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Wednesday 1st October 2008 at 6pm
Important Irish Art
Including Paintings from The Daly Collection and Other Important Clients
Contacts for this sale
Brian Coyle FIAVI FRICS
James O’Halloran FIAVI
Stuart Cole MIAVI
David Britton BBS ACA
Jane Beattie MA
Nick Nicholson MIAVI
Chairman
Director
d.britton@adams.ie
Eamon O’Connor BA
Associate Director
e.oconnor@adams.ie
Managing Director
j.ohalloran@adams.ie
Associate Director
j.beattie@adams.ie
Kieran O’Boyle BA HDip
Fine Art Department
k.oboyle@adams.ie
Director
s.cole@adams.ie
Consultant
n.nicholson@adams.ie
Caroline Kevany BA Dip
Fine Art Department
caroline@adams.ie
Est 1887
26 St Stephens Green , Dublin 2
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie www.adams.ie
Est 1887
AUCTION
Wednesday 1st October 2008 at 6.00pm
VENUE
James Adam Salerooms
26 St Stephen’s Green , Dublin 2
Ireland
SALE CODE
This sale may be referred to as 3089 in all correspondence
CATALOGUE
€20.00
or at www.adams.ie
Viewing :
at adam’s 26 st stephen green, Dublin 2.
Sunday, 28th September
Monday, 29th September
Tuesday, 30th September Wednesday, 1st October
2.00pm - 5.00pm
9.30am - 5.00pm
9.30am - 5.00pm
9.30am - 4.00pm
4
INFORMATION FOR PURCHASERS
1.Estimates
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.
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 2nd October 2008, 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 2nd October 2008. Auctioneers commission on purchasers is charged at the rate of 15% (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. Julian Campbell, Dr. S. B. Kennedy, Sile Connaughton-Deeny, Hilary Pyle, Eamon
Delaney, Dickon Hall, Eimear Martin, Catherine Marshall, Kevin Rutledge and Aoife Leach.
8.
These paintings are being sold under our Conditions of Sale which are printed in this catalogue or are available on request.
Est 1887
5
Important Irish Art 1st October 2008 at 6pm
6
EXPLANATION OF CATALOGUING TERMS
The following terms used in this catalogue have the meanings as ascribed,
and are made subject to the conditions of sale as printed in this catalogue.
1.
Jack Butler Yeats RHA
In our qualified opinion a work by the artist.
2.
Attributed to Jack Butler Yeats RHA
In our opinion a work of the period which may in part or whole be by the
artist’s hand.
3.
Style of Jack Butler Yeats RHA
In our opinion a work of the period and style of the artist, but not by the artist.
4.
J B Yeats
In our opinion a work not of the period or by the artist.
5.
After Jack B Yeats
In our opinion a work which is a copy of a work by the artist.
6.
Signed
In our opinion the work is signed by the artist.
7.
Bears Signature
In our opinion the works bears a signature which may be that of the artist
8.
Dated
The work is dated and in our opinion was executed at or about this date.
Est 1887
7
1
Mildred Anne Butler RWS (1858-1941)
The Goose Girl
Watercolour, 22.5 x 16cm, (8.8 x 6.5”)
Signed
€1500 - 2500
8
2
Fr ank Egginton RCA (1908-1990)
High Road, Co. Down
Watercolour, 36.5 x 53cm (14.5 x 21”)
Signed
Inscribed on ‘The Fine Art Society Ltd’ gallery label verso
€1500 - 2500
9
3
The Road To Leenane, Connemar a
Watercolour, 53 x 75cm (21 x 29.5”)
Signed
€2500 - 3500
10
4
Bridge over a river
Watercolour, 50 x 75cm (19.5 x 30’’)
Signed
€1500 - 2500
Est 1887
11
5
Near Doe Castle, Co. Donegal
Watercolour, 52.5 x 75cm, (21.6 x 29.5”)
Signed
€2000 - 4000
12
6
Letitia Marion Hamilton RHA (1878-1964)
7
Maurice C. Wilks ARHA RUA (1910-1984)
River Pools With Gorse
In the Mourne Country, Near Kilkeel,
Co. Down
Oil on board, 29 x 40cm (11.5x 16”)
Signed with initials
€2000 - 3000
Oil on canvas, 49.5 x 59.5cm (19.5 x 23.25”)
Signed, inscribed with title verso
€3000 - 5000
Est 1887
13
14
8
Fr ank McKelvey RHA RUA (1895-1974)
Lough Agh, Co. Donegal
Oil on canvas, 61 x 71cm, (24 x 28”) Signed
Provenance: The H.S. Harris Collection, from whom purchased by current owner’s father-in-law, who was
Harris’s friend and solicitor circa 1963.
The Harris Collection of Irish Art was on loan to the Crawford Gallery, Cork during the 1950’s up to the early 60’s before
Mr. Harris moved to New Zealand. Other pictures from the collection that Adams have sold in the past include Sean Keating’s
“King O’Toole” which sold in these rooms for £30,000 in March 1991 and “Loading the Turf Cart, Kilmurvey” which sold for
€100,000 on 4/10/2006 Lot. No. 57
€8000 - 12000
15
9
James Humbert Cr aig RHA RUA (1878-1944)
November Snow, Glendun
Oil on board, 38 x 50cm (15 x 19.9”)
Signed
Est: €5000-€8000
16
10
Charles Vincent Lamb RHA RUA (1893-1964)
Connemar a Scene
Oil on board, 32 x 39cm (12.6 x 15.4cm”)
Signed
€3000 - 5000
Est 1887
17
11
Curr achs on the Shore
Oil on board, 32 x 39cm (12.6 x 15.4cm”)
Signed
€4000 - 6000
18
12
Robert Taylor Carson RUA (b.1919)
13
Micheal de Burca RHA (1913 -1985)
A Harbour View
Gypsies Camping at Ringsend
Watercolour, 27 x 18cm (10.5 x 7”)
Signed
Signed Michael Burke
€600 - 1000
€1500 - 2000
Est 1887
19
20
14
Nathaniel Hone RHA (1831-1917)
Boy On A Donkey
Oil on canvas, 28 x 37cm (11 x 14.6”)
Provenance: Collection of the late Paul and Grainne Curran, Dublin
€4000 - 6000
Est 1887
21
15
Nathaniel Hone RHA (1831-1917)
Cattle Resting In A Landscape
Oil on canvas laid on board, 31 x 45cm (12 x 17.75”)
€4000 - 6000
22
16
Paul Henry RHA (1876-1958)
Cottages by Mountains (1916-20)
Provenance: Major William Kirkwood and his wife Harriet Kirkwood,who received it as a gift from the artist, and by whom
passed to Elizabeth May McGeown (née Wall); thence by descent.
Possibly Exhibited: Pictures of the West of Ireland by Mr. & Mrs. Paul Henry, Mills’ Hall, Dublin, 16-28 April 1917
(catalogue number unknown).
Literature: S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations
(Yale University Press: New Haven and London), 2007, Thought to be catalogue number 445, p. 190.
This composition may be ‘A Wayside Village’ (Kennedy number 445) but of this one cannot be sure. Certainly the manner of execution suggests a date of around 1916-20. The setting is almost certainly Connemara. For a similar composition see ‘Cottages in Connemara’, 1922-5, Model Arts and Niland Gallery, Sligo (Kennedy number 598).
Dr. Brian Kennedy, September 2008
Nurse Wall, from whose estate this picture comes was employed as a private nurse to look after Harriet Kirkwood during her serious illness at her Clondalkin Home in the early 1950’s up to her death in 1953. On Harriet’s death Nurse Wall moved to Canada
returning to Ireland in 1957 to marry Sean McGeown.
A friendship with Major Kirkwood had built up during her time with the family as he attended their wedding and their first born
was named “William” after him and Major Kirkwood became his godfather. The newly married couple lived for a time at his home
in Clondalkin before setting up home in Howth where Major Kirkwood would arrive in a chauffeur driven car for tea every Tuesday
and Friday.
This Paul Henry was a gift from Major Kirkwood to Nurse Wall, perhaps a wedding present, but the actual date of the gift is unsure.
Nurse Wall was also gifted six paintings by Harriet Kirkwood and a number by Harriet’s friend and painter Father Jack Hanlon.
€20,000 - 30,000
Est 1887
23
24
17
Nor ah McGuinness HRHA (1901-1980)
The Coastguard Station
Gouache, 35 x 49cm, (13.75 x 19.25”)
€2000-€4000
This early watercolour of the coastguard cottages at Rathmullan is thought
to be the work that Norah based the lithograph she was commissioned to do
for the U.K. Educational Services in the 1930’s. The lithographs were a series
commissioned from a selected number of inspiring young artists (including
the likes of John Piper) for distribution to schools for educational purposes.
Est 1887
25
18
Gr ace Henry HRHA (1868-1953)
Achill Landscape with Figure Driving
Cattle Home
Oil on board, 23 x 29cm (9 x 11.5”)
Signed
€6,000 – 8,000
26
19
William John Leech RHA (1881-1968)
Still Evening, Concarneau
Oil on canvas board, 16 x 20.5cm (6.3 x 8”)
Signed bottom left
€2000 - 4000
Est 1887
27
20
Eva Henrietta Hamilton (1876-1960)
Fiesole
Oil on board, 19 x 23cm (7.5 x 9”)
Inscribed with title and artist’s name on reverse
A similar view by Eva’s sister, Letitia Marion Hamilton is in the collection of the Ulster Museum
(see: Irish Women Painters, NGI, 1987 )
€2000 - 3000
28
THE DALY COLLECTION
The Daly Collection was put together by Paul and Catherine Daly over a period of about twenty years from the early sixties and is a very personal collection formed by
a couple who are passionately interested in art and artists and who became very involved in the gallery scene during that time. Great friends with iconic art collectors
and gallerists such as David Hendriks, Gordon Lambert and Fr. John McGrath as well as artists such as Cecil King, Colin Middleton and Tony and Jane O’Malley, they
amassed a collection of work which is like a snap shot of contemporary Irish art of the period with works by artists such as Barrie Cooke, Robert Ballagh, Patrick Hennessy, Camille Souter, George Campbell, T.P.Flanagan, J B Vallely, Cecil King and of course their favourite, Colin Middleton. Thirty four paintings are being offered
in this collection.
Highlights from the collection, the Middleton Westerness Series and Barrie Cooke’s portrait of Seamus Heaney were exhibited at the Personal Choice exhibition at The
Butler Gallery, Kilkenny in 1982, a gallery that Paul was a patron of at the time. In the catalogue for that exhibition, which also included work from the collections
of the late Dorothy Walker and Cecil King, Richard Wood and Stanley and Elizabeth Mosse, Paul and Catherine dedicated their involvment to the memory of Colin
Middleton and are quoted :
“ Catherine and I have always been fascinated by the work of Colin Middleton. The paintings for us, with their mixture of mind, magic and mystery, is a combination
which has given us immense pleasure. Take what you like from them they are always a challenge. His work is far better summed up in a small poem by Seamus Heaney
called ‘In small townlands’.
IN SMALL TOWNLANDS
For Colin Middleton In small townlands his hogshair wedge
Will split the granite from the clay
Till crystal in the rock is bared:
Loaded brushes hone an edge
On mountain blue and heather grey.
Outcrops of stone contract, outstared.
The spectrum bursts, a bright grenade
When he unlocks the safety catch
On morning dew, on cloud, on rain.
The splintered lights slice like a spade
That strips the land of fuzz and blotch,
Pares clean as bone, cruel as the pain
That strikes in a wild heart attack.
His eyes, thick, greedy lenses, fire
This bare bald earth with white and red,
Incinerate it till it’s black
And brilliant as a funeral pyre:
A new world cools out of his head.
Lot 25 Barrie Cooke HRHA (b.1931)
Est 1887
29
THE DALY COLLECTION
21
Barrie Cooke HRHA (b.1931)
Way back to Lubok antu
Oil on board, 22.5 x 23cm, (8.75 x 9”)
Exhibited: Barrie Cooke Exhibition, David Hendriks Gallery, Apr/May 1976, Cat. No. 22 where purchased by the Dalys
Provenance: From the Collection of Paul & Catherine Daly
€3000 - 4000
30
THE DALY COLLECTION
22
Camille Souter HRHA ((b.1929)
Red Abstr act
Oil on paper, 20 x 14cms, (7.8 x 5.5”)
Signed and dated 1955
A gift from their friend Gordon Lambert.
€5000 - 7000
Est 1887
31
THE DALY COLLECTION
23
Camille Souter HRHA ((b.1929)
Blue Abstr act
A gift from their friend Gordon Lambert.
€5000 - 7000
32
24
George Campbell RHA RUA (1917-1979)
My Window, Zamor a
Oil on board, 60 x 50cm, (23.6 x 19.6”)
Signed. Inscribed with title verso
Exhibited: George Campbell Exhibition, Cork, 1974, Cat. No. 14
€15000 - 20000
‘Rhythm and movement are the characteristics of her work. There is nothing static in it. And whatever she paints conveys a feeling of happiness, of
brightness, of delight in life.’
These words, which appeared in The Irish Times in a review of Gretta Bowen’s work, are equally pertinent when considering the work of her second
son, George Campbell. There is always life in a Campbell painting: even his still-lifes and interiors, maybe even especially his interiors, are suffused
with a life-force. Mostly, it is Campbell’s own presence we feel: he has just left the scene he is painting or is about to return to add some finishing
touches. Either way, we feel he is hovering just outside the picture plane. ‘I paint my figures,’ he wrote, ‘merging – now you see me, now you don’t
– poised on the edge of something – probably nothing important.’ The viewer is on the edge of something here – between the dark and the light,
the interior and the exterior. In a T.V. interview late in his life, Campbell spoke of the Spanish as an ‘introverted/extroverted’ people, a characteristic
which greatly enamoured them to him. In this painting he captures that intriguing dichotomy of the private face behind the public mask for, much
like those flamboyant people he loved, his braggadocio persona belied the quiet scholar and auto-didact.
In his earlier works line was extremely important to him; he used it like calligraphy to emote a strong and steady tie to the past. His Celtic motifs
imbue the works with a sense of restlessness, a movement going on and on. In later works such as My Window, Zamora, he retains this linearity but
adds a monumentality by means of strong blocky shapes which ground the composition. Here the sunlight bursting into the dark interior is made to
make its way through the delicate filigree of the balcony wrought from sinuously serpentine forms, capped by elliptical shapes and all tied together
by the elongated verticals which draw the eye up and out into the distant trees. The dark uprights of the shutters serve to push back the outer world,
both physically and metaphorically. The elliptical shapes in light to the left of the composition which convey movement and positivity are strongly
contrasted to the dark, rectangular shapes on the right which suggest stasis and negativity. The juxtaposition of light and dark patterns is reminiscent
of stained glass and, like stained glass, conveys a sense of slow and quiet preoccupation. We could be inside a cathedral here as he holds the moment
like a note of music. With Campbell, it always came back to the music, the rhythm. He described his work in terms of musicality :’I start out by
picking everything out with one finger on a piano, build it up gradually and hope that finally I’ll have an orchestra going.’
Síle Connaughton-Deeny, September 2008
Est 1887
33
THE DALY COLLECTION
34
25
Seamus Heaney, Nobel Laureate Poet
Oil on board, 114 x 98.5cms, (45 x 38.75”)
Exhibited: “Barrie Cooke Exhibition”, David Hendriks Gallery, March/April 1981,
Cat. No. 8 where purchased by the Dalys.
“Personal Choice Exhibition”, The Butler Gallery, Kilkenny, May/June 1982.
Pictures chosen from the collections of Richard Wood, Dorothy Walker,
Cecil King, Stanley & Elizabeth Mosse along with the Daly’s
This is a significant painting from the Daly’s, who have long admired both artist and sitter. Barrie Cooke depicts
Seamus Heaney in a strong pose, his shoulders solid and arms folded. Painted in Cooke’s gestural style, the underlying structure of this literary giant is prominent, his presence potent. Standing before a backdrop that is suggestive of
a landscape on the left hand side, Cooke has rendered Heaney’s expression in a way that captures the workings of a
great mind, his narrowed eyes revealing intense contemplation.
€30000 - 50000
Est 1887
35
THE DALY COLLECTION
THE DALY COLLECTION
36
26
Ger ard Dillon (1916-1971)
27
Cecil Maguire RHA RUA (b.1930)
Ar an Turf Boats
Black Fort, Kilronan, Ar an
Watercolour, 26 x 35.5cm, (10.25 x 14”)
Oil on board, 43 x 58cms, (17 x 22.75”)
Signed and dated 1974. Inscribed with title verso
€5000 - 7000
€5000 - 7000
Est 1887
37
THE DALY COLLECTION
38
28
Patrick Hennessy RHA (1915-1980)
Cr ab Catchers and Fishermen with Gladioli
Oil on canvas, 40 x 50cms, (15.75 x 19.75”) Signed
Provenance: Purchased in the 1950’s by Father John McGrath, well known collecter and supporter of the arts and purchased privately from him by
the Dalys in the mid 1970’s.
This painting, circa 1957 is a fine example of the range of Patrick Hennessy’s technical ability. A clever composition, a range of different textures to be
painted, the wicker basket, the terracotta pot and trompe l’oeil effect of the illustration pinned to the wall as a backdrop, (possibly a photograph of the cliffs
at Etratat in France, where he had painted for a period during the previous summer), all gathered together and placed in an apparantly casual manner creating a delightful tableau.
Kevin Rutledge, October 2008
€10000 - 15000
All the following 5 lots by Patrick Hennessy were acquired by the Dalys privately from Father John McGrath. Father Mc Grath of Tipperary/Limerick was
a well known collector and supporter of Irish Art and artists and his collection included many notable works by Gerard Dillon,Sean Keating,Charles Lamb
and modern works by Louis Le Brocquy, Barrie Cooke and Robert Ballagh. Father Mc Grath donated 45 works from his collection to the Crawford Gallery
in 1998 which included works by the artists listed above along with “The Silent Room” from 1955 by Patrick Hennessy.
Recent sales and journalism have ignited a renewed and overdue interest in Patrick Hennessy (1915-1980) and his works. When one examines the contents of major
collections of 20th Century Irish Art that have reached the salesrooms or have been donated to galleries or museums, Patrick Hennessy is represented in the majority of
those collections, and also here in the Paul and Catherine Daly collection. With range and depth, it has become evident that no collection of 20th Century Irish paintings
would be complete without a example of the art of Patrick Hennessy.
Patrick Hennessy attracted a loyal group of patrons and collectors soon after his return to Ireland from Scotland in 1939, at the age of 24. Initially he settled in his native,
Cork where his Munster patrons, The Vernons’, Sisks’ and Kearneys’ among them, became friends as well as customers, as did Gordon Lambert and Fr. John McGrath
(whose donation of 45 paintings to the Crawford Gallery, Cork, was a splendid act). Fr. McGrath was the original owner of the Hennessys’ owned by the Dalys’. As Patrick
Hennessy’s career developed, with exhibitions of his work in London and later in the USA, primarily in the Guild Hall Gallery, Chicago, his work in Ireland was being
recognised - he was on a steady upward path. He was honoured by his peers when they elected him as a full member of the RHA in 1949, and also associated with the
Dublin Painters Group, being elected as their President in 1954. He was attached initially to the Dawson and Waddington Galleries, but it was his part in the setting up
of the Richie Hendricks Gallery (later the David Hendricks Gallery) that established a regular base and an annual solo exhibition. The David Hendricks Gallery became
an important showcase for 20th Century Irish Art and was celebrated by the publication of ‘Living With Art’ by Sean McCrum and Gordon Rayberx as a memorial to
David Hendricks. Paul and Catherine Daly were subscribers to this memorial among other patrons.
Patrick Hennessey died in 1980 aged 65. During his lifetime, Ireland did not enjoy the relative prosperity we have come to enjoy, making a living as a fulltime artist was
difficult and few managed it. Hennessy however survived, with thanks to the patronage and encouragement of the Paul and Catherine Dalys’ of this world, and as we can
see from this collection, its legacy is rich.
Kevin Rutledege, October 2008
39
THE DALY COLLECTION
40
THE DALY COLLECTION
29
Still Life with Roses on a Table
Oil on card, 22 x 35cms, (8.6 x 13.75”)
Signed
Provenance: Purchased in the 1950’s by Father John McGrath,
well known collecter and supporter of the arts and purchased
privately from him by the Dalys in the mid 1970’s.
€6000 - 10000
Patrick Hennessy’s faculty to paint roses with unerring decorative detail was,
from a commercial point of view, a vital element in his artistic life. His rose
studies always sold, and therefore provided the funding for travel and more
academic and artistic works. The Irish public have a fondness for flower paintings and every Hennessy sale had a content of rose studies. The American public too, recognised his mastery of the subject and when Hennessy commenced
dealing with the Guildhall Gallery, Chicago, every consignment of paintings
contained rose studies.
41
THE DALY COLLECTION
30
Still Life with Apples and Roses on a Table
Oil on canvas, 52.5 x 66cms, (20.6 x 26”)
Signed
A rough timber table, a small white bowl containing three roses, two pieces of crumpled paper, four apples and one half-sliced apple in the foreground, are the simple
subject of this still life by Patrick Hennessy. The composition is in the form of a
loose cross with the placement of the apples on the table diagonally. The reds and
greens of the apples and paper are in contrast against the white vase, rose and sliced
apple. All the objects cast a slight shadow caused by the source of the light from the
left. The high realism of the painted apples is formidable, the texture, colour and
sheen of the apples created an effect that is nearly three-dimensional. The painting is
to Patrick Hennessy’s highest standards.
€15000 - 20000
THE DALY COLLECTION
42
This view of Lough Inagh on a near cloudless day is an early study of the lake. It uses the lake as a mirror for the reflection of the mountains in the background, an exercise
in light an shade. The foreground is a rocky vantage point, with sparse grass and vegetation on the plateau, emphasizing the inhospitable nature of the terrain. Patrick
Hennessy paid a number of visits to the west of Ireland to paint its scenery. Perhaps in response to a comment by his friend Gordon Lambert “that to get recognition in
Ireland as a landscape painter, you must paint the west of Ireland”. Hennessy was successful with his landscapes of the west and in 1957 at his annual exhibition at the
Richie Hendriks Gallery, he sold all of his western landscapes.
31
32
Lough Inagh, Connemar a
The Angel of the Annunciation
Oil on canvas, 75 x 100cms, (29.5 x 39.3”)
Signed
Oil on canvas, 70 x 90.5cms, (27.5 x 35.6”)
Signed
€8000 - 12000
€8000 - 12000
43
THE DALY COLLECTION
This painting is part of a series painted by Patrick Hennessy called ‘Variations On The Theme Of Flight’. This series was generally painted on a larger than normal sized
canvas. The format was to use stone or carved wooden statues with or without wings, and paint them placed on a beach or headland/cliff. Sometimes these statues were
poised in a ‘moment of movement’ while in other studies like ‘The Angel Of The Annunciation’, the statues were placed away from each other, still and silent, creating
a disturbing, nearly confrontational mood.
THE DALY COLLECTION
44
33
Cecil King (1921-1986)
Untitled - Blue Landscape
Oil on canvas, 14.5 x 18.5cms, (5.7 x 7.25”)
Signed
€800 - 1200
34
Blue Mountain Landscape
Signed and dated 1961, inscribed by the artist verso
€600 - 800
Est 1887
45
THE DALY COLLECTION
35
Robert Ballagh (b.1943)
The Invisible Prince - J. Sheridan le Fanu
Pen, ink and watercolour, 31.5 x 19cm, (12.25 x 7.5”)
Signed, inscribed and dated 1976
€2500 - 3500
In 1976 The Arts Council commissioned Robert Ballagh to paint a
portrait of the Nineteenth Century gothic novelist James Sheridan Le
Fanu, who had lived in the building on Merrion Square where their
office was at the time. Already an admirer of the writer,
Ballagh set about choosing a way to depict him. Working from an
etching based on a portrait of Le Fanu by his son Brinsley (National
Gallery of Ireland), Ballagh created this small scale version with all
the key elements of the final work. Sheridan Le Fanu is portrayed as
reflected in, or trapped within, a partially open Georgian window.
The candle in his right hand references the author’s preference for
working at night. An eerie tone is created through the juxtaposition
of the candlelit window portrait and the daytime landscape that is
visible between the windowpanes.
46
36
Mathers (from The Third Policeman)
Oil on canvas laid on board, 54.5 x 43.5cm, (21.4 x 17.1”)
Literature: “Robert Ballagh” by Ciaran Carty p221
€5000 - 8000
In 1977 Robert Ballagh created a series of six paintings based on Flann O’Brien’s The Third Policeman. These paintings constituted the first literary themed
works in Ballagh’s oeuvre that had not been commissioned. The six canvases, each 30 x 24”, are unified not only by their size but by the painted inner frame
that acts as a border for each canvas. This interest in frames within frames, as well as mirrors and windows, had appeared earlier in Ballagh’s work, for example
in The Invisible Prince – Sheridan le Fanu (Lot 35) and more famously in his ‘Looking At’ paintings where he depicted pictures within pictures. These ideas
lent well to O’Brien’s book with its disorientating sense of time and space. For example in Day and Night, from Ballagh’s series, a window is depicted, hinged
to the painted frame, opening inward onto a night time landscape, with daylight showing through a mimicked painterly gesture across the canvas.
Mathers, which depicts the character by the same name from The Third Policeman, is the only portrait in the series. A central character in the book, Mathers
is the victim of a violent murder by John Divney, with the narrator as his accomplice, who plots the crime in order to steal Mather’s black box, believing that
it contains a large sum of money. Immediately following their ambush and assault on the man Divney slips off to hide the box, and refuses to tell the narrator
where it is until ‘things quieten down’. Years pass and Divney decides it is safe to tell the narrator that the box is under a floorboard in Mather’s house and
that he should retrieve it. On entering the house through a window the narrator finds himself in a perspectively impossible room, and finds the box under the
floorboard. He reaches out to take the box, at which point it disappears and he finds himself confronted by the original owner of the box, and now long dead,
Mathers.
Ballagh depicts Mathers in a suitably confronting pose, his chin resting on his white knuckles and his elbows resting outside the painted frame, suggesting
that he has crossed the painting’s boundary into the viewer’s space. It are his eyes however that are most striking. Rather than painting them Ballagh has cut
holes in the canvas and placed mirror behind them. His eyes are cold yet glimmer with the slightest movement from the viewer, reflecting small fragments of
surroundings or faces. This gives a fourth dimension to the painting, a sense that there is something not just behind but beyond the canvas, almost tangible
but remaining allusive. This is an appropriate and ingenious way to represent Mathers, whose eyes are described in detail by the guilt ridden narrator at the
moment of their encounter at his home:
“...the eyes were horrible. Looking at them I got the feeling that they were not genuine eyes at all but mechanical dummies animated by electricity or the
like, with a tiny pinhole in the centre of the ‘pupil’ through which the real eye gazed out secretively and with great coldness. Such a conception, possibly
with no foundation at all in fact, disturbed me agonisingly and gave rise in my mind to interminable speculations as to the colour and quality of the real eye
and as to whether, indeed, it was real at all or merely another dummy with its pinhole on the same plane as the first one so that the real eye, possibly behind
thousands of these absurd disguises, gazed out through a barrel of serried peep-holes.”
Est 1887
47
THE DALY COLLECTION
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37
Portr ait in Green (Hans Hofmann)
Oil on canvas laid on board, 63 x 50.5cm, (24.75 x 19.75”)
Signed and dated 1973 verso
Literature: “Robert Ballagh” by Ciaran Carty p219
€8000 - 12000
Having worked mainly in acrylics throughout his career, Robert Ballagh began introducing oil paint to his works in the early 1970s. He has accounted for this shift, which was a practical choice - acrylic dries too quickly, leaving an arid surface and a somewhat unpredictable outcome in
terms of colour. He concluded that acrylic was not suited to figurative work. As a means of experimenting with oils, Ballagh painted a series of
portraits of celebrated abstract painters, a witty choice of subject matter given that he felt the acrylic paints he was turning away from were better
suited to abstraction.
The difficulty in changing from acrylic to oil paint for Ballagh was figuring out how to achieve a smooth surface. His aversion to gestural painting, because of its association with Greenbergian Modernism and its over emphasis on the hand of the artist, led him to paint this series to find
a way ofweliminating the visible brush stroke.
Because these were practice works, executed as a learning curve on the technicalities of working in oil paint, he subsequently destroyed all but two
of the canvases – Portrait in Green (Hans Hofmann) and Portrait in Silver (Andy Warhol). It may be that these were the most or only successful
works in terms of eliminating the brush stroke, certainly his portrait of Hofmann is executed perfectly. The smooth surface gives rise to an image
of the influential painter and teacher in a soft photographic style that is rare within his oeuvre.
Hans Hofmann (1880-1966) was born in Bavaria, but spent much of the early Twentieth Century in Paris with avant-garde artists such as
Picasso,Bracque and Matisse. During World War I he returned to Germany. Exempt from service because of health problems, he set up an art
school in Munich. In the 1930s Hofmann moved to America where he taught at University of California at Berkeley and in New York. Although
he was a successful painter in his own right, it is for his teaching and writings on painting that he is best remembered. He was a significant figure
in the post-war American art scene and is closely associated with Abstract Expressionism. His students included Helen Frankenthaler, Lee Krasner
and Allan Kaprow, and Frank Stella was so profoundly influenced by him that although they never met he considers himself a Hofmann student.
A film about Hofmann, narrated by Robert de Niro whose parents met while studying at the artist’s summer school, was made recently. Ironically
Hofmann is considered to have been one of the greatest influences on the writings of Clement Greenberg, which promoted the gestural abstracted
that Ballagh consciously avoids in his own work.
Est 1887
49
THE DALY COLLECTION
50
38
Nor a Ring Singing the Mozart Mass at
St. Canice’s Cathedr al (1980)
Oil on board, 122 x 122cms, (48 x 48”)
Signed, inscribed with title and dated 1980
Exhibited: “Barrie Cooke Exhibition”, David Hendriks
Gallery, March/April 1981, Cat. No. 10 where purchased by
the Dalys “Six Artists from Ireland”, International Touring
Exhibition, Cat. No. 25
€20000 - 30000
Like much of Barrie Cooke’s work this is a loose figurative painting containing a high level of abstraction that, together
with the naturalistic and earthy tones employed, lends an organic tone to the work. The impression of freely applied paint
however is deceptive, as the artist clearly has a high degree of control over his materials. In this case his subject is the opera
singer Nora Ring, and it is the facial expression that Cooke has focused on. The intensity of the singer’s involvement in the
music can be read through her closed eyes and partially open mouth, her voice resonating from the painting. The figuration dissipates in the space in which she stands as if to express the power and passion of the singer. However the setting, St.
Canice’s Cathedral is implied by a series of verticals visible behind Nora Ring’s head. These are open to interpretation, but
no doubt allude to an architectural or sculptural feature – columns, windows, alter or niches. Cooke also captures the movement of the singer, her hands, shoulders and chest are vaguely outlined giving the impression of motion. In this way what
he has captured in paint is not only a portrait of Nora Ring, but an entire musical performance.
Est 1887
51
THE DALY COLLECTION
52
39
Colin Middleton RHA RUA (1910-1983)
“Into the Shandy, Westerness - she r ain, r ain, r ain” (Westerness cycle from Finnegan’s Wake)
Oil on board, 60.5 x 60.5cms, (23.75 x 23.75”) Signed, also signed, inscribed and dated 1975 verso
Exhibited: “Colin Middleton Exhibition”, The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 2. This was purchased by
the Dalys directly from Colin Middleton in his studio prior to the Hendriks Show where it was “on loan”.
“Personal Choice Exhibition”, The Butler Gallery, Kilkenny, May/June 1982.
Pictures chosen from the collections of Richard Wood, Dorothy Walker, Cecil King, Stanley & Elizabeth Mosse
along with the Daly’s
€30000 - 50000
The Westerness Series
The 1970s had opened auspiciously for Colin Middleton after the financial and creative difficulties of the previous decade. He had been awarded the MBE
in 1969, then elected a member of the Royal Hibernian Academy in 1970 and was awarded a bursary by the Arts Council that enabled him to give up
teaching and paint full time. The changes in direction that his work had demonstrated since the very end of the 1950s seemed to have reached a consistent
resolution by this stage.
Until the 1970s, Middleton’s landscape painting had been based around Belfast and the places where he had lived and where he had holidayed with his family in their caravan. With their new found freedom, Colin and Kate Middleton travelled to Perth via Cape Town in 1972, to visit one of Kate’s daughters.
In 1973, they visited their daughter Jane in Barcelona. While specific bodies of works emerged from both trips, the impact of these journeys resounds in
the two substantial cycles Middleton was to work on in the years that followed them, first the Wilderness Series, painted between 1972 and 1974, then the
Westerness Series, painted between 1974 and 1975.
In the Wilderness paintings, the specific local places that had so captured Middleton’s attention in the 1960s were now replaced by a landscape that, in its
vastness of scale, is suggestive of Australia or Spain, even referring on occasions to lands synonymous with enormous empty terrain such as Tierra del Fuego.
They introduced different formal arrangements and interpretations of space, but the landscape also plays a different role, supporting the suggestions of narrative that dominate these works and which had been absent from much of the work of the previous decade and a half. Middleton seems to be revisiting his
early love of surrealism, but with a greater formal and iconographic consistency, employing meticulously precise draughtsmanship, dramatic perspective and
repeated patterns that hark back to his first career as a damask designer.
The Westerness Series at first appears to be merely a continuation of the Wilderness paintings, but whereas the former is characterised by repetition and a
lack of focus, the small, eighteen painting Westerness Series can be seen as a more fully conceived and resolved entity. The title is drawn from James Joyce’s
Finnegan’s Wake, and the quotation is extended in the title of the second painting in the cycle, Into the Shandy Westerness, she Rain, Rain, Rain. The titles
throughout contain a wealth of literary or geographical references, but the paintings present a coherent and connected group, with each individual work
holding an echo of another.
Cont./
Est 1887
53
THE DALY COLLECTION
54
40
The Long Memory (Westerness Series)
Oil on board, 61.5 x 61.5cm (24 x 24”) Signed. Signed and inscribed verso
Exhibited: “Colin Middleton Exhibition”, The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 15
where purchased by the Dalys
“Personal Choice Exhibition”, The Butler Gallery, Kilkenny, May/June 1982. Pictures chosen from the collections of
Richard Wood, Dorothy Walker, Cecil King, Stanley & Elizabeth Mosse along with the Daly’s
€30000 - 50000
The idea that recurs throughout these titles seems to be the duality of human nature, the difficulty of rationalising the co-existence of the material
and spiritual within our lives. Perhaps this cycle could be seen as the examination and expression of Middleton’s own psychological terrain, a painter
trying to sum up forty years of work. The exploration of this idea seems focussed around the female archetype, which had consistently dominated the iconography of Middleton’s work. While Samson Agonistes and Sweeney Agonistes contrast Milton’s heroic vision of the blind Samson struggling to renew his
faith in God with T.S. Eliot’s expression of materialistic modern man, these paintings in general clarify Middleton’s conception through the interaction of
the female with the world.
The title painting of the Westerness Cycle introduces this woman as if part of nature, extending the ambiguity of the first painting; are we intended to
imagine that behind Matter and Kind lies the German mutter und kind, mother and child? In Middleton’s work, the female can become the earth and by
definition the mother. In keeping with the title, the woman that strides across an empty landscape in Into the Shandy Westerness is more elemental than the
shards of rain that fall at her feet. Another ambiguity is present here and across nearly all these panels; while landscapes are often sparse and rugged, there is
a lavish attention to surface pattern, particularly in the garments Middleton’s women wear. He appears to have made use of a technique developed by some
surrealist painters, decalcomania, to create the absorbing, varied effect of material that defines them against their surroundings, or occasionally connects
them to the world around them, suggesting an otherness that suits their role within each work.
The mountain of Montserrat is referred to in four of the eighteen paintings, a reminder of how influential his travels earlier in the decade were to be on
Middleton’s work. Close to Barcelona, Montserrat is the site of a Benedictine Abbey that hosts the Virgin of Montserrat Sanctuary and it is also identified
by some authors as the location of the Holy Grail in Arthurian Myth. The Sanctuary, Montserrat III and The Swallow’s Nest, Montserrat IV are two of
the most lyrical paintings within the Westerness series, in which the figures almost become intertwined with their surroundings. The latter is reminiscent
of Middleton’s The Dream of the Moth. Beautifully composed, the patterned surface takes on a remarkable fragility against the sky, while the face recalls
Middleton’s love of the Flemish masters.
The Sanctuary Montserrat III was chosen for the cover of the catalogue when the Westerness Cycle was exhibited at the David Hendriks Gallery in 1976.
The title makes an extremely literal reference that perhaps is supposed to identify the figure in the painting as the Virgin of Montserrat. The bird is another
central element in the iconography of Colin Middleton’s work throughout his career, nearly always being used in conjunction with the female figure, a
counterpart that expresses or represents her spiritual nature, free from the restraints of the material life. As with the last Montserrat painting, there is an
intense direct gaze from the figure to the bird.
Cont./
Est 1887
55
THE DALY COLLECTION
56
41
The Witch of Mullaghderg (Westerness cycle from Finnegan’s Wake)
Oil on board, 61.5 x 61.5cms, (24.25 x 24.25”) Signed, also signed, inscribed and dated 1975 verso
Exhibited: “Colin Middleton Exhibition”, The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 13 where purchased by current owners
“Personal Choice Exhibition”, The Butler Gallery, Kilkenny, May/June 1982. Pictures chosen from the collections of
Richard Wood, Dorothy Walker, Cecil King, Stanley & Elizabeth Mosse along with the Daly’s
Literature: “Living with Art:David Hendriks”. A tribute to David Hendriks edited by Gordon Lambert (1985), full page illustration p.46.
€30000 - 50000
Ireland, however, clearly remained important to Middleton in the conception of this body of work. His landscape paintings continued throughout the 1970s
and three paintings in the Westerness Series were titled after specific locations in Donegal where Middleton frequently visited. In Fencing Post: Birroge
ancient, weathered wood takes on the form of a hunched figure. Middleton often explored the ambiguous forms thrown up by a landscape and the way in
which its physical nature expressed its own history. The figures within these works often seem to emerge from the landscape they inhabit, to share a meaning
with their surroundings.
The figure in The Enchanted Forest symbolises this relationship; in her physical form, she is similar to the snake and the peacock, whereas The Witch of
Mullaghderg dominates the painting entirely, her long train floating across the picture space as she appears to hover, barely touching the ground, offering
her playing card with a knowing and impenetrable expression. It is a more playful work and more typical of Middleton’s earlier surrealist paintings, while
the image of a playing card is one he used in earlier works.
Amongst such a coherent group, The Long Memory is slightly different and seems more obviously personal. The female figure is more specific; the darker,
boxed-in space seems to be compared with the memory in which she stands beside the table in an open landscape, but with the presence of a dark moon
acting perhaps as a warning. It seems to be the painting of a man looking back on a different time with the knowledge of the present day, much as this cycle
might be the work of a man trying to reach some sense of resolution as an artist, a summing up of much that he had done and an expression of what still
seemed most important to him.
It must have been satisfying for Middleton that these paintings were so well received. Sixteen out of the eighteen works were sold (unusually, prices for these
identically sized paintings ranged from £600 to £800), one to the Arts Council and another to the Hugh Lane Municipal Gallery. The Witch of Mullaghderg
was later illustrated in the book published as a tribute to David Hendriks. It is remarkable to see so many pictures from this impressive and tightly-knit
group remaining in one collection and presented intact at auction and they are illuminating about Middleton
the artist; this last re-invention might perhaps come to be seen as one of his most powerful and revealing.
Dickon Hall October 2008
Est 1887
57
THE DALY COLLECTION
58
42
The Sanctuary Montserr at III
(Westerness Cycle)
Oil on board, 61.5 x 61.5cms, (24.25 x 24.25”)
Signed, also signed, inscribed and dated 1974/75 verso
(Front cover illustration of Hendriks catalogue)
Exhibited: “Colin Middleton Exhibition”, The David Hendriks
Gallery, Mar/Apr 1976, Cat. No. 11 where purchased by
the Dalys “Personal Choice Exhibition”, The Butler Gallery,
Kilkenny, May/June 1982. Pictures chosen from the
collections of Richard Wood, Dorothy Walker, Cecil King,
Stanley & Elizabeth Mosse along with the Daly’s
€30000 - 50000
59
THE DALY COLLECTION
60
43
The Swallows Nest, Montserr at IV
(Westerness Cycle)
Signed, also signed, inscribed and dated 1975 verso
Exhibited: “Colin Middleton Exhibition”,
The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 18
where purchased by the Dalys “Personal Choice Exhibition”,
The Butler Gallery, Kilkenny, May/June 1982. Pictures chosen from the
collections of Richard Wood, Dorothy Walker,
€30000 - 50000
Est 1887
61
THE DALY COLLECTION
62
44
The Enchanted Forest, (Westerness Cycle)
Exhibited: “Colin Middleton Exhibition”, The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 14
where purchased by the Dalys “Personal Choice Exhibition”, The Butler Gallery, Kilkenny, May/June 1982. Pictures
chosen from the collections of Richard Wood, Dorothy Walker,
€30000 - 50000
63
THE DALY COLLECTION
64
45
Fencing Post, Lough Birroge,
(Westerness Cycle)
Exhibited: “Colin Middleton Exhibition”,The David Hendriks Gallery, Mar/Apr 1976, Cat. No. 17
where purchased by Father McGrath from whom acquired directly by the Dalys. “Personal Choice Exhibition”,
The Butler Gallery, Kilkenny, May/June 1982. Pictures chosen from the collections of Richard Wood,
Dorothy Walker, Cecil King, Stanley & Elizabeth Mosse along with the Daly’s
€30000 - 50000
Est 1887
65
THE DALY COLLECTION
66
46
Slower Dance, Forest Floor (1976)
Mixed media - oil on board, 110 x 50.5cms & Bone box 12.5 x 50.5 x 19cms (43.5 x 20” & (5 x 20 x 7.5”)
Exhibited: “Barrie Cooke Exhibition”, David Hendriks Gallery, April/May 1976, Cat. No. 4 where purchased by the Dalys.
“Barrie Cooke Retrospective”, Kilkenny Art Society, Aug/Sept 1981, Cat. No. 60
This work is the result of a three month stay by the artist in the equitorial forests of Malaya and Borneo. Cooke tried to capture
the vitality of what he experienced there.
Brian Fallon in his review of the 1976 Cooke exhibition stated “The pictures are mostly green, tropical and lush, as one would expect, and
are closer to the lyrical mood of Cooke’s earlier work. Jungle light, which I assume is just as its shown here, has a curious effect of underwater, greenish gloom shot with flashes of brilliance. This, on the face of it, is not altogether removed from the watery world of Cooke’s pictures
of a dozen or so years ago. A rich and individual show, by a natural and gifted handler of light and pigment. “
(Irish Times 27th March 1976)
A similar version of this work was in The Gordon Lambert Collection and is now in IMMA’s collection. Eimear Martin
and Catherine Marshall wrote about the work : “ ‘Slow dance, Forest Floor’ is one of a body of works made using boxes
that often incorporate mysterious organic looking material and found objects - such as bones,vegetation and sand.
In this work,a perspex box projects from a semi-abstract oil painting depicting the rainforest. The combination of the painting
and the box creates a number of dualities - present and past, organic and synthetic, fertile and uncontrolled versus the clinical
rational construction of the box. A dialogue is established between an artistic understanding of nature and the scientific one
suggested by the specimens in the box. At another level, as in much of his work, Cooke draws attention to the vulnerability
of the earth’s ecosystems ”.
“Irish Museum of Modern Art - the Collection” 2005
€8000 - 12000
Est 1887
67
THE DALY COLLECTION
THE DALY COLLECTION
68
47
Theo McNab (b.1940)
Passage S 18
Oil on canvas, 45 x 28cms, (17.75 x 11”)
Provenance: “Theo McNab Exhibition”,
The David Hendriks Gallery, August 1976
€1000 - 2000
48
Sun Water, 1972
Perspex, water, shells and bone,
40 x 18 x 12.5cms (16 x 7 x 5”)
Exhibited: “Barrie Cooke Exhibition”,
David Hendriks at The Cork Arts Society,
Lavitts Quay, Cork May 1977 Cat. No. 34
“Barrie Cooke Retrospective”, Kilkenny Art
Society, Aug/Sept 1981, Cat. No. 23
€4000 - 6000
Est 1887
69
THE DALY COLLECTION
THE DALY COLLECTION
70
49
Haystack near Slievemore
Oil on board, 15.5 x 20.5cm, (6 x 8”)
€1500 - 2500
Est 1887
THE DALY COLLECTION
50
Looking over the Romney Marsh from
Fields near Aldington, Kent (1923)
71
Oil on board, 21 x 28.5cm, (8.25 x 11.25”) Signed
€3000 - 5000
72
51
Henry Robertson Cr aig RHA (1916-1984)
The Yellow Dress
Oil on canvas, 100 x 76cms, (39.4 x 30”)
Signed. Signed again and inscribed with title verso
€5000 - 7000
Henry Robertson Craig was born in Scotland in 1916. He was a friend and partner of Patrick Hennessy from the
1930’s when they were in Art School together in Dundee. His painting has a light touch, with an impressionistic feel
about it. He was very much in demand as a portrait painter and had a faculty to create a good likeness. He painted
many important people in Ireland in the 1950’s and 60’s. He also gave private painting lessons too, among others the
British Ambassador. ‘The Yellow Dress’ shows a pretty young girl seated, the yellow colour of her lace-covered dress
is echoed by the roses in the vase above her head. The contrast in colour of her black gloves against the yellow is striking.
Est 1887
73
THE DALY COLLECTION
74
THE DALY COLLECTION
52
Terence P. Flanagan RHA PRUA (b.1929)
A Single Rose
Signed and dated ‘74
Exhibited: “T.P. Flanagan Exhibition”,
The David Hendriks Gallery, Oct/Nov 1975,
Cat. No. 12 where purchased by the Dalys
€7000 - 10000
53
Sean Keating PRHA HR A HRSA (1899-1977)
The Connemar a Colleen
Signed
€20000 - 30000
Est 1887
THE DALY COLLECTION
75
76
54
John B. Vallely (b.1941)
Piper
Oil on canvas, 4735 x 60.5cms, (16.7 x 23.75”)
Provenance: The Tom Caldwell Gallery, Belfast (original exhibition label verso).
From the Collection of Paul & Catherine Daly
€10000 - 15000
Armagh artist John B. Vallely studied at the Belfast College of Art, where he was taught by Tom Carr, and
went on to further studies at the Edinburgh Art College before returning to his home town where he has
lived and worked since. An avid supporter of Irish heritage in terms of both sport and music, Vallely founded
the Armagh Piper’s Club in the 1970s. Not only did the club allow him to actively support traditional Irish
music and pass on his own knowledge, but it became the meeting point for his love of music and his art.
Musicians dominate the subject matter of his paintings, and in this early work it is a piper, perhaps one of
his own students, who takes centre stage.
Est 1887
77
THE DALY COLLECTION
78
Est 1887
79
55
Richard Gorman ARHA (b.1946)
56
Yez
Armstrong’s and the Absorok a’s I
Oil on wood, 40 x 40cm (15. 9 x 15.9”)
Signed, inscribed with title and dated 1989 verso, unframed
Oil on canvas, 61 x 107cm (24 x 42”)
Signed, inscribed and dated 1995 verso
Provenance: A Prominent Dublin collector
Provenance: A Prominent Dublin collector
€1500 - 2000
€4000 - 6000
80
57
Louis le Brocquy HRHA (b. 1916)
Head With Open Mouth (AR 375)
Oil on canvas, 46 x 37.5cm (18 x 14.6”)
Provenance: Galerie Jeanne Bucher, Paris
A Private Collection, Northern Ireland
€60000 - 80000
The human head has been a recurring subject in Louis le Brocquy’s work since the mid 1960s. These ethereal visages emerge from a white ground and
have included what le Brocquy terms ‘ancestral heads’ as well as the heads of modern literary figures and artists such as W.B. Yeats, Samuel Beckett
and Francis Bacon. Whether a general or specific head, these paintings conjure up a wealth of emotions. The heads seem to strike a balance between
what we recognise as common human experience and a distinct sense of otherness. This is not the only ambiguity in these works. The heads appear to
have a solid core but malleable surface, the expertly applied paint evoking a sense of fluidity that is based on structure. It is impossible to make a clear
distinction between the heads and their white ground. Not only is this because of the deceptively loose appearance of the style of the works but because
le Brocquy uses the full spectrum of colours to depict the heads - colour theory teaches that white light is made up of light of multiple colours, which
can be seen clearly when it passes through a prism. Here the white ground acts as a matrix, the base material for the head which emerges not in front
of or behind it but within it and as part of it.
le Brocquy has traced his fascination with heads as a subject matter to two sources. The first is his visit to the Museé de l’Homme in Paris in 1964, where
he came across decorated Polynesian heads. These were not merely sculptures, but as he recalls ‘skulls over-modelled in clay and painted ritualistically
to contain the spirit’. The second source is Celtic sculptural heads from Aix-En-Provence. le Brocquy has noted that the Celtic sculpted heads had been
‘smashed’ by the Romans, as the people who made them had been. He saw them directly linked to their makers own heads through this violent cultural
memory, and it was these heads that had most resonance for the artist. Being from his own culture they spoke to him directly on an emotional level.
‘Head with Open Mouth’ is typical of his ancestral head paintings, but each one is uniquely evocative. The uncanny head comes into view in the centre
of the white ground, the cranial features attempting to protrude. The emotional content of the work is astounding, achieved through an
allusion to the senses. The head has smoothed or rubbed out sockets, it’s nostrils are obstructed and the ears are diffused into the white ground.
It is the gaping mouth however that dominates the painting. This lipless open orifice has multiple connotations, the head may be attempting scream or
gasping for air - the first or last breath of life.
Est 1887
81
82
58
John Shinnors (b.1950)
Over Str aw Island, Winter
Oil on canvas, diptych, each panel 63 x 63cm (24.75 x 24.75”)
Signed
Provenance: A Prominent Dublin Collector
€40000 - 50000
Straw Island sits at the entrance to Killeany Bay in the Aran Islands, tiny in scale compared to its well known neighbours Inishmore, Inisheer and Inishmaan. This abstracted work by Shinnors based on the island is painted with his
recognisable quadrilateral forms in white, greys, blacks and red. Like much of Shinnors’ work it is only after studied
contemplation that the figurative elements of the work emerge. The diagonal forms on the two canvases imply different
viewpoints - the right hand canvas seems to tilt out toward the viewer at the edge while the left hand canvas appears
parallel to the viewpoint. This implies two versions of a bird’s eye view of the island, as the title states we are ‘over’ it.
However there are multiple interpretations to be explored in this work. Straw Island is home to a lighthouse, a subject
that recurs in Shinnors work, which he is attracted to because of their ‘marvellous abstract patterns’. The lighthouse on
Straw Island was lobbied for by locals throughout the Nineteenth Century following the discontinuation of the one
near Oghil on Inishmore. Viewing ‘Over Straw Island, Winter’ as an interpretation of this lighthouse yields an entirely
figurative reading. The left canvas reveals itself as a close up of the upper part of the lighthouse, while on the right the
beam of light can be seen, marked by two lines that form a trapezoid just off centre of the canvas. This openness to
interpretation makes for a work that is dynamic and ever shifting.
Est 1887
83
84
59
Séan McSweeney HRHA (b.1935)
Bog Mountain
Oil on board, 24 x 30cm (9.5 x 12”)
Signed
€2000 - 4000
Est 1887
85
60
61
Tony O’Malley HRHA (1913-2003)
Tr apeze Series
Autumn Sea Panel, 1987
Oil on paper, 10.5 x 18cm (4.25 x 7”)
Signed
Provenance: Acquired directly from the artist
€800 - 1200
Oil and collage on panel, 97 x 95cm (38 x 37.5”)
Signed and dated 5/87. Also signed and inscribed
with title verso
Exhibited: Taylor Galleries, October 1990, Cat. No. 21
where purchased by current owners.
€5000 - 7000
86
a private collection of works by mary swanzy from a deceaced dublin estate.
Mary Swanzy at the opening of her exhibition at the Dawson Gallery, March 1974, seated in conversation with her friend and collector of these paintings.
This group of seven paintings by Mary Swanzy comes from a private collection in Dublin. The pictures were acquired by a friend and neighbour of the artist,
presumably when she was middle-aged or elderly, as the works date from Swanzy’s late period. They are figurative, colourful, allegorical and humorous. One
of the paintings ‘The Cat in the Suburbs’ was included in the large Swanzy Retrospective Exhibition at The Hugh Lane Gallery in 1968. The other pictures
may never have been exhibited in public before. It is significant to see such a group of late paintings by Swanzy from a private Irish collection to appear in
the market at one time.
Born in Dublin in 1882, Mary Swanzy studied in Dublin and Paris in the early years of the 20th Century, and then began to practice as an artist. In a career
that lasted for seventy years, her work went through many different phases: portraiture, illustration, landscapes influenced by the Impressionists or Cézanne,
Fauvist paintings from the South Seas, Cubist landscapes, Abstract Cubism and Surrealism, to the imaginative, figurative and poetic paintings of her later
years. Such was the variety of her work, that there was often overlapping of styles, sometimes within one painting.
Although Swanzy had earlier practiced a colourful and individual interpretation of Cubism, it could be said that she found her distinctive, personal style in her
middle age. This ‘late period’ of colourful, figurative paintings commenced in the mid 1930’s, and continued for more than forty years, until the late 1970’s.
It thus comprised more than half of her working life.
The rare dating of a handful of works, from 1938 to 1966, for example, was helpful in charting the development of her course. The late paintings range from
allegorical to satirical, lyrical to humorous, ‘symbolist’ to surrealist, and fantastical, grotesque and poetic. They are the most original works of her career, and
are unique in 20th Century Irish Art.
Est 1887
87
Certain common subjects and themes occur: a woman with a bouquet of flowers, dancers, anthropomorphic creatures, lovers, a large pair of hands, a sorrowing
figure, colourful birds, a white cat, musicians, women in doorways, faces in masks, or grotesque creatures-sometimes set in corridors, desolate cities, or against
beautiful Mediterranean seascapes, to evoke moods, variously of humour, loneliness, isolation, or blissful happiness.
Swanzy’s images and ideas may come from different sources: a memory of childhood, travels in Europe, children’s’ stories, fairy tales, the Second World War, a
humorous or awkward social situation, a scene from a play or film, other paintings in the History of Art, contemporary fashion, or subjects from dreams.
Swanzy’s late works may be regarded as ‘illustrational’ in that she illustrates stories or feelings, like some of the Surrealists, whose work she must have seen in the
1930’s, some of her images may be drawn from the subconscious. Images from mythology, and certain archetypes occur. Yet she does not wish to tell a particular,
literal story. Like present-day painter and illustrator Paula Rego, Swanzy may start with an image of childhood memory, and improvise, making up the story, or
pictures, as she goes along. It is true that, in the work of some symbolic or story telling artist, close study but the viewer may help the narrative to become clear, and
a meaning deciphered. But in the case of Swanzy, the meaning may remain enigmatic, ironic and out of reach. Thus, each viewer may interpret Swanzy’s paintings
in his or her own way.
Because her paintings are personal, she may improvise as she goes along. Swanzy may fit images and forms into the limited picture space. Thus, there may be certain
awkwardness in some compositions, as figures may metamorphose into something else, or remain sketchy and unfinished. Swanzy’s painting is open to varied influences and styles, sometimes even within one canvas. In the present collection we can discern, variously, the influences of Italian Mannerism, William Blake, Goya,
George Grosz and Max Beckmann, of Surrealism, Picasso and Chagall.
Swanzy’s and deft and skilful drawing is evident throughout the pictures. Some figures are just outlined against a wash background. Swanzy could have been an
incisive illustrator of satirical artist, working in black and white. But colour is equally important to her. In some cases mournful tones of burnt umber and raw
sienna are enlivened by touched of red, blue or green. But in the majority of pictures, Swanzy uses rich colours: crimsons, viridians, pinks, blues, plums, yellows
and whites, to give an impression of vibrant illustrations in a children’s book, or glowing stained glass window.
Julian Campbell, October 2008
88
62
Mary Swanzy HRHA (1882-1978)
Cat in the Suburbs
Oil on board, 50 x 60cm (20 x 24”)
Exhibited: Mary Swanzy Retrospective, Hugh Lane Gallery, June 1968, Cat. No. 65
Provenance: The property of a deceased Dublin estate, acquired directly from the artist
The image of a white cat appears in several pictures by Swanzy, including ‘The Clown’, ‘Cat on the Terrace’ and the present picture, suggesting that she may
have owned such a pet in her later life, or remembered it from her childhood. Her view in all these pictures is plainly one of affection. ‘Cat on a Terrace’
included in the Mary Swanzy Exhibition at The Dawson Gallery in 1974, shows the animal sleeping, head resting on a ledge, facing towards the viewer,
with its tail curled beside it.
The sleeping cat in the present picture is viewed from the side. Its tail is curled beside it, but its front paw it tucked up, so that its pink pads are visible. It is
evidently a particular cat for it has slight tortoiseshell markings on its head, and a pink collar with a golf bell around its neck.
The cracked gatepost on which the cat sits, and the crumbling gateposts and wall with faded posters behind the old village, and neglected orchard of trees,
are suggestive of neglect and decay, of times passed and memories of earlier days: perhaps a crumbling demesne which Swanzy remembered from her childhood in Ireland or from life in England, combined with a pretty Mediterranean or Balkan village with red and blue roofs, and orchards, remembered from
her travels after the First World War.
In spite of the friendly cat in the foreground, there is a faded, nostalgic mood, empty of people telling of other days, the losses of war, and the departure of
friends. The run down setting is contrasted by the straight lines of the avenue that runs into the distance. Swanzy employs a soft palette of whites, pale pinks,
yellows, pale greens and reds, to convey a faded dreamy atmosphere.
‘Cat in the Suburbs’ was included in the large Mary Swanzy Retrospective Exhibition held at the Hugh Lane Gallery in Dublin in 1968.
€25000 - 35000
Est 1887
89
90
63
Moonlit Figures with Birds
Mary Swanzy combines the allegorical with the poetic in this, one of her most unusual and mysterious pictures, with its dark-skinned figures, seaside setting
with islands, and its crescent moon and star. A tall girl with dark face and long dress is seated elegantly upon the ground. Her face is round and mask-like.
One elbow rests on a red pole with circular platform, her hand gently pulling at her hair. The other arm is held behind her back. The woman’s figure is set
against, or contained within, a dark oval background with trees.
To her left are two other dark-skinned figures with mask-like faces. The central figure stands on a beach bearing a white cat in his arms,
perhaps as a gift to the woman, and wears a strange skirt. The right-hand man reaches up to place a garland of ochre leaves on the head of
her companion. At their feet is a red hen.
As in many of Swanzy’s allegorical pictures, the sense of space is puzzling. The dark oval shape which surrounds the woman is like a forest
with trees, but it could equally be an island seen from above. This, in turn, is contained in a striped platform, like a ploughed field or a wooden stage. The
other figures stand on a small bench, while behind them is an alluring seascape with small rocky islands, seen from above, merging into a beautiful nighttime sky, with crescent moon accompanied by the evening star. The central rocky island resembles a Great Skellig island off the coast of Co. Kerry, while the
smaller islets may refer to the Blasket group; or a string of Greek islands in The Aegean. Above them is the undulating coastline of a larger, dark island, or perhaps an approaching rain-filled cloud. Amongst the most mysterious features of the painting are the mask-like faces of the figures, the red hen, the tree with
white buds that reaches upwards in the centre of the composition, and the red pole with circular platform, like a piece of garden furniture, or a golfing tee.
And not least, are the golden lines that whirl around the young woman’s head, like a thicket of thorns, barbed wire, or lines of energy, contrasting with
her impassive expression.
The forms are more crisply delineated than in many of Swanzy’s imaginary pictures, but the meaning of the painting is far from clear. The young woman
is pensive, aloof even. Is she holding something back, with her hand behind her back? Do the whirling lines convey separation, or anger? Is she expecting a
child? The two other figures may be bearing gifts. But is one crowning the other emperor? Is the white cat eating a white bird?
The large, dark, island-like forms could suggest the coastlines of Ireland and England, or Scotland; or of Europe and Africa, thus hinting at
Anglo-Irish relations, or at Mediterranean and African culture and history. The white cat, red hen, and budding plant add to the
mysterious mood, while the crescent moon and star rising in the night-time sky add a haunting poetic beauty to Swanzy’s painting.
€10000 - 15000
Est 1887
91
92
64
Stage Act with Figures
Signed
Provenance: The property of a deceased Dublin estate, acquired directly from the artist.
Swanzy shows the figures of five or six women on a stage. Some of them have humorous or mask-like faces, familiar from certain other
late paintings by the artist, and wear coloured clothes draped over their muscular, curvaceous figures. They are framed by curtains,
which open to an expanse of shy or dazzling light.
The woman left of centre stands in theatrical pose, with arms outstretched and mouth open, rhetorically proclaiming her lines or singing an aria. Her face
is dramatically made up like a clown: white in the lower part, red lips, black upper face and hair like a birds comb. Her athletic
figure is draped in green and red. To her left is a woman with large smiling face, wearing red scarf, clinging blue dress and high heels.
Behind her a Grecian head with orange flame-like hair is visible. To her left a dark-skinned figure, perhaps with a tall white hat, stands silently.
At the opposite side of the stage, at the right hand side of the painting, stands a woman wearing a short party frock in tartan, or a circus tunic,
and perhaps holding a ring-master’s whip or riding crop. Her breast is bare, but her face is half obscured.
In the centre of the composition is a seated woman in white. She could be nearly invisible against the background, except for the fact that her face
with dark lashes, and curly golden hair, looks up at the lady with the whip. This seated figure has broad, powerful back and arms that reach out
towards the sky, and she wears short boots on her feet. The figures are situated on a stage, and are framed by props or a curtain. The viewpoint of the spectator could be that of the audience, but standing very close to the figures; or at the back of the stage, looking at the actors and the auditorium and the theatre
lights. It is almost as if we are in a cave, looking out on to flooding daylight.
The meaning of the painting is not immediately clear. Swanzy could have been inspired by a theatrical performance, a circus, or some
childhood memory. Some of the women have made-up faces, while others wear masks. Some are white and others black. Some are active
and in control, while others are passive, and appear to be helpless, or foolish. Swanzy may be presenting performers on a stage as
an allegory of human behaviour or confusing the relations between different races.
€20000 - 30000
Est 1887
93
94
65
A Standing Lady with Two Attendants
Oil on board, 44 x 29cm (23.3 x 17.3”)
Signed
Swanzy depicts a tall elegant lady emerging from a doorway, accompanied by two small attendants with parasols. The woman’s pretty face is glimpsed in profile, with red lips and long neck. On her head she appears to wear a half-veil, or perhaps a cloche hat and a blue and red scarf. She wears necklaces, a revealing
low-cut dress and a pale ultramarine blue shawl around her elbows. She holds a small yellow bag in her hands, and her long full dress trails along the ground.
Light falls on her shoulders, bosom and arms, to emphasize her feminine form.
As in several Swanzy paintings narrow steps lead up to a tall doorway, from which white and yellow light emerges, suggesting a brightly lit interior within.
The subject of the painting is not clear. Is the elegant lady dressed up for an evening at the theatre, emerging from the bright light into the night? Or is she ‘a
woman of ill-repute; leaving a building with her earnings?’
Her two ‘attendants’ add to the mystery. They are like children in fancy dress, who hold tall Chinese-style parasols, one yellow, one red, above the woman’s
head to protect her. The left hand figure in yellow, with her Renaissance-style scarf or headdress, may be female. But with her leggings this is not clear. The
right hand figure is more muscular and masculine. He has darker, Indian features, (incongruously with child’s or girl’s summer bonnet upon his head) and
loose, Arab-style trousers - like a character out of the book ‘1001 Nights’
Parts of the picture are sketchily painted, allowing the viewer to see the simple, but assured drawing style characteristic of Swanzy, for example in the legs of
the childs on the left, and the crisply drawn arms and hands of the woman and the right-hand figure. The predominant tonality of yellow, umber, ochre and
white is enriched by touches of blues, plums, ultramarines and golds.
€12000 - 16000
Est 1887
95
96
66
Figures Drinking
Oil on board, 36.5 x 25cm (14.2 x 19.7”)
Swanzy depicts three humorous or grimacing figures in close-up, crowded together and drinking. In several of the paintings of her middle or
late period she created such images of people seated at a table, or large humorous or grotesque faces close together. The present picture
shows two women and a man socialising and drinking wine. The bearded man in green jacket is talking or singing drunkenly, mouth open and eyes closed,
while a wine glass and bottle tilt in his clumsy hands. Behind him, a large woman leans close to him, her smiling face half-obscured by a feathered hat, while
wine spills from her glass.
On the left a smiling woman can be seen in profile. She has blond hair, a prominent forehead, closed eyes, a snub nose and smiling lips.
She turns back to look at the man, perhaps with indulgence. Because the faces are so close together, the setting of the picture is not clear. Perhaps the figures are set in the open-air, against a blue opening sky. As in many of Swanzy’s humorous subjects, the meaning of the picture is not clear. Perhaps she is
recalling a particular social occasion, the tipsy behaviour of the three acquaintances. Or perhaps she is making a general satirical observation on human
self-indulgence and folly.
€8000 - 12000
Est 1887
97
98
67
The Cockerel
In this picture Swanzy includes more obvious mythical archetypes than in many of her paintings: a naked girl on a rock in the sea,
a bull with a garland of flowers, a naked sleeping man half in the waves, half on the beach, an enormous hen or cockerel, and a boy
carrying a large egg. These are all set against the beautiful pink and gold choppy waters of a dreamy sea and glowing sky.
Swanzy may be drawing from characters in Greek mythology, but she gives them her own personal interpretation. The naked girl
with the posy of flowers, and the red garment across her legs, who sits on the rock, is similar to figures which appear in
several of Swanzy’s pictures, perhaps derived partially from Renaissance or Mannerist painting. The bull, which rests it hoofs on her
back, is not dissimilar to the Minotaur that appears frequently in the History of Art, and in the twentieth century, in the work of artist’s
such as Picasso and Michael Ayrton. It is conceivable too that Swanzy may have been stimulated by images in contemporary cinema,
for example ‘The Seven Voyages of Sinbad’.
The naked man, who lies half in the waves, half on the beach, is drawn with crisp strong lines. Perhaps he is the lover who has separated
from his loved one by the bull, or a mariner who has been lost at sea. But he rests his hand on his chin; as if he is thinking or sleeping a
boy approaches him carrying a large egg, as if a gift. In these two figures the influence of William Blake’s illustrations is evident.
The dominant creature in the painting is the enormous hen or cockerel, which stands upon the shore above the sleeping man. It looks at
the bull or the naked woman with staring eye, beak open and bright red comb. The flaming comb on its back again recalls the illustrations
of Blake. The bulkiness of the bird, the largeness of its yellow feet, and the smallness of its head, give a disorientating sense
of weight and perspective.
It is as if the cockerel sees itself as the protector of the human couple, but the bull has taken the woman and separated her from
her lover. Or perhaps Swanzy is suggesting that a powerful or lustful animal nature lies beneath the surface of each human being,
struggling for possession. The painting is bathed in warm pink light, the crisp drawing of the human figures is balanced by the soft
transparency of the curling waves that merge with glowing sky, and the richly painted body of the bird, all built up by dappled strokes
of pink, yellow, green and white.
€15000 - 20000
Est 1887
99
100
68
Interior with Figures with Open Window
Human beings and birds are gathered on the balcony of a large room, above the red roofs of a Mediterranean seaside village, giving a more lighthearted and festive mood than is common in many of Swanzy’s imaginative paintings. Not only the people vary - from pretty and slender to oafish
and comical, but also the birds range from realistic to sinister.
In the centre of the picture a pretty young woman in white is seen in profile seated on a sofa. She is surrounded by a group of smiling, impish and
infatuated men, as in a drawing by German expressionist George Grosz. She holds the chin of a man in black, and he reaches out to touch her lip.
But a colourful bird perches on his shoulder, as if to warn the woman.
Her profile is silhouetted against a potted plant, behind which a woman with a tray approaches, as a waitress in a hotel. To the right of the group a
plump woman is seated in an armchair beside the balcony, dozing and attended by a tall wise bird. On the floor in the left foreground another pretty
young woman in white is seated, and reaches out to other standing birds. A blue bird in the foreground tears at a fish, and a red and yellow parrot
looks over the balcony. The square white houses and red roofs, and sunny bay, of a Mediterranean port can be seen below.
Swanzy may have been remembering fragments of a social gathering in her childhood, a drunken party in a grand hotel, and visits to a Riviera town
such as St. Tropez, or an Adriatic port which the artist visited after the First World War, perhaps combined with memories of children’s books such
as ‘Dr. Doolittle’. The birds seem to be intelligent guardians to the fallible, foolish human beings. Not only the tall or colourful birds, but the varied
treatment of the women, are striking. These include the aquiline profile of the woman in white, the understated but beautifully modelled head and
arm of the woman on the floor (reminiscent of Max Beckmann’s female figures) and the plump face of the woman dozing by the window. There is
a sympathy and serenity to the drawing of her features, and an originality to the colours with which her face is painted.
The dominant orange-red hue of the room may suggest the influence of Matisse’s celebrated painting ‘Red Interior’. But rather than aspiring to flatness or simplicity, Swanzy’s interest in detail, and use of sweet colours: reds, oranges, yellows, greens, blues and whites, achieves more an impression
of activity and lightness.
€15000 - 20000
Est 1887
101
102
69
Tom Carr HRUA HRHA (1909-1999)
Alcamiz
Watercolour and ink, 55 x 37cm (21.5 x 14.5”)
Signed
Exhibited: The Tom Caldwell Gallery, Belfast
Provenance: From the Collection of Colman & Sylvia Higgins
and their sale at Adams, May 2006 Cat. No. 22 where
purchased by the current owner
€1000 - 1500
Est 1887
103
70
Tom Carr HRHA HRUA (1909-1999)
Reflections
Watercolour, 55 x 75cm, (21.6 x 29.5”)
Signed
Provenance: Grant Fine Art, Newcastle, Co. Down,
A prominent Dublin collector
€2000 - 3000
104
Robert Cahill
The following three lots are from the collection of the well
known Dublin character Robert Cahill and were gifts to him
directly from the artist John Doherty.
Robert was the general manager of Ernie’s Restaurant in
Donnybrook having previously served his time at The Royal
Hibernian Hotel before moving to the Shelbourne. Robert
was head waiter in the Saddle Room where he met and later
became great friends with many international personalities
including actor Peter O’Toole, director John Huston and the
writer Leon Uris to name but a few.
When well known hotelier Ernie Evans decided to open a
restaurant at Mulberry Gardens in Donnybrook in 1984
there was only one choice at the top of his list to be his front
of house man and that was Robert Cahill.
Ernie had taken a lot of his collection of many traditional
pictures with him from the Towers Hotel in Glenbeigh but
to mark the new opening it was decided to add some more
contemporary works to the collection so off Ernie and Robert
went to The Taylor Galleries where they first came across the
work of John Doherty and together they decided to purchase
“Old Dockyard Building, Castletownbere” which was one
of the first paintings that greeted you on entering “Ernie’s”.
Robert loved this picture as it reminded him of the work
of the American artist Edward Hopper and he never tired
of looking at it daily, so much so that ten years later John
surprised him by painting a similar smaller version of the
painting and gifting it to him.
“Ernie’s” continued to add to their collection of Doherty’s
work with the addition of three works from John’s 1988 show
“Wisdome Lane” , “Connemara,near Maam Cross, Co. Galway” and “Homage, Clonmel, Co. Tipperary” all of which
featured and sold very well in our sale of the paintings from
“Ernie’s Restaurant” December 2005.
It is with great regret, due to ill health, that Robert is parting
with these works but hopes that they will give as much enjoyment to their new owners as he has enjoyed.
71
John Doherty (b.1949)
Virgin Mary Blue
Oil on canvas, 41 x 61cm, (16 x 24”)
Signed, inscribed with title and dated ‘94 verso.
Also inscribed “For Robert- who is one in million - and who’s desire for ‘Blue
Warehouse’ never dies - a gift from me to you for all the memories, John”
Provenance: From the collection of Robert Cahill,
General Manager of Ernies Restaurant in
Donnybrook - a gift from the artist.
€10000 - 15000
This is a similar smaller version of “Old Dockyard Building,Castletownbere” which
hung in Ernie’s Restaurant in Donnybrook and we sold as part of their collection in
these rooms in December 2005. It was lot number one and set the room alive with
frantic bidding to sell for a new world record for the artist selling for €56,000.
Est 1887
105
106
72
And the Luck Falls Out
Oil on canvas, 48 x 66cm, (18.8 x 26.5”)
Signed, inscribed with title and dated Summer ‘02 verso.
Legend and alternative title verso
Provenance: From the collection of Robert Cahill, General Manager of Ernies Restaurant in
Donnybrook - a gift from the artist.
€10000 - 15000
John Doherty lives in Watson's Bay, Sidney, but was born in Kilkenny, and trained in Bolton Street College of Technology, where he studied architecture in the late 60's, moving on to the National College of Art, Artist in Residence, Port Moresby, Papua New Guinea.
His scrutiny of the subjects he paints is full on and intense. Old crumbling buildings on streets, old petrol pumps, lighthouses, buoys on quaysides,
boats in disrepair are subjects that conjure up images of all of our childhood lives, whether we grew up in the country or in the city.
Light and photography obviously play an important part in Doherty's work. Although the building is weather beaten and the paint is peeling, we
embrace its shabbiness and faded colour. It is a kind reminder that like us, maintance is part of life, and yet its appearance conjures up images from
our past, that are both comforting and familiar.
Est 1887
107
108
73
Red Barn, Ardfert, Co. Kerry
Oil on canvas, 25.5 x 33cm, (10 x 13”)
Signed, inscribed with title and dated ‘95/’6/’7 verso.Inscribed by artist “For Robert’s Collection”
Provenance: From the collection of Robert Cahill, General Manager of Ernies Restaurant in Donnybrook - a gift from the artist.
€3000 - 5000
Est 1887
109
74
Road Series Study: Bridge and
Expressway System
Acrylic wash on archer paper, 36 x 28cm (14 x 11”), irregular size
Exhibited: John Doherty Exhibition, Taylor Galleries, Dublin, 1981,
catalogue no. 12
€2000 - 4000
110
75
Martin Mooney (b.1960)
Study - Tazek a, Southern Morocco
Oil on board, 14 x 29cm (5.5 x 11.5”)
Provenance: The Ava Gallery, Clandeboye
€2000 - 4000
Est 1887
111
76
Martin Mooney (b.1960)
A View from the Terr ace, R adi, Tuscany
Oil on board, 21.5 x 34cm, (7.5 x 13.4”)
Provenance: The Ava Gallery, Clandeboye
€2500 - 3500
112
77
Mark O’Neill (b.1963)
Dappled Spring Light
Oil on board 70 x 48cm (27.5 x 19”)
€5000 - €7000
78
Le Petite Balcon, Nice
Oil on board, 43.5 x 54cm (17 x 21.25”)
€5000 - 7000
Est 1887
113
114
79
Nicholas Hely Hutchinson (b.1955)
Still Life with Anemones
Mixed media, 41 x 58.5cm (16 x 23”)
Signed with initials, title verso
Provenance: The Deloite Collection, previously the
Collection of Arthur Anderson
€1000 - 2000
Est 1887
115
80
Brian Ballard RUA (b.1943)
Still Life With Daffodils
Oil on board, 29.5 x 24.5cm (11.5 x 9.5”)
€2000 - 4000
116
81
Claude Hayes RI,ROI (1852-1922)
82
Claude Hayes RI,ROI (1852-1922)
Sheep In A Landscape
Farmers Cutting Turnips In Winter
Landscape To Feed his Sheep
Watercolour, 63.5 x 99cm (25 x 38.5”)
Signed
€2500 - 3500
Oil on canvas, 75 x 100cm (29.5 x 39.5”)
Signed
€6000 - 8000
Est 1887
117
118
83
Howard Helmick (1845-1907)
Her First Love
Oil on canvas, 49 x 39.5cm (19.4 x 15.5”)
Signed
€10000 - 15000
Howard Helmick (1845 - 1907) was an American Artist who studied in Paris at Ecole des Beaux Arts prior to moving to London in
1872 where he became part of Whistler’s circle. As evidenced from exhibits at The Royal Academy he visited Ireland not long after
moving to London with numerous Irish titles featuring among his exhibits of the1870’s and 1880’s.
He lived for a time in Kinsale where he had a studio as well as in Galway. He took a much more dignified approach when painting
the Irish peasants compared to the likes of Erskine Nicol. He was interested in local events such as weddings, reading the news etc
and seem to depict a more prosperous peasant than others who visited from abroad.
Several of his works featured in the fine exhibition at the Crawford Gallery Cork “Whipping the Herring” in 2006.
Est 1887
119
120
84
Richard Thomas Moynan RHA (1856-1906)
Boy with a Cane
Oil on canvas, 76 x 50.5cms, (30 x 20”)
Signed
Richard Thomas Moynan’s work is familiar to most through the impressive “Military Manoeuvres” (1891) which is on permanent display in The
National Gallery of Ireland - one of their most popular works. Moynan studied at The Royal Hibernian Academy of Art and in Antwerp in the
company of Roderic O’Conor. He was the first Irishman to win, in 1883, the Albert prize for painting, ironically it was Roderic O’Conor
who took second prize. This entitled him to private tuition from Karl Verlat and his own studio space, which enabled him to work on a much bigger
scale than his contemporaries. He continued his studies in Paris at the famous Academy Julian under Robert Fleur and Bouguereau.
He returned to Dublin renting studio space at Harold’s Cross in 1886.
Moynan was extremely popular and was elected President of the Dublin Sketching Club in 1889 and was also elected ARHA achieving full membership the following year, 1890. He regularly used family members to model in his paintings especially his daughter Bridget and his wife Suzanna
and due to similarity of this child and Bridget the subject is thought to be the artist’s son.
€10000 - 15000
Est 1887
121
122
85
George Barrett Jr. (c. 1767-1842)
86
Eva Henrietta Hamilton (1876-1960)
Arcadian Landscape
Portr ait of her Sister Amy (b.1879)
Watercolour, 30 x 44.5cm (11.9 x 17.5”)
Signed
Exhibited: Thomas Agnew & Sons, London Nov. 1964,
Cat. No. 11. A show by the
Institute of Directors selected
by Denys Sutton (editor of Apollo)
Provenance: From the Collections of
Walter Turner & H.C. Green
€2000 - 3000
Watercolour, 34 x 30cm, (13.4 x 11.75”)
Provenance: Acquired directly from
Major Charles Hamilton of Hamwood
This portrait of the artist’s sister was painted at the family’s Dublin
home at 40 Lower Dominick Street and is thought to be the first work
Eva exhibited at the RHA in 1904 (Cat. No. 100) when she also exhibited a portrait of her other sister Lilian.
€3000 - 5000
Est 1887
123
124
87
Geroge Mounsey Wheatley Atkinson (1806-1884)
H.M.S. Conquest off Queenstown
Prior to its recent lining, a somewhat indistinct inscription was legible on the reverse of the canvas and suggested that the
ship, off Queenstown, ( Cobh ) was either HMS Conquest or Conqueror but the date of the painting, c. 1830/40 would
suggest that the ship is HMS Conquest.
Born in Queenstown, now Cobh, Co. Cork, George Mounsey Wheatley Atkinson trained as a carpenter, later becoming
Captain Atkinson as Government Surveyor of Shipping and Emigrants. When he began painting, it is no surprise that
marine scenes were his subject of choice, and although self taught he exhibited at the Royal Hibernian Academy from
1842. His works became widely known through lithographs published by W. Scraggs of Cork and Atkinson’s own son
G. M. Atkinson.
€10000 - 15000
Est 1887
125
126
88
William Henry Bartlett RBA (1858 - 1932)
89
Alfred Grey RHA (1845-1926)
Fishermen Dr awing In Nets At Dusk
The Way Home - Mountain Landscape
Signed
Oil on canvas, 90 x 69cm (35.5 x 27”)
Signed
€3000 - 5000
€3000 - 5000
Est 1887
127
128
90
John Faulkner RHA (1835-1894)
Malin Head, Coast Of Donegal
Watercolour, 43 x 71cm (17 x 28”)
Signed
€1000 - 2000
Est 1887
129
91
John Faulkner RHA (1835-1894)
Cheshunt, Hertfordshire
Signed and inscribed
€1500 - 2500
130
92
Oisín Kelly RHA (1915-1981)
Céilí Dancers
Oak, 63.5cm x 58cm x 15cm (including plinth)
(25 x 23 x 6”) - 2 parts
Signed and dated 1953 (on single figure)
Provenance: From the collection of the late Maxwell Moffett a designer who was based in Ireland in the 1950’s.
These pieces hark back to Oisin Kelly’s work in carved wood of several years earlier such as Ceili Dancers (1945),
Dancing Man (1946) and Dancing Couple (1948) all of which were included in the Oisin Kelly
retrospective in 1978. The piece with which you can draw the closest comparison is with “Step Dancer” (1947) which
was one of the first works Oisin Kelly sold and it was bought by the architect and well known collector Michael Scott.
Dorothy Walker thought of this as one of Kelly’s most splendid works where his own spirit began to show.
She states in his 1978 retrospective Catalogue “This abstract notion of dancing has been completely understood
by Oisin Kelly and accurately expressed in his sculptures of many dancing figures. It is not a puritanical form of
dancing, it is simply an abstract form in which, as in traditional dance music,rhythm and pattern are
paramount, related to the similar concerns of abstract celtic art.”
This important unique piece by Kelly gives the Irish Art buyer a rare opportunity of acquiring something that is
rarely seen on the open market.
€20000 - 30000
Est 1887
131
132
93
Oisin Kelly RHA (1915-1981)
Male And Female Candleholders
Cast iron, 18cm high, (7”)
Cast by Waterford Iron Founders in 1966 for Kilkenny design
€700 - 1000
With the foundation of The Kilkenny Design workshops in
1964 Oisin Kelly was given a permanent artist-in-residence
for two days a week which enabled him to give up his teaching
post at St. Columba’s and concentrate full time on his art.
His work there is most associated with a series of terracotta
birds and figures but he was also involved in the design of
glass,candles and metalwork such as this pair of candlesticks.
A similar pair were used recently in an article by Jennifer Goff
for “Antique and Period Properties” magazine on the early
work of Kilkenny
Design.
Est 1887
133
94
Edward Delaney RHA (b.1930)
Torso
Bronze on granite base. Height 99 cms including base (39”),
Unique.
Provenance. Acquired in these rooms in the 1980’s.
This large piece by Delaney dates from around 1966 when
he exhibited another very similar “Torso” at
The Ritichie Hendriks Gallery (Cat. No. 25) in August
of that year which was pictured in press reviews of that
exhibition. That “Torso”, which judging from the press
photographs, was of similar size was priced at £450. This
piece might also have been included in that exhibition but
under a different title.
1966 was an important period in Delaney’s career as it
was the year he was commissioned by the Irish
Government to do the Thomas Davis memorial statue
and fountain in College Green and he also won first prize to
design the Wolfe Tone statue and fountain across the road
from us on the corner of St. Stephens Green which he
completed in 1967.
Our thanks go to the artists son Eamon Delaney for his help in
cataloguing this piece. Interestingly he remembers the piece well
from his childhood home as something he used to spin his
Dinky cars through !
€4,000 - 6,000
134
95
George Campbell RHA RUA (1917-1974)
Drying The Nets
Oil on board, 40 x 50cm (16 x 20”)
Signed,
Inscribed with title “Untidy Corner Of The Beach” verso.
€5000 - €7000
What first strikes one about this painting is the movement; nothing is static. The two fishermen are labouring, the nets are swinging in the wind and the clouds are
scudding across the vast sky. As in most of his earlier works, Campbell is here using the line as language; in his hands it is a graceful, even sensual, form of communication. In interviews he spoke of line the way an author would speak of his characters : ‘incised lines, rough lines, nervous lines, architectural lines, depending on
what I expect them to do for me’. George’s line snakes back through history to the Gothic, the Urnes and the Celtic. He was to develop beyond this to express himself
through colour and form and this early landscape already displays a fascination with underlying patterns and rhythms. Rocks and mountains are seen in planes of
colour rather than realistically. There is a Romanesque monumentality about the boulders in the foreground and a soaring hint of the Gothic in the piles driven into
the beach. Campbell uses these stakes in the way van Gogh uses conifer trees: in the repoussoir manner they push back the seascape to add depth to the composition.
We are pulled into the scene by the path through the rocks and then the eye shoots through a corridor of space bounded by the flanking posts acting as recessional
motifs. The fore- and middle-grounds set a frame for the horizontal seascape. This dramatic, v-shaped layout sets a conspicuous and very deliberate destination for the
eye. There is drama, also, in the way he has applied the pigment. The violent stabs of colour convey the turbulence of an imminent storm as intimated by the swirling
clouds. The wind which frenzies the clouds stays awhile to philander with the filigree of the nets. The heavily incised impasto and streaked, daubed areas convey a
high level of emotion and immediacy which give the painting an exciting vivacity rather than a dull academic consideration.
The two figures are afforded great dignity by their setting: it’s as though they are making offerings to the sea. There is often something pantheistic about Campbell’s
work which is all tied in with the sense of duende, that quintessential mystery which is at the heart of all things. He liked to depict figures absorbed in what they were
doing and unaware of the world around them. They are frozen in that moment, with that particular gesture and that particular stance. He painted generally tragic
figures, loners, the isolated and described them as ‘standing figures all dressed up with no place to go, passed over by civilisation, subdued by the machine-gun or
takeover bids or what have you… standing just having their being, their bewildered, dignified being, all dressed up Beckett figures, a little like us, I feel.’
Síle Connaughton-Deeny, September 2008
Est 1887
135
136
96
Arthur Armstrong RHA (1924-1996)
Shore
Signed
€1000 - 1500
Est 1887
137
96A
Arthur Armstrong RHA (1924-1996)
Field Pattern
Oil on board, 14 x 19cms, (5.5 x 7.5”)
Signed
€1500 - 2000
138
97
Daniel O’Neill (1920-1974)
All Dressed up and Nowhere to Go
Oil on canvas, 44.5 x 60cm (17.5 x 23.5”)
Provenance: The Waddington Galleries, Montreal, Canada
€20000 - 30000
Daniel O’Neill’s paintings often contain a degree of enigma. It is for his figures in landscapes that he is best known, and it is the
relationship between these two elements that evoke the unanswerable curiosity of the viewer. O’Neill repeatedly painted scenes in
which the figures, usually women, seem to be asserting their authority over the landscape, ownership of land being a significant
issue in Irish history. Yet there is always a hint of sorrow or isolation in these figures, expressions that cannot be pinned down to a
single emotion. In ‘All Dressed Up and Nowhere to Go’ we see a solitary woman, standing with her back to an extensive landscape
as many of O’Neill’s woman do. Dressed in her Sunday best, she has the modest and forlorn look of other O’Neill ladies, however
in this case the title, inscribed on the back of the canvas, offers an interpretation of the narrative that remains so elusive in other
works. Not only does the title suggest a narrative for the figure, but implies the notion of lost possibilities. The landscape echoes
this. Rendered in a palette of blues, greens and yellows, the substance of the scene is indeterminable. It implies both sea and land,
and the horizon suggests both mountain and sky in a distant wisp of white. This topographical mingling of elements, coupled with
the dappled sunlight that illuminates parts but shuns others, hints at the far off lands that the woman dreams of.
Est 1887
139
140
98
Bathers
Oil on board, 45 x 61cm, (17.75 x 24”)
Signed
There is a distinctly exotic tone to Daniel O’Neill’s Bathers, a figural composition set in a foreign coastal landscape, the searing heat implied
by the sand coloured brush strokes applied generously over dry earth tones. However this is not a barren setting. Four women have been
bathing in the body of cooling water nearby. Two fix their hair as one reclines, the sun hitting her face at an oblique angle. Compositionally
these three figures are disconnected by their diverging gazes but a sense of companionship is evident, and the fourth figure looks curiously
at the two attending to their hair. Perhaps she is the youngest of the group, staring in admiration. Purple hues in the blue-grey sky suggest
that evening approaches, and a light breeze catches whips of the woman’s hair. This work is true to O’Neill’s modern style, and at the same
time is reminiscent of Romantic masterpieces such as Delacroix’ Women of Algiers and Ingres’ Turkish Bath in both subject and ambience.
€20000 - 30000
Est 1887
141
142
99
Jeremiah Hoad (1924 - 1999)
Belmullet
Oil on board, 40 x 60 cm (15.75 x 23.75”)
Signed
€800 - 1200
Est 1887
143
100
The Harbour
Oil on board, 39 x 49cm (15.25 x 19.25”)
Signed
€8000 - 10000
144
101
Jack B. Yeats RHA (1871-1957)
A bound collection of 23 Broadsides for 6th
and 7th Years 1913-1915
Published monthly in an edition of 300 by E.C. Yeats at the
Cuala Press, Churchtown, Dundrum, Co. Dublin. This is a
complete run missing only No. 7 sixth year.
Illustrated by Jack B. Yeats with handcoloured prints.
€1500 - 2500
102
Jack B. Yeats RHA (1871-1957)
Off the Donegal Coast
Pen and ink 16 x 25.5cm (6.25 x 10”)
Signed
This is thought to be the work on which the work of the same
title in The Crawford Gallery is based.
€10000 - 15000
Est 1887
145
146
Dr Michael Solomons
Dr Michael Solomons the distinguished gynaecologist died on 5th November last, aged 88. He was a pioneer of family planning here in Ireland.
Dr Solomons was born in Dublin in 1919, the second child of Bethel Solomons and came from one of the longest continuous lines of Jews in Ireland. His grandfather
Maurice (Lot 109) was an optician and is mentioned by Joyce in “Ulysses” while his father an international rugby player was in “Finnegans Wake”. His father was the master
of The Rotunda Hospital which naturally directed Michael into his future career in gynaecology .
He was the nephew of the well known painter Estella Solomons and did all he could to promote her memory. A charming man, he and his wife Joan who pre-deceased him
had a great interest in art and literature and were regularly to be seen around the galleries of Dublin.
103
Estella Solomons HRHA (1882-1968)
Rotunda Hospital from the Gardens
Etching, 15 x 19cm (6 x 7.5”)
Original exhibition label verso
Provenance: From the Estate of the late Dr. Michael Solomons
€200 - 300
104
Oisín Kelly RHA (1915-1981)
Portr ait of a Trinity Student
(Michael Solomons)
Conté, 41 x 33cm (16 x 13”)
Signed
This was drawn by Oisín Kelly when he and Michael were
students in Trinity College together
€500 - 700
Est 1887
147
105
Louise Jacobs ARCA (20th Century)
Rotunda Hospital
Pencil, 24.5 x 30cm (9.5 x 11.9”)
Signed and dated 17.7.31
Provenance: From the Estate of the late Dr. Michael
Solomons
Louise Jacobs was Estella’s cousin and life long
friend. A portrait of Estella by her dated 1908 is in
a private collection.
Estella and Louise went on a painting trip together
to Holland in 1911. Together with Estella’s other
friend Mary Duncan, all three had a very
successful joint exhibition at the Arlington
Galleries, London in 1935. This drawing was
reproduced by Bethel Solomons (Michael’s father)
as a Christmas card when he was Master of
the Rotunda.
€300 - 500
106
Muriel Br andt RHA (1909-1981)
The Round Room, Rotunda Hospital
Watercolour, 31 x 23.5cm (12.2 x 9.3”)
Signed
Provenance: A present from the artist to the late Dr.
Michael Solomons after Erica’s birth at the Rotunda
4/11/49
€500 - 700
148
107
Dutch Landscape
Oil on canvas board, 42 x 54.5cm (16.5 x 21.5”)
Signed and inscribed artist’s label verso
€2000 - 4000
Est 1887
149
108
Bethel by a Window
Oil on board, 29.5 x 39.5cm (11.5 x 15.4”)
Bethel Solomons was the artist Estella Solomons’ brother and Michael Solomons’ father, a celebrated doctor,
Master of the Rotunda Hospital, rugby player for Ireland and great supporter of Estella’s art.
€1000 - 2000
150
109
Portr ait of Maurice Solomons
Literature: “Portraits of Patriots (1966)” by Hilary Pyle. Full page
illustration facing p.18
In “Portraits of Patriots” Hilary Pyle wrote of this painting:
“The painting of her father of 1908 is her first great achievment. It is
almost as large as the companion portrait of her mother(Lot 110 opposite),
finished in 1910, and in both she was using a canvas of the largest area she
was ever to use. It is a dark painting. The black background is utterly
unalleviated by variation in tone, and her father’s suit, which is practically
black, is picked out solely by the effect of light upon its matt fabric. The
shadows of the jacket fall faintly on his waistcoat, thus indicating the border
of the jacket. Even his tie is black. The only colour in the work, apart from
the flesh tints, is a faint strip of greeny gold to the side of his left arm,
presumably the chair on which he is sitting. Maurice Solomons, a thin
bearded man, is shown seated, from the waist upwards, and he all but faces
the viewer. His eyes look down, and the effect is achieved of a thoughtful,
introspective man, retiring and studious. He is cultivated, courtreous, he has
humour and a pleasant manner. His mouth is firm and he looks reserved. His
hands rest on his lap and have been painted beautifully by the artist, with
their long slender fingers.”
€1000 - 2000
Est 1887
151
110
Portr ait of Rosa Solomons
Literature: “Portraits of Patriots (1966)” by Hilary Pyle. Full page illustration facing p.19
In “Portraits of Patriots” Hilary Pyle wrote of this painting:
“Her portrait of her mother appears forthright and expressive. An impression is obtained of a kindly sociable woman, of an artistic and inquiring disposition,
and a strong character; and judging from the photograph of Mrs. Solomons in her son’s autobiography it is a good likeness. The background is a grey ochre
colour. The artist has been at some pains to render in elaborate detail the dark blue gown, with white and gold lace frills and clerical “front”. Mrs. Solomons
wears a black lace cap on her grey curly hair and a shawl loosely laid on her shoulders.
Both of these paintings are of the best quality of academic work. The figures are softly depicted, yet with clarity, well-defined detail and good lighting, and
both portraits have a fine finish.”
€1500 - 2500
152
111
Study I for the Portr ait of Laurence Sterne
Pencil, 15.5 x 31.5cm (6 x 12.5”)
Signed, inscribed and dated 20.3.75
Exhibited: Robert Ballagh Exhibition,
David Hendriks Gallery, October 1975
€800 - 1200
In 1975 Robert Ballagh was commissioned to make a work of local subject matter for
D.E. William’s new shopping centre in Clonmel. After hearing that the Eighteenth
Century literary figure Laurence Sterne was originally from the area, Ballagh began
reading his works for which he found an immediate affinity. He decided on two paintings for the shopping centre – a portrait of Sterne (12 x 5’) and an interpretation of his
most famous book Tristram Shandy (36 x 5’). A source for the portrait was difficult to
come by but eventually Ballagh chose Sir Joshua Reynolds portrait of Sterne (National
Portrait Gallery, London). The present lot, a study for the portrait of Sterne, is close to
the finished work. The face and pose of Sterne match Reynold’s portrait, but the dark
shape around the figure, representing fresh paint from a brush, gives the entire image a
sense of both immediacy and permanence. Ballagh has commented that painting “should
never seem laboured. I think Sterne, like myself, was anything but spontaneous. But he
gave the impression of spontaneity. That’s the important thing.”
Est 1887
153
112
Philip Moysey (1912-1991)
Old Man
Oil on board, 39 x 28cm (15.5 x 11”)
Signed. Inscribed with title verso
Provenance: From the Estate of the late Dr. Michael
Solomons
€1000 - 2000
154
113
Eric Patton RHA (1925-2004)
Winter Sea
Oil on board, 23 x 32cm (9 x 12.6”)
Exhibited: Oireachtas Art Exhibition 1962, Cat. No. 7
under title “Muir Gheimhridh”
€800 - 1200
Est 1887
155
114
Alexandr a Wejchert RHA (1921-1995)
Sunrise
Mixed media on board, 63 x 71cm (25 x 28”)
Provenance: A present from the artist to Dr. Michael Solomons
€800 - 1200
156
115
Brian King (b.1942)
North Ship II (c.1990)
(After a poem by Philip Larkin)
Bronze, 13cm x 36cm x 50cm (5 x 14 x 19.6”)
€1000 - 2000
Est 1887
157
116
Michael Warren (b.1950)
Counter Movement
Bronze, 31cm x 19cm x 18cm (12.1 x 7.5 x 7”)
€1000 - 2000
158
117
Jack Butler Yeats RHA (1871-1957)
Jack B. Yeats: A Catalogue R aisonne of
the Oil Paintings
by Hilary Pyle, in three hardback volumes in matching slip case, numbered copy 75
out of an edition of 1500 by hand, published by André Deutsch, London.
Signed by the author with a personal inscription to Michael and Joan Solomons
€800 - 1200
Est 1887
159
118
John Kelly RHA (1932-2006)
Clown
€800 - 1200
160
119
James Le Jeune RHA (1910-1983)
River Landscape
Oil on board, 50 x 60cm (19.5 x 23.5”)
Signed
€3000 - 5000
Est 1887
161
120
Estella Fr ances Solomons (1882-1968)
View Of Howth And Irelands Eye
Oil on board, 29 x 38cm (11.5 x 15”)
€1500 - 2500
162
121
Maurice MacGonigal PRHA (1900-1979)
Curr achs at Sea
Pencil, 12.5 x 46cm
Signed
€800 - 1200
Est 1887
163
122
Maurice MacGonigal PRHA (1900-1979)
Clifden
Oil on board, 18 x 35.5cm (7 x 13.9”)
Signed
Provenance: The Dawson Gallery, Dublin
From a prominent Dublin collector
€3000 - 4000
164
123
Ger ard Dillon RHA RUA (1916-1971)
Portr ait of Sylvia Higgins
Wax Crayon, 48 x 29cm (19 x 11.5”)
Signed
Provenance: From the collection of the late Colman & Sylvia Higgins
and purchased at their sale at Adams May 2006,Lot No. 8.
Sylvia Higgins and her husband Colman were friends of
Gerard Dillon, Sylvia attended Gerard Dillon’s
painting classes in London along with Noreen Rice and
Phil Rafferty.
€1200 - 1600
Est 1887
165
124
Sean Keating PPRHA HR A HRSA (1889-1977)
Young Ar an Couple
Charcoal, 37 x 50cm (14.5 x 19.9”)
Signed
€1500 - 2000
166
125
Patrick Swift (1927-1983)
The Homestead
Watercolour and ink, 24 x 34cm (9.5 x 13.5”)
€1500 - 2500
Est 1887
167
126
Kitty Wilmer O’Brien RHA (1910-1982)
Sunday, Baggot Street
Oil on board, 59.5 x 44.5cm (23.3 x 17.3cm)
Signed
€1000 - 2000
168
127
John Luke RUA (1906-1975)
Figures in Lighthouse Ruins
Watercolour, 26 x 35.5cm (10.25 x 14”)
Signed
€1000 - 1500
Est 1887
169
128
Attributed to John Luke RUA (1906-1975)
Allegory of a Harvest, Study for a Mur al
€800 - 1200
170
129
Roderic O’Conor (1860-1940)
Double Profile and Hand Study
Pencil, 44.5 x 30cm (17.5 x 11.75”)
Stamped with atelier stamp
€1500 - 2000
Est 1887
171
130
William Percy French (1854-1920)
A Path By Tall Trees
Watercolour, 26 x 18cm (10 x 7”)
€3000 - 5000
172
131
Connemar a
Signed, inscribed and dated 1906
€8000 - 12000
Est 1887
173
132
A Bogland River
Signed
€7000 - 10000
174
133
Bogland
€4000 - 6000
Est 1887
175
134
Bogland At Dusk
Watercolour, 17 x 24cm (6.9 x 9.5”)
Signed
€3000 - 5000
176
135
Ken Moroney (b.1949)
The Children and Pr am
Signed (under slip)
€800 - 1200
Est 1887
177
136
A Childrens Picnic on the Beach
Oil on board, 38 x 49.5cms, (15 x 19.5”)
Signed
€1500 - 2500
178
137
Early Evening Pint
Signed
€1500 - 2500
Est 1887
179
138
Afternoon Stroll on the Beach
Signed
€2000 - 4000
180
139
Albert Victor Ormsby Wood (1904-1977)
The Look
Watercolour, 68 x 38cm (26.75 x 14.75”)
€1000 - 2000
Est 1887
181
140
Connemar a Sunset
Oil on canvas laid on board, 29 x 36cm (11.5 x 14”)
€800 - 1200
182
141
Richard Kingston RHA (1922-2003)
Winter Landscape, Wicklow
Gouache and ink on paper, 10 x 31cms, (4 x 12.2”)
Signed
€1000 - 1500
Est 1887
183
142 John Kingerlee (b.1936)
Aquarium
Mixed media on card, 30 x 40cm, (11.75 x 15.75”)
Signed with monogram
€1500-€2500
184
143
Mainie Jellett (1897-1944)
Stage Design
Wash, 13.5 x 22.5cm, (5.5 x 9”)
€300 - 500
Est 1887
Est 1887
185
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.
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described against any Lot number in any Catalogue.
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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.
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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.
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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.
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seller is not responsible for any default by the seller or the buyer.
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8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source,
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186
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
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14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer
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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.
Est 1887
187
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 IR £25. 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 12.5% 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 Irish Punts unless it was agreed with the
seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Irish Punts) 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).
188
Est 1887
&
Auction Wednesday 29th October 2008
Sp ort i ng A rt & R el at ed Ep h e m er a
Ireland’s Leading Bloodstock and Fine Art Auctioneers will Join Forces to Present
an Outstanding Sale of Sporting Art and Related Ephemera. We are now accepting
entries for this prestigious sale. Deadline for entries is 26th September.
For further information, or to consign
items for this sale, contact Stuart Cole (Adam’s)
or Nick Nugent (Goffs) at the numbers below.
Est 1887
Goffs Bloodstock Sales,
Kill, County Kildare, Ireland.
Tel +353 (0)45 886600 Fax. +353 (0)45 877119
sales@goffs.ie. www.goffs.com
Adam’s
26 St Stephens Green , Dublin 2. Ireland.
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie www.adams.ie
189
Est 1887
in association with
Wednesday 3rd December at 6pm
I m p o r ta n t I r i s h A r t
Paul Henry RHA RUA
‘The Spotted Shawl’
Est: €250,000 - 500,000
further entries are now being accepted for
this prestigious sale
190
Est 1887
in association with
Gerard Dillon ‘The Kelp Gatherers’
Est: €70,000 - 100,000
Highlights on view:
The James Wray Gallery
14-16 James Street South, Belfast
Friday 21st & Saturday 22nd November
Est 1887
further entries are now being accepted for this prestigious sale
191
Est 1887
in association with
Daniel O’Neill
‘Figure on the Beach, Tyerlla’
Est: €100,000 - 150,000
Full sale on view:
Adam’s, 26 St. Stephen’s Green, Dublin 2.
further entries are now being accepted for this prestigious sale
INDEX
192
A
Armstrong, Arthur
96, 96A
B
Ballagh, Robert
Ballard, Brian
Barrett Jr., George
Bartnett, William Henry
Brandt, Muriel
Broadside, A.
Butler, Mildred Anne
J
Jacobs, Louise
Jellett, Mainie
105
143
35, 36, 37, 111
80
85
88
106
101
1
C
Campbell, George
Carr, Tom
Carson, Robert Taylor
Cooke, Barrie
Craig, James Humbert
Craig, Henry Robertson
K
Keating, Sean
Kelly, John
Kelly, Oisin
King, Brian
King, Cecil
Kingerlee, John
Kingston, Richard
53, 124
118
92, 93, 104
115
33, 34, 60
142
141
24, 95
69, 70
12,
21, 25, 38, 46, 48, 56
9,
51
D
de Burca, Micheál
Dillon, Gerard
Doherty, John
Delaney, Edward
L
Lamb, Charles Vincent
Le Brocquy, Louis
Le Jeune, James
Leech, William John
Luke, John
Luke, John (Attributed to)
10, 11, 49, 50
57
119
19
127
128
13
26, 123
71, 72, 73, 74
94
E
Egginton, Frank
2, 3, 4, 5,
M
MacGonigal, Maurice
121, 122
Maguire, Cecil
27
McGuinness, Norah
17
McKelvey, Frank
8,
McNab, Theo
47
McSweeney, Sean
59
Middleton, Colin
39, 40, 41, 42, 43, 44, 45
Mooney, Martin
75, 76
Moroney, Ken
135, 136, 137, 138
Mounsey Wheatley, George 87
Moynan, Richard Thomas 84
Moysey, Philip
112
F
Faulkner, John
90, 91
Flanagan, Terence P. 52
French, William Percy
130, 131, 132, 133, 134
G
Gorman, Richard
Grey, Alfred
55
89
H
Hamilton, Eva Henrietta
Hamilton, Letitia Marion
Hayes, Claude
Helmick, Howard
Hely Hutchinson, Nicholas
Hennessy, Patrick
Henry, Grace
Henry, Paul
Hoad, Jeremiah
Hone, Nathaniel
20, 86
6
81, 82
83
79
28, 29, 30, 31, 32
18
16
99
14, 15
O
O’Brien, Kitty Wilmer
126
O’Conor, Roderic
129
O’Malley, Tony
61
O’Neill, Daniel
97, 98, 100
O’Neill, Mark
77, 78, 140
Ormsby Wood, Albert Victor 139
P
Patton, Eric
113
S
Shinnors, John
58
Solomons, Estella
103, 107, 108, 109, 110, 120
Souter, Camille
22, 23
Swanzy, Mary
62, 63, 64, 65, 66, 67, 68
Swift, Patrick
125
V
Vallely, John B.
54
W
Warren, Michael
Wejchert, Alexandra
Wilks, Maurice C.
116
114
7
Y
Yeats, Jack B.
102, 117
Est 1887

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