with title, dated ‘03 and numbered 28/40
Provenance: The Kerlin Gallery, Dublin,
€1500 - 2500
105
128
Sean Scully (b.1946)
Standing 2
Woodcut, printed in colours on japon paper, 100 x 74.5cm (39.5 x 29.5”)
Signed, titled and numbered 3/35, dated ‘86
€2000 - 4000
106
129
Felim Egan (b.1952)
Tide Song B
Mixed media on board, 24 x 24cm (9.5 x 9.5”)
Signed and dated ‘06 verso
Exhibited: Felim Egan Exhibtion, The Warren
Gallery, Castletownsend, Cork, June 2006
€600 - 800
130
Maria Simonds Gooding ARHA (b.1939)
The Day the Boat was Looking for the Dolphin
Etching, 30 x 39cm (11.75 x 15.25”)
Signed, inscribed with title and numbered 60/85
€200 - 300
131
Felim Egan (b.1952)
Green Crest
Acrylic and mixed media on canvas, 75 x 75cm (29.5 x 29.5”)
Signed and dated ‘05 verso
Provenance: The Kerlin Gallery, Dublin,
where purchased by the current owner
€2500 - 3500
107
108
132
Louis le Brocquy HRHA (b.1916)
133
Head of Samuel Beckett
Aquatint, 39 x 39.5cm (15.25 x 15.5”)
Signed and number HC 9/10
Head of Strindberg
Lithograph, 77 x 57.5cm (30.25 x 22.75”)
Signed and numbered 91/100
€1000 - 1500
€600 - 800
109
134
Procession
Lithograph, 56 x 77cm (22 x 30.5”)
Signed and numbered 48/ 75
€1500 - 2000
110
135
Nor ah McGuinness HRHA (1901 - 1980)
The Terrace Table
Signed
Exhibited: Norah McGuinness Exhibition, The Dawson Gallery, Dublin, September 1975, catalogue no. 22
A painting which exudes confidence, The Terrace Table was painted by an artist at the top of her game. It is the work
of a bon viveuse. With its ripe, rich colours, life bursts from the canvas. It might more fittingly be entitled Bien être et
ce bien vivre. We have nature as beauty and as provider: the flower, the fruit and the wine. These sensuous experiences
are all brought together in a sybaritic setting yet with the underlining innocence of a cloister. There is a stained-glass
quality to the work, which is enhanced by the rather ecclesiastical colonnade in the background. Sensuality is further
suggested by the relative lack of straight lines: all is curvilinear, rounded and lush. The viewer is invited to come sit
and enjoy.
The Fauves’ spontaneity and bold use of colour stayed with Norah McGuinness long after her time in Paris. We also
see her foreshortened perspective and her trademark use of flat areas of patterning. There is boldness in the colours, in
the composition and, most tellingly, in the contrasts: between light and shade, between man and nature. The purity of
the white lily, for instance, as opposed to the lushness of the fruit and wine. It is these juxtapositions which cause the
painting to vibrate as the eye jumps from element to element. There is also a tension, a dynamic set up by the use of
the threshold between the interior and the garden. The pull between interior/exterior, between connection/separation
is almost an established protagonist in this mise-en-scène awaiting its human players. The foreground items are on
display: for God or Mammon, on an altar or a stage? The viewer must decide.
Síle Connaughton-Deeny, March 2010
€12000 - 18000
111
112
136
Michael Healy (1873-1941)
Dubliners
Watercolour, a set of three, 15.3 x 10cm (6 x 4”)
together with a larger version
(4) unframed
Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent
€600 - 800
137
Michael Healy (1873-1941)
Dubliners
Watercolour, a miscellaneous set of six, various sizes
(6) unframed
€600 - 800
113
138
In the Woods at Marley
Watercolour, 36 x 26.5cm (14 x 10.5”)
€1000 - 1500
114
140
Harry Kernoff RHA (1900-1974)
A Summers Day, Stephen’s Green, Dublin
Oil on board, 60 x 74cm (23.6 x 29”)
Signed. Inscribed with title and artist’s address verso
Watercolour version
Exhibited: Royal Hibernian Academy, Dublin, 1950, Cat. No. 160
Provenance: From the collection of the late Dr M Mcloughlin, who studied medicine at the Royal College of Surgeons and
worked in Dublin thereafter before emigrating to Cape Town South Africa after the Second World War.
Born in London to Russian Jewish and Spanish parents, Harry Kernoff moved to Dublin at the age of fourteen and made it his
home for life. Kernoff spent his days as an apprentice in his father’s furniture business, taking night classes at the Metropolitan
School of Art under Sean Keating, and becoming the first night student to win the Taylor Art Scholarship in 1923. He first
exhibited at the RHA just three years later, and continued to do so until the year of his death, becoming a full member of the
academy in 1936. In that same year he held the first of three solo shows at the Victor Waddington Galleries (the others being
in 1937 and 1940). Kernoff was active in many facets of the visual arts scene, designing sets and costumes for Dublin theatre
productions, and executing portraits of literary figures and actors. His paintings, drawings and woodcuts of Dublin street scenes
are significant not only for their artistic accomplishments but as historical records of the since changed capital. This view inside
St. Stephen’s Green, however, is an example of one of Dublin’s landmarks that has retained its Victorian charm and continues to
be a popular social backdrop for Dublin’s locals and visitors of all ages.
We sold a watercolour version of this work in our Important Irish Art Sale, March 2004, catalogue no. 43, which sold for
€17,000.
€10000 - 15000
115
116
141
Cecil King (1921-1986)
Pendant (1971)
Pastel, 33 x 15.5cm (13 x 6”)
Signed
Exhibited: Cecil King Exhibition, David Hendriks Gallery,
Dublin, August 1973, Cat. No. 12 where purcahased
Provenance: Collection of Mr. Des Ryan
€500 - 800
142
Abstract
Oil on card, 5.5 x 8cm (2.25 x 3.2”)
Applied as a folded sheet of paper with inscription
“Leo-/My Best Wishes/Cecil”
together with
Berlin Series
Lithograph, 14 x 8.5cm (5.5 x 3.25”)
Signed and numbered 2/100. Inscribed with title
and greetings inside and “Abstract” gouache inscribed
by the artist and dated 1964
(3) unframed
€500 - 700
117
143
Orange Abstract (c.1967)
Pastel, 34.5 x 24cm (13.5 x 9.5”)
Exhibited: Cecil King Retrospective
Exhibition, Irish Museum of Modern
Art, Feb - May 2008, catalogue no. 17
Literature: Full page illustration in
accompanying publication “Cecil
King - A Legacy of Painting”
€800 - 1200
118
144
Sean McSweeney HRHA (b.1935)
The Pool
Signed and dated ‘93, signed and dated also
and inscribed with title on stretcher
€2000 - 4000
145
Mountainous Landscape with Tree
Watercolour, 33.5 x 48.5cm (13 x 19”)
Signed
€500 - 700
119
146
Landscape
€3000 - 4000
120
147
William John Leech RHA (1881-1968)
Plant on a Windowsill
Signed
Original artist’s label verso giving Abbey Road address, London
William John Leech was educated at St. Columba’s College, and in Switzerland. He subsequently attended the Metropolitan
School of Art before passing to the Royal Hibernian Academy Schools as a pupilof Walter Frederick Osborne (1859-1903), and
from there to the Academie Julian in Paris in 1901. Leech later proclaimed that William Osborne was responsible for teaching
him everything he needed to know about painting, and playing tribute to him, he said; “He was the best teacher I ever had.
At the Academie Julian, I didn’t need to listen. I just carried on doing what Walter Osborne taught me.”
In the 1930’s, Leech embarked on a series of pictures of various themes; still life’s, self portraits, railways, and his life long
friend and partner May Botterell, who he married in 1953.
By the 30’s, Leech painted daily at his rented No. 4 Steele studio and his greatest influence during this time were the
‘Bloomsbury’ painters, Duncan Grant, Vanessa Bell and Roger Fry. Their focus was more with private than public concerns
and influenced Leech to paint purely for ‘art’s sake’. Here Leech’s concern is capturing a plant at a certain time of the day,
with emphasis on how the sunshine affects it, and the surrounding area. Leech painted a number of similar still life studies;
‘Chrysanthemums’,(AIB Collection), ‘Window Early Morning’ (private Collection), ‘Flowers in a Mirror’ (private Collection),
and ‘Flowers in a Vase’, (Private Collection). These still lifes are painted with masterly fashion from unusual perspectives when
the flower studies are viewed from above or on a diagonal axis. In this painting, Leech has applied this technique, and has
continued to explore the qualities of pattern and colour enhanced from his earlier style of painting in 1910, when he began to
adopt a bright post-impressionist palette with colour, sunlight and strong shadows, permeating his canvases.
The diagonal of the window-sill focuses attention on the sill, and the plant, shaded from outdoors enables to viewer to see it
in detail. Outside, in contrast, through glass, the bright sunshine blurs our vision of the garden. Leech is adept at depicting
flowers in early morning at the first flicker of the sun’s rays, in bright light, or in the eerie light of the moon to the early dawn
light.
€10000 - 15000
121
122
148
Claude Hayes
Near Brancaster, North Norfolk
Signed
€800 - 1400
150
Joseph William Carey RUA (1859-1937)
Belfast Lough from Holywood
Watercolour, 26 x 35.6cm (10.25 x 14”)
Signed, dated 1904 and inscribed
€800 - 1200
123
151
Joseph William Carey RUA (1859-1937)
Groomsport, Co. Down
Watercolour, 23.5 x 44cm (9.25 x 17.25”)
Signed, dated 1936 and inscribed with title
€800 - 1200
124
152
William Percy French (1854-1920)
Beach Scene, Donegal
Signed with initials and dated (18)’98
€600 - 900
153
Coastal Scene
Monochrome wash, 13 x 21cm (5.2 x 8.25”)
Signed with initials W.F & dated (18)’98
€1000 - 1500
125
154
Moonlight, Lough Swilly, Co. Donegal
€2000 - 3000
155
Beach Scene in Hazy Sunlight
€1000 - 1500
126
156
Tom Cullen (1934-2001)
Cornmarket & Christchurch
€800 - 1200
157
Fergus O’Ryan RHA (1911-1989)
College of the Irish Nobles, Salamanca, Spain
Signed, inscribed with title verso
€800 - 1200
127
158
Brett McEntagart RHA (b.1939)
View of Ireland’s Eye from Howth Harbour
Oil on canvas, 61 x 91.5cm (24 x 36”)
€2000 - 3000
128
159
John Kingerlee (b.1936)
Almost Abstract
Oil on board, 23.5 x 25.5cm (9 x 10”)
Signed and inscribed with title and dated 1989 verso
€1000 - 1500
160
Sun Watchers
Signed with monogram. Signed again
and inscribed with title verso
€1000 - 1500
129
161
The Gathering (Beara Penninsula, 2005)
Oil on board, 16 x 38cm (6.25 x 15”)
€1500 - 2000
162
Gothic Landscape
€500 - 800
130
163
Peter Collis RHA (b.1929)
Railway by the Sea, Monkstown
Oil on board, 24 x 29cm (9.5 x 11.5”)
Signed with initials. Inscribed with title verso
€1000 - 1500
131
164
Peter Collis RHA (b.1929)
Landscape at Roundstone
Oil on board, 60 x 70cm (23.5 x 27.5”)
Signed
Exhibited: Grant’s Fine Art NI
€3000 - 4000
132
165
John Minihan (b.1946)
Samuel Beckett in Café Français, Boulevard
St. Jacques, Paris 1985
Silver gelatin print, 45 x 47cm (17.5 x 18.5”)
(Unframed)
€500 - 700
166
Francis Bacon photographed outside
the Tate Gallery, London 1985
Silver gelatin print, 20 x 29.5cm (8 x 11.5”)
Signed and inscribed with title, also inscribed verso with greeting message from the artist.
(Unframed)
€1000 - 1500
133
167
Seamus Heaney at the West Cork
Literary Festival, Bantry, Co. Cork, 2005
Silver gelatin print, 50 x
40cm (19.5 x 15.75”)
Signed and inscribed with title also
signed by the poet Seamus Heaney
€1500 - 2000
134
168
Raven (From The Táin)
Lithograph, 24 x 38cm (21.25 x 15”)
Signed, dated 1969 and numbered 1/70
Provenance: From the estate of Mr. Des Ryan
€800 - 1200
169
James Hanley RHA (b.1965)
Study for something bigger and more important
Soft ground etching, 20.5 x 29.5cm (8 x 11.75”)
Signed, inscribed with title, dated
2004 and numbered 23/41
€300 - 400
135
170
William Scott R A (1913-1987)
One Plate from a Poem for Alexander
Screenprint, 58 x 77cm (23.75 x 30.25’’)
€1500 - 2500
136
171
Arthur K Maderson (b.1942)
Waiting for a Punter, Krakow, Poland
Oil on board, 79 x 110cm (31 x 43.25”)
€6,000 - 8,000
137
172
Arthur Maderson (b.1942)
Young Girl Bathing
Oil on board, 101 x 72cm (39.75 x 28.25”)
Signed
€5000 - 7000
138
173
Muriel Br andt RHA (1909-1981)
View over DúnLaoghaire
Pen and ink, 13.5 x 15cm (5.25 x 6”)
Signed
together with a signed card enclosing pencil sketch of “man
with rabbit on his head” by the same hand, a signed abstract
monotype by Imogen Stuart and “Cherrie Dancing” by Pauline
Bewick in coloured markers, signed and inscribed with title
(4) unframed
€400 - 600
174
Barrie Cooke et al (b.1931)
Baby Crawling
Pen and ink, 9 x 14cm (3.5 x 5.5”)
Signed
together with works by Caroline Scally, Noel Sheridan, Michael
Kane etc. (A small collection)
Provenance: Leo Smith, Dawson Gallery, Dublin thence by
descent
€200 - 300
175
Leslie Mac Weeney (20th Century)
Studies of a Boy & Girl
Oil sketch, a pair, 25 x 19.5cm (10 x 7.75”) each
Signed
together with a ltihograph “ Mother & Child” thought to be by
the same hand and Madja Van Dam “Hospital Scene” etching,
25 x 29cm (10 x 11.5”), signed inscribed and numbered 10/20
and a collection of Christmas cards by Fergus O’Ryan, linocut
and other mediums, some signed and inscribed
(9)
€400 - 600
139
176
Cecil Maguire RHA RUA (b.1930)
Magheralin, Co. Down
This lot was a wedding gift from Cecil Maguire to the vendor’s mother in law, to whom he
was related my marriage.
€3000 - 5000
140
177
Thomas Ryan PRHA (b.1929)
Street Vendor, Milan
Graphite and watercolour, 17 x 14cm (6.75 x 5.5”)
Signed, inscribed ‘Milan’ and dated 27.5.98
Provenance: From the estate of Mr. Des Ryan
€300 - 500
141
178
Norman J. McCaig (1929-2001)
Portmarnock Golf Club
Signed
€3000 - 4000
142
179
On the Liffey
Oil on canvasboard, 39 x 49.5cm (15.25 x 19.5”)
Signed
€1400 - 1800
180
West of Ireland Landscape with Cottage
Oil on canvas, 23.5 x 34cm (9.25 x 13.25”)
Signed
Provenance: The artist’s family
€800 - 1200
143
181
St. Stephen’s Green, Dublin
Oil on canvasboard, 34 x
45cm (13.25 x 17.75”)
Signed
€1800 - 2400
182
On Sandymount Strand
Oil on canvasboard, 34 x
44cm (13.25 x 17.25”)
Signed
€1800 - 2400
144
183
Willie Evesson (b.1960)
Silt Clontarf
€1500 - 2500
145
184
Willie Evesson (b.1960)
Sandymount Strand
€3000 - 5000
146
185
Agnes Conway
Font carved in the form of a Nun’s Head
Stone, 30 x 30 x 30cm (12 x 12 x 12”)
€300 - 500
186
Vincent Browne (b.1947)
Winged Devil
Bronze, 24cm high (9.5”)
Born in Dublin in 1947, Browne studied at the National College
of Art and Design and the Jan Van Eyck Academy in Holland. He
is responsible for many pieces of public sculpture including: Mr.
Screen (the squat usher figure outside the Screen cinema in Dublin),
the Anti-War Memorial in Limerick and the bronze Palm Tree Seat
in Temple Bar, Dublin. He is currently a member of Aosdána.
€300 - 500
147
187
George Stephen Walsh (1911-1988)
Jonah and the Whale
Hand painted stained glass panel, 18 x 25cm (7 x 10”)
Provenance: From the estate of
the late Patrick McElroy
€400 - 600
188
Pat McCann (20th Century)
Flowers etched on a copper
panel with blue enamel
Fan shaped, 10.5 x 12cm (4 x 4.75”)
Signed Pat McCann verso
Provenance: From the estate of
the late Patrick McElroy
€40 - 60
148
Patrick McElroy (1923-2008)
Patrick McElroy was born in Inchicore, Dublin on October 15th 1923 into a family of Republican and social activists.
Shortly after winning a scholarship to one of the newly established VEC Schools he had to leave at the age of 15 in order
to support his mother and younger siblings after his father suddenly died. Following a long family tradition he became
a blacksmith in the railway works at Inchicore. Named after his uncle Paddy who fought on the Republican side in the
Spanish Civil War, McElroy joined the RAF during the Second World War seeing active service in the deserts of Egypt,
Iran and Iraq. In 1948 McElroy returned to work in CIE and began studying Fine Art at the National College of Art at
night. He studied under Werner Schurman who upon his resignation from the college recommended McElroy for the
post of teacher of enamelling and fine art metal work, a position McElroy held until his retirement in 1988.
McElroy was a successful practicing sculptor winning numerous public and church commissions. From 1954 to his death
on February 11th 2008 McElroy exhibited at nearly all of the major annual art exhibitions. He was Chairperson of the
Independent Artists and was one of the founder members of the Project Art Gallery. In 1976 Brian Fallon wrote that
McElroy was “one of the country’s better sculptors” noting that McElroy had “the imagination to back up his obvious
skill and he has kept up a remarkably sound level for a longish period”. Fallon went on to comment that McElroy’s skill
and long career has led to a situation where “to be taken for granted can be as bad as being ignored”. Throughout the
years McElroy sold regularly yet very few sculptures have been resold at auction.
McElroy won the gold medal for metal enamelling at the International Biennale of Sacred Art Salzburg in 1960 and his
work can be seen all over Ireland in churches including the Basilicas of Knock and Lough Derg. In 1964 McElroy was
commissioned to make the decorative gates and sculpture for the Irish Pavilion at the New York World’s Fair.
Whilst in NCAD Sean Keating had taught McElroy and in the book “NCAD 250 Drawings 1746-1996” it is observed
that McElroy’s style draws on the vigour of Keating and the late Cubist manner of Jellett and Hone. In 1982 James
White wrote in the catalogue accompanying McElroy’s one man show at the Taylor Gallery that “the daring of McElroy’s invention is sometimes breathtaking”. White went on to note that McElroy had a “remarkable range of skills
in the handling of metals of all kinds” commenting also on McElroy’s “Joycean preoccupation with certain essentials
common to humanity”. Public sculptures such as the pillar in Newry called “A Proud People” and the “Knight of St.
John” in Kilmainham, both commissioned in the 1990s, demonstrate this ability and display McElroy’s knowledge and
passion for everyday life, history and tradition.
Sculpture by McElroy is well represented in many public and private collections, such as the Gordon Lambert Collection, the National Self-Portrait Gallery and Galway University. In 1968 McElroy was specially commissioned by
Edgar Gemmell of Princetown University to create a sculpture on the theme of “Prometheus”. As he got older McElroy
returned to his first love that of painting, drawing and print-making and never ceased to work. Adam’s are delighted to
offer the following lots from McElroy’s studio.
149
The Studio Sale
150
189
King Sitric
Enamel and copper, 18 x 14cm (7 x 5.5”)
Signed and dated, also dated 1982 verso
€200 - 300
190
Enamel Cross, 1975
Enamel and copper, 37 x 33cm (14.5 x 13”)
€500 - 700
151
191
Cross, 1994
Bronze & enamel mounted on a wooden
cross, 91 x 76 x 11cm (36 x 30 x 4.5”)
€1500 - 2000
152
192
Male & Female Torsos
Bronze with green patina, a pair, 34cm high each (13.25”)
Inscribed and dated 1990 on studio label beneath
(2)
€500 - 700
193
Contorted Mask, 1994
Bronze, 28cm high (11”)
€400 - 600
153
194
Pectoral Cross
Copper and enamel, 10 x 5 x 2cm (3.75 x 2 x 1”)
Studio label verso
Exhibited: International Biennale of Sacred Art
Salzburg in 1960, where he won the gold medal for
enamelling for this piece.
€2000 - 3000
154
194A
Saint Gobnet
Signed and dated 1987. Exhibition label verso
Exhibited: Taylor Gallery, Dublin Sept-Oct ‘82
€250 - 350
195
Cockerel
€200 - 300
196
Pig on Orange ground with Blue Flowers
Copper and enamel, 10 x 10cm (4 x 4”)
€100 - 200
155
197
Christ
Enamel and copper on a wooden
cross, 36 x 22cm (14 x 8.75”)
€300 - 500
198
St. Patrick
Enamel plaque, 28.5 x 22cm (11.2 x 8.7”)
€250 - 350
156
199
Night Town (Joyce’s Ulysses)
Crayon, chalk and wash, 84 x 58cm (33 x 23”)
Exhibited RHA Annual Exhibition, 2007
€800 - 1200
200
Signed
€800 - 1200
157
201
Signed
€800 - 1200
202
Signed
€800 - 1200
158
203
Trinity Cross, 1960
Bronze on a granite base, 67 x 23cm (26.25 x 9”)
€300 - 500
205
204
Chalice with Icon of Christ
Copper and enamel, 19cm high (7.5”)
Crucifixion
Bronze and forged steel, 70 x 30cm (27.5 x 12”)
€300 - 500
€300 - 500
159
206
Altar Cross of Triumphal
Christ & Saints, 1960
Bronze and forged steel, 81 x
23 x 22cm (32 x 9 x 8.5”)
€800 - 1200
207
Triumphal Panel Cross, 1959
Copper, enamel and steel, 30cm high (11.75”)
Inscribed label verso
€600 - 800
160
208
Saint Patrick with Crozier
Forged steel, 33cm high (13”)
€400 - 600
209
Warrior with Shield and Spear
Forged steel, 48cm high (18.75”)
Dated ‘91 on studio label
€400 - 600
209
210
Standing Warrior with Spear & Shield
Bronze on Kilkenny marble base, 51cm high (20”)
€600 - 800
210
161
211
212
Warrior in a Boat Wileding an Axe
Forged steel, 157cm high (62”)
Warrior on Horseback with Spear
Bronze on Kilkenny marble base, 19cm high (7.5”)
€1000 - 1500
€700 - 1000
162
213
Grace Weir’s Chair; The Back
in the Form of a Woman
Welded steel rods, 29cm high (11.5”)
€100 - 200
214
Standing Female (Grace Weir)
Soldered iron, 38cm high (15”)
€500 - 700
215
Mother with Tugging Child
Welded Iron, 25cm high (10”)
€200 - 300
163
216
Icarus
Bronze and forged steel, 131cm high (51.5”)
€1000 - 2000
217
Standing Male Holding Stone Aloft
Forged steel on a wooden base, 81cm high (32”)
€800 - 1200
164
218
Woman with Wine Goblet
Enamel and copper, 20 x 14cm (7.75 x 5.5”)
€250 - 350
219
Happy Land, 1982
Enamel and copper, 18 x 13cm (7 x 5”)
€300 - 400
165
220
Cubist Composition with Norman
Knight, Táin Bull & Voyagers
Crayon and chalk on paper, 42
x 60cm high (16.5 x 23.5”)
Literature: NCAD 250 Drawings 1746-1996
€200 - 400
221
Three Nudes
Painted earthenware charger,
36cm diameter (14”)
Signed with initials and dated 1990
€150 - 250
166
222
Norman Knight on Horseback, 1999
Bronze with green patina on a Kilkenny marble base, 33cm high (13”)
€600 - 800
223
Angel on Horseback
Bronze with green patina on Kilkenny
marble base, 22 x 20cm (8.5 x 8”)
€500 - 700
167
224
Brendan Behan, 1984
Bronze, 27cm high (10.5”)
Inscribed with title on the base,
signed and dated verso
Exhibited: RHA Annual Exhibition, 1984, Cat. No. 262 (Statue of
Brendan Behan, bronze maquette)
€800 - 1200
225
Seated Woman with Arms Crossed
Bronze on a limestone plinth,
51 x 18cm (20 x 7”)
€700 - 1000
168
227
Life Angel - The Birth, 1981
Bronze on a limestone base,
25 x 15cm (9.75 x 6”)
€400 - 600
226
Figures; Horse
Bronze relief panel (two-sided) on a
limestone base, 29cm high (11.5”)
€400 - 600
228
Táin, 1979
Bronze relief mounted on board
covered in linen, 19 x 19cm (7.5 x 7.5”)
€300 - 500
169
229
Angel Seated on a Coulmn
Bronze with a green patina on
granite base, 72cm high (28.5”)
€1000 - 1500
230
Three Norman Warriors with Swords
Bronze reliefs mounted on Kilkenny
marble, 28 x 30 x 23cm (11 x 12 x 9”)
€600 - 800
170
231
232
Danú, 1996
Bronze with a green patina on
Kilkenny marble base, 18cm high (7.25”)
Crouching Anthropomorphic Figure
Bronze on a limestone base, 13cm high (5”)
Exhibited: RHA Annual Exhibition, 1996, Cat. No. 317
€200 - 300
€250 - 350
171
233
Viking Helmet (Self-Portrait)
Welded iron on a limestone
base, 39cm high (15.5”)
Signed and dated 1974 on the base
€300 - 500
234
Phoenix
Steel on a wooden base, 66 x
25 x 18cm (26 x 10 x 7”)
Literature : The artist is photographed beside
this piece in “The Irish Press” Wed Nov 1970,
on the occassion of his winning the £1,000
commission for Dunmurray Shopping
Centre Belfast, for which this is a maquette.
McElroy describes the work “as representing
a Phoenix - a symbol of hope in the
present unhappy Northern situation “.
€400 - 600
172
235
Male Nude, 1979
Bronze relief on a limestone base, 25 x 15cm (10 x 6”)
€400 - 600
236
Bird Relief
Bronze relief with green patina on a white
marble support, 20 x 13cm (8 x 5”)
€400 - 600
237
The Total
Bronze on a limestone base, 30 x 20cm (12 x 8”)
€500 - 700
173
239
238
God of All Ages
Forged steel and cast bronze on granite
base, 91cm high (36”)
€800 - 1200
239
Standing Nudes
Bronze relief, 24 x 27cm (9.5 x 10.5”)
238
€500 - 700
174
240
Man Emerging from a Portal
Steel on a wooden board, 61 x 38 x 13cm (24 x 15 x 5”)
€500 - 700
241
Seated Woman
Iron on a wooden base, 61 x 38cm (8 x 8”)
Label verso
€500 - 700
175
242
Three Figures and a Bird
Steel, 124 x 74 x 43cm (49 x 29 x 17”)
€1000 - 2000
243
Two Figures
Steel, 50 x 51 x 19cm (19.5 x 20 x 7.5”)
€600 - 800
176
244
Two Men and a Woman (within a square)
Steel, 53 x 46 x 46cm (21 x 18 x 18”)
€600 - 800
245
Two Women and a Man
Steel, 61 x 13 x 15cm (24 x 5 x 6”)
€400 - 600
177
246
Bird Relief
Steel, stained glass on a wooden board,
107 x 61 x 28cm (42 x 24 x 11”)
€800 - 1200
246
247
Crowing Cock
Bronze with green patina, 20cm high (8”)
€300 - 500
247
178
248
Crouching Female & Male Nude
Enamel and copper, 15cm diameter each (5.75”)
(2)
€200 - 400
249
Herald Angel
Steel, 34 x 36cm (13.5 x 14”)
€400 - 600
179
250
Standing Woman
Bronze on a wooden base, 37cm high (14.5”)
€300 - 500
251
Female Torso
Bronze on a marble base, 17.5cm high (6.8”)
€300 - 500
180
252
Christ with Angels
Bronze relief mounted on white
marble, 33 x 33cm high (13 x 13”)
€600 - 800
253
Relief with Figures
Bronze on a white marble support, 41 x 13cm (16 x 5”)
€500 - 700
181
254
Three Women and the Moon
Bronze relief on a Kilkenny
marble base, double-sided
€500 - 700
255
St. Brendan’s Voyage
Bronze relief on wood, 17 x 30cm (6.5 x 12”)
€300 - 500
182
257
256
256
Saints in Relief
Bronze on a white marble support, 20 x 20cm (8 x 8”)
€500 - 700
257
Sheela Na Gig (...Ich Blian ag Mair), 1979
Bronze relief on a limestone base, 25 x 15cm (10 x 6”)
Signed and dated
€400 - 600
258
The Seeking
Bronze relief on a limestone base, 27 x 15cm (10.5 x 6”)
258
€400 - 600
183
General Terms and Conditions of Business
The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and
conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.
DEFINITIONS AND GENERAL CONDITIONS
Definitions
1. In these conditions the following words and expressions shall have the following meanings:
‘Auctioneer’ – James Adam & Sons.
‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13
and 25.
‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication.
‘Forgery’ – A Lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or
period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date
of the auction was substantially less than it would have been had the Lot been in accordance with the Catalogue description.
‘Hammer Price’ – The price at which a Lot is knocked down by the Auctioneer to the buyer.
‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items
described against any Lot number in any Catalogue.
‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the Lot after deducting the Auctioneer’s
Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is chargeable and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.
‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions
held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such
registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant
to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement
of an auction.
‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction.
‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s Commission due thereon under condition 13, such
VAT as is chargeable and any additional interest, expenses or charges due hereunder.
‘V.A.T.’ – Value Added Tax.
Cataloguing Practice and Catalogue Explanations
2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows:
The first name or names and surname of the artist;
In the opinion of the Auctioneer a work by the artist.
The initials of the first name(s) and the surname of the artist;
In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist.
The surname only of the artist;
In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.
The surname of the artist preceded by ‘after’;
In the opinion of the Auctioneer a copy of the work of the artist.
‘Signed’/’Dated’/’lnscribed’;
In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.
‘With Signature’/’with date’/’with inscription’;
In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.
‘Attributed to’;
In the opinion of the Auctioneer probably a work of the artist.
‘Studio of/Workshop of ’
In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.
‘Circle of ’;
In the opinion of the Auctioneer a work of the period of the artist and showing his influence.
‘Follower of ’;
In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.
‘Manner of ’;
In the opinion of the Auctioneer a work executed in artist’s style but of a later date.
‘*’;
None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named.
GENERAL CONDITIONS
Auctioneer Acting as Agent
3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the
seller is not responsible for any default by the seller or the buyer.
Auctioneer Bidding on behalf of Buyer
4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction.
However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its
employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids.
Admission to Auctions
5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at
its auctions by any person.
Acceptance of Bids
6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner
it may decide, withdraw or divide any Lot, combine any two or more Lots and, in the case of a dispute, to put any Lot up for
auction again.
Indemnities
7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses
whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares
itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity
is expressed to be for their benefit.
Representations in Catalogues
8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source,
origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer
nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a Lot
must exercise and rely on their own judgment and opinion as to such matters.
9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part
of, or to effect, the meaning or interpretation thereof.
184
CONDITIONS WHICH MAINLY CONCERN THE BUYER
The Buyer
12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may
arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as
principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of
a named principal.
Commission
13. The buyer shall pay the Auctioneer a commission at the rate of 18%, exclusive of vat, of the Hammer Price payable in
respect of any Lot.
Payment
14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer
within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole
discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.
The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any
account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.
The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by
third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted.
Reservation of Title
15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot shall not pass to the buyer until he has paid
to the Auctioneer the Total Amount Due.
Collection of Purchases
16. The buyer shall at his own expense collect the Lot purchased not later than (2) days after the sale etc (2) days after the date
of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to
the Auctioneer of the Total Amount Due.
The buyer shall be responsible for any removal, storage and insurance charges in respect of any Lot which is not taken away
within seven (2) days after the date of the auction.
The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of one (1) day
from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or
damage of any kind howsoever caused while a purchased Lot remains in its custody or control after such time.
Packaging and Handling of Purchased Lots
17. Purchased Lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is
undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer,
its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the
Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer
has recommended.
(f ) To retain that Lot or any other Lot purchased by the buyer whether at the same or any other auction and release
same to the buyer only after payment to the Auctioneer of the Total Amount Due.
(g) To apply any sums which the Auctioneer received in respect of Lots being sold by the buyer towards settlement of
the Total Amount Due.
To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason.
(h) Liability of Auctioneer and Seller
19. Prior to auction ample opportunity is given for the inspection of the Lots on sale and each buyer by making a bid acknowledges that he has, by exercising and relying on his own judgment, 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). All Lots
are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees,
servants or agents shall be responsible for any error of description or for the condition or authenticity of any Lot. No warranty
whatsoever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any Lot and any
condition or warranty express or implied by statute or otherwise is hereby specifically excluded.
Forgeries
20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three (3) years of the date of the auction at which
it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that:
(a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the
same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the
number of the Lot and the date of the auction at which it was purchased;
(b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the Lot free from any third party claims;
FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:
(i) The description of the Lot in the Catalogue at the time of the auction was in accordance with the then generally
accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion;
(ii) The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the Lot. Under no
circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense
suffered or incurred by the buyer by reason of the Lot being a Forgery.
The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the
purpose of this condition be the person to whom the original invoice in respect of the sale of the Lot is made.
Photographs
21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the Lot purchased by the
buyer for such purposes as the Auctioneer may require.
Non-Payment or Failure to Collect Purchased Lots
18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein specified for payment and collection the
Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to
exercise one or more of the following rights or remedies without further notice to the buyer:
(a) To issue court proceedings for damages for breach of contract;
(b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that or at any other auction;
(c) To resell the Lot or cause it to be resold whether by public auction or private sale. In the event that there is a
deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale
after deduction of any necessary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus
arising shall belong to the seller.
(d) To store (whether at the Auctioneer’s premises or elsewhere) and insure the
purchased Lot at the expense of the buyer.
(e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of
Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its
absolute discretion from the date on which payment is due hereunder to the date of actual payment.
The only method of establishing at the time of the auction in question that the Lot was a Forgery would have been
by means of scientific processes which were not generally accepted for use until after the date of the auction or which
were unreasonably expensive or impractical.
CONDITIONS WHICH MAINLY CONCERN THE SELLER
Auctioneer’s Discretion
22. With regard to the sale of any Lot the Auctioneer shall have the following powers exercisable solely in the discretion of the
Auctioneer:
(i) To decide whether to offer any Lot for sale or not;
(ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the
place and date of sale, the conditions of sale and the manner in which such sale should be conducted;
(iii) To determine the description of any Lot in a Catalogue.
(iv) To decide whether the views of any expert shall be obtained and to submit Lots for examination by any such
experts.
(v) To determine what illustration of a Lot (if any) is to be included in the Catalogue.
185
23. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the Lot or is legally authorised to sell the
Lot on behalf of the true owner and can transfer good and marketable title to the Lot free from any third party claims. As regards
Lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the
buyer that the Lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify
the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of
them in consequence of any breach of the above warranties or undertakings by the seller.
Reserves
24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any Lot. All reserves
must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the
Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any Lots under IR£100
in value. The reserve shall be the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve once in
place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for Lots
which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT
payable thereon must be paid before removal of the Lot after the auction. The minimum commission hereunder shall be €50. The
Auctioneer may in its sole discretion sell a Lot at a Hammer Price below the reserve therefore but in such case the Proceeds of Sale
to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse.
Unless a reserve has been placed on a Lot in accordance with the provisions set out above such Lot shall be put up for sale without
reserve.
In the event that any reserve price is not reached at auction then for so long as the Lot remains with the Auctioneer and to the
extent that the Lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell
the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein
which concern mainly the buyer shall, with any necessary modification, apply to such sale.
Commission
25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all Lots sold on behalf of the seller
at Irish Art Sales and 17.5% on the Hammer Price of all Lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales
together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer Price paid by
the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the
seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission
from the buyer pursuant to condition 13.
Insurance
26. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehicles) deposited with the Auctioneer or put
under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum
as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution
towards such insurance at the rate of 1% of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a Lot
then the Lot shall at all times remain at the risk of the seller who undertakes to indemnify the Auctioneer and hold the Auctioneer
harmless against any and all claims made or proceedings brought against the Auctioneer of whatever nature and howsoever and
wheresoever occurring for loss or damage to the Lot. The sum for which a Lot is covered for insurance under this condition shall
not constitute and shall not be relied upon by the seller as a representation, warranty or guarantee as to the value of the Lot or that
the Lot will, if sold by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the Lot is paid for
and collected by the buyer or, in the case of Lots sold which are not paid for or collected by the buyer by the due date hereunder
for payment or collection such due date or, in the case of Lots which are not sold, on the expiry of seven (7) days from the date on
which the Auctioneer has notified the seller to collect the Lots.
Recision of Sale
27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfaction of the Auctioneer that
the Lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the
buyer any amount paid to the Auctioneer by the buyer in respect of the Lot.
Payment of Proceeds of Sale
28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided
however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit
the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If
credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale
not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller.
If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then
title to the Lot shall pass to the Auctioneer.
If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the
Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent
that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the
buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s own name.
If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive
instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense,
to agree special terms for payments of the Total Amount Due, to remove, store and insure the Lot sold, to settle claims made by
or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to
collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer.
Payment of Proceeds to Overseas Sellers
29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Euro unless it was agreed with the seller
prior to the auction that the Proceeds of Sale would be paid in a currency (other than Euro) specified by the seller in which case
the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally
available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on
the date of payment.
Charges for Withdrawn Lots
30. Once catalogued, Lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of
the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred
by the Auctioneer in relation to the Lot. If Lots are withdrawn after proofing or publication of Catalogue they will be subject to a
commission of 10% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and
any expenses incurred by the Auctioneer in relation to the Lot. All commission hereunder must be paid for before Lots withdrawn
may be removed.
Unsold Lots
31. Where any Lot fails to sell at auction the Auctioneer shall notify the seller accordingly and (in the absence of agreement between
the seller and the Auctioneer to the contrary) such Lot may, in the absolute discretion of the Auctioneer, be re-entered in the next
suitable auction unless instructions are received from the seller to the contrary, otherwise such Lots must be collected at the seller’s
expense within the period of thirty (30) days of such notification from the Auctioneer.
Upon the expiry of such period the Auctioneer shall have the right to sell such Lots by public auction or private sale and on such
terms as the Auctioneer in its sole discretion may think fit. The Auctioneer shall be entitled to deduct from the price received for
such Lots any sums owing to the Auctioneer in respect of such Lots including without limitation removal, storage and insurance
expenses, any commission and expenses due in respect of the prior auction and commission and expenses in respect of the
subsequent auction together with all reasonable expenses before remitting the balance to the seller. If the seller cannot be traced
the balance shall be placed in a bank account in the name of the Auctioneer for the seller. Any deficit arising shall be due from the
seller to the Auctioneer. Any Lots returned at the seller’s request shall be returned at the seller’s risk and expense and will not be
insured in transit unless the Auctioneer is so instructed by the seller.
Auctioneer’s Right to Photographs and Illustrations
32. The seller authorises the Auctioneer to photograph and illustrate any Lot placed with if for sale and further authorises the
Auctioneer to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time in
its absolute discretion (whether or not in connection with the auction).
Est 1887
Tuesday 20th April 2010
Independence
An Auction of Irish Historical Documents & Collectables
Enquiries to Stuart Cole or Kieran O’Boyle
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie
The Great Famine
Auction May 20th 2010
A unique and truly fascinating sale offering eye witness accounts of
one of the most pivotal and emotive events in Irish History as told by
its unfortunate participants,
ancestors to generations of Irish around the world.
This is an unparalleled collection of handwritten testaments from the
period detailing the local experiences of people from all walks of life,
from tenants to landlords, and from every county in Ireland.
These poignant letters and documents detail the suffering caused by
starvation, forced emigration, evictions, failed crops, and in some
cases murder.
The auction will also include Works of Art from some of Irelands foremost artists inspired by The Great Famine.
On View at 26 St Stephens Green, Dublin, Ireland
Saturday Sunday Monday 15th May 16th May 17th May 2.00pm-5.00pm
2.00pm-5.00pm
10.00am-5.00pm
You can also view on line, three weeks prior at www.adams.ie
Enquiries to Stuart Cole or Kieran O’Boyle
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie
Rowan Gillespie (b.1953)
Famine figure
Est 1887
at Clandeboye
Ulster Artists Exhibition
William Scott
“Still Life 1951”
Gerard Dillon
“In the London Flat”
To celebrate our announcement of opening at Clandeboye Adams are delighted to present this exhibition
“Ulster Artists” which combines an Ulster preview of our June 2nd Important Irish Art Sale with pictures onloan from Private Collections from both North and South of the border. The Adam’s office opens full time at
the AVA Gallery in August with an exhibition “The French Connection” in time for the Clandeboye Festival
with Camerata Ireland. This exhibition will then travel to The Hunt Museum,Limerick in September.
Exhibition on view 15th - 29th April Monday - Friday 10.00am - 5.00pm daily
Irish Art Valuation Day at Clandeboye Thursday 15th April 10.00am - 4.00pm
Est 1887
at Clandeboye
Ulster Artists Exhibition
John Luke
“Dancer & Bubble”
William Conor
“The Street Dance”
Charles Lamb
“A Connemara Woman” (1932)
Colin Middleton
Opus I (41) Esmeralda (1942)
Telephone during Exhibition only
+44 (0)28 91852263
Daniel O’Neill
“The Two Bouquets”
www.adams.ie
Paul Henry
“Attending the Lobster Pots”
Adam’s at Clandeboye
The Ava Gallery
Clandeboye Estate
Bangor, Co. Down BT19 IRN
Est 1887
190
in association with
Louis le Brocquy “Adam”
Est: €25,000 - 35.000
Mary Swanzy “The Blessing”
Est: €10,000 - 15,000
Viewing London & Dublin;
Tony O’Malley “Various Elements, 1979”
Est: €40,000 - 60,000
Robert Ballagh “Couple with Fernand Leger”
Est: €8,000 - 12,000
London May 4th - 7th Dublin May 30th - June 2nd Louis le Brocquy “Eve”
Est: €25,000 - 35,000
Patrick Collins “Pierrot”
Est: €10,000 - 15,000
Bonhams, 101 New Bond St.
Adam’s, 26 St. Stephen’s Green
I M P O RTA N T I R I S H A RT
Auction Wednesday 2nd June 2010
Paul Henry “Evening in Connemara”
Est: €45,000 - 55,000
Harry Kernoff “In Davy’s Back Snug”
Est: €50,000 - 70,000
Jack B. Yeats “Dusty Lane, Kerry” (1913)
Est: €35,000 - 45,000
191
Sir John Lavery “Mrs Arthur Franklin”
Est: €40,000 - 60,000
Lillian Lucy Davidson “The Turf Cart”
Est: €4,000 - 6,000
Colin Middleton “The Wilderness, Mother and Child” (1941)
Est: €20,000 - 30,000
101 New Bond Street, London W1S 1SR
Tel +44 (0)207 4688366 Fax + 44 (0)207 4477434
irishart@bonhams.com www.bonhams.com
Est 1887
Est 1887
ith
Further entries are being accepted for this prestigious sale.
26 St Stephens Green , Dublin 2
Tel +353 1 6760261 Fax +353 1 6624725
Important Irish
Art 31st March
2010
info@adams.ie
www.adams.ie
192
Index to lot numbers
Ballard, Brian 21 - 23
Bartlett, William Henry 80
Barry, James (In the Manner of) 62
Behan, John 49 - 51
Bourke, Brian 110
Brandt, Muriel 60, 173
Hamilton, Letitia Marion Hanley, James Hayes, Claude Hayes, Edwin Healy, Michael Hennessy, Patrick Henry, Grace Henry, Paul Hickey, Desmond Hone, David Hone, Evie Hone, Nathaniel Campbell, George Carey, Joseph William
Castle, Barry Collis, Peter Conway, Agnes Cooke, Barrie Coyle, John Cullen, Tom Craig, James Humbert
Crozier, William 45
150, 151
16
163, 164
185
174
88
156
81
115
Delaney, Edward Dillon, Gerard Doherty, John Doran, Mary Duncan, Ana 56, 55
42
24, 25
48
57
Egan, Felim Egginton, Frank Evesson, William 129, 131
5-9
183, 184
French, William Percy
Frömel, Gerda 152 - 155
52
Gale, Martin Ganley, Rosaleen Brigid
Gooding, Maria Simonds
Greene, Catherine Guinness, May 39, 40
89
130
54
11
103, 104
169
148
67 - 75
136, 137
99, 101, 102
12, 13, 100
105
124
82, 83
14, 15
91, 93
Keating, Sean Kernoff, Harry King, Cecil King, Marion Kingerlee, John Kingston, Richard Knuttel, Graham 59
140
141, 142, 143
46
159 - 162
90
116 - 118
Le Brocquy, Louis Le Brocquy, Melanie Leech, William John Lyndsay, Roy 132 - 134, 168
47
147
121
MacLiammóir, Mícheál MacWeeney, Leslie Maderson, Arthur Maguire, Cecil McCaig, Norman J. McCarthy, Maeve McElroy, Patrick McEntagart, Brett McGuinness, Norah McKelvey, Frank McSweeney, Sean Middleton, Colin Miles, Thomas Rose Minihan, John Mooney, Martin Murphy, Noel 92
175
172
1, 176
178 - 182
20
189 - 258
158
135
96
144 - 146
41
76 - 78
165 - 167
17 - 19
119
Nicholson, Alfred
79
O’Connor, James Arthur O’Dea, Mick O’Malley, Tony O’Neill, Mark O’Ryan, Fergus 66
122, 123
29 - 34
106, 107
157
Purser, Sarah
63
Reid, Nano Russell, George Ryan, Thomas 43
97
84, 177
Sadler, William Scott, Patrick Scully, Sean Shawcross, Neil Shelbourne, Anita Shinnors, John Smith, Blaise Solomons, Estella Stuart, Imogen 64, 65
35 - 38
127, 128
111 - 114
109
125, 126
26, 27
61
53
Teskey, Donald Toogood, Romeo Charles 28
44
Verling, Walter
108
Walsh, George Stephen Webb, Kenneth Wilks, Maurice Canning Williams, Alexander
Williams, Lily Wilson, Ross 187
85 - 87
2, 3, 4
95
10
120
Yeats, Jack Butler
94, 98

Important Irish Art

Transcription

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