adam's fine art auctioneers - important irish art 1st october 2014

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Important Irish Art Auction Wednesday 1st October 2014 at 6pm Including Paintings from the Roth and Deepwell Collections and other Important Clients AUCTION Wednesday 1st October 2014 at 6.00pm VENUE Adam’s Salerooms 26 St Stephen’s Green, Dublin 2. Ireland VIEWING HIGHlIGHTS FUll SAlE VIEWING SEpTEmbEr 11TH - 18TH At The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRN Important IrIsh art 5 Monday - Friday Saturday 13th September Sunday 14th September SEpTEmbEr 28TH - OCTObEr 1ST At Adam’s, 26 St Stephen’s Green, Dublin 2. Sunday 28th September Monday 29th September Tuesday 30th September Wednesday 1st October 11.00am - 5.00pm 2.00pm - 5.00pm 2.00pm - 5.00pm 2.00pm - 5.00pm 10.00am - 5.00pm 10.00am - 5.00pm 10.00am - 5.00pm The Deepwell Collection Deepwell was the home of the Reihill family for over 70 years; and the collection was amassed by two generations of the same family. John P. Reihill Snr originally bought the house and with the advice and guidance of Senator Joseph Brennan he set about decorating the walls with pictures from the Waddington Galleries and from Leo Smith at the newly established Dawson Gallery. He was a patron of the sculptor Jerome Connor, commissioning several works from him directly as well as buying pieces from him and from the Waddington Galleries. Several decades later his son John P. Reihill, who died last year, continued the family tradition of collecting. He acquired numerous traditional works together with a collection of works by Roderic O’Conor and contemporary artworks by artists such as Louis le Brocquy. This is the second and final tranche of Irish pictures and sculpture coming to us from the estate of John P. Reihill. The Roth Collection William and Joan Roth’s introduction to Ireland began as a result of William’s passion for the literature of W.B. Yeats. He compiled a bibliography of Yeats’ works for the Yale University Library in Connecticut. The Roth’s got married in 1947 and decided to honeymoon in Ireland. It was during this time and through his connections and literary contacts that they developed a real affinity for the country; they in turn were embraced by Ireland’s literati. Many decades later they purchased Hymenstown House in Cashel and they set about furnishing it in grand style. They initially collected 18th and 19th century artworks and they frequented galleries such as Cynthia O’Connor, Oriel Gallery and the Godolphin. Later they began to embrace 20th century pieces, some of which were bought in these rooms. The paintings offered in this sale evidence their open-mindedness in collecting more contemporary artworks like le Brocquy, Ballagh and Farrell which they bought mainly from the Taylor Galleries. Despite the fact that William M. Roth was the scion of a shipping empire, he devoted much of his life to public service. He was a philanthropist and donated the land surrounding his home in Sonoma Mountain, California to a national reserve.

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Important Irish Art, wednesday 1st October 2014 at 6pm

Wednesday 1st October 2014

Important Irish Art

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Important Irish Art

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Front Cover Maurice MacGonigal Lot 78Opposite Mainie jellett Lot 31Page 2 Roderic O’Conor Lot 96Inside Back Cover Louis le Brocquy Lot 46Back Cover Louis le Brocquy Lot 45

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Important Irish Art, wednesday 1st October 2014 at 6pm

Important Irish ArtAuction Wednesday 1st October 2014 at 6pm

Including Paintings from the Roth and Deepwell Collections and other Important Clients

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Important Irish Art, wednesday 1st October 2014 at 6pm

AUCTIONWednesday 1st October 2014 at 6.00pm

VENUEAdam’s Salerooms26 St Stephen’s Green, Dublin 2.Ireland

VIEWING HIGHlIGHTS SEpTEmbEr 11TH - 18TH

At The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRN Monday - Friday 11.00am - 5.00pm Saturday 13th September 2.00pm - 5.00pm Sunday 14th September 2.00pm - 5.00pm FUll SAlE VIEWING SEpTEmbEr 28TH - OCTObEr 1ST

At Adam’s, 26 St Stephen’s Green, Dublin 2. Sunday 28th September 2.00pm - 5.00pm Monday 29th September 10.00am - 5.00pm Tuesday 30th September 10.00am - 5.00pm Wednesday 1st October 10.00am - 5.00pm

Important IrIsh art

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Brian Coyle FSCSI FRICSCHAIRMAN

Eamon O’Connor [email protected]

Nick [email protected]

James O’Halloran BA FSCSI FRICSMANAGING [email protected]

David Britton BBS [email protected]

Abigail Bernon BAFINE ART [email protected]

Kieran O’Boyle BA Hdip ASCSIFINE ART DEPARTMENT [email protected]

Stuart Cole MSCSI [email protected]

You can now create your own account with us by signing up and registering your particulars online at www.adams.ieThe process involves uploading identification by way of passport or driving licence and supplying valid credit card information. This is a once off request for security purposes, and once the account is activated you will not be asked for this information again. You can leave absentee bids online, and add, edit or amend bids accordingly as well as other useful functions including paying your invoice.

C R E AT E A ‘ M Y A D A M ’ S ’ A C C O U N T

26 St. Stephen’s Green , Dublin 2.Tel +353 1 6760261 Fax +353 1 [email protected] www.adams.ie

Est 1887

Ronan Flanagan FINE ART [email protected]

Caroline Kevany BAFINE ART [email protected]

Karen Regan BAFINE ART [email protected]

The Roth Collection

The Deepwell Collection

Estella Solomons Collection

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Important Irish Art, wednesday 1st October 2014 at 6pm

The Roth Collection

The Deepwell Collection

Estella Solomons Collection

Adam’s are delighted to offer a collection of works (Lots 197 - 216) by Estella Solomons; an artist who is so often overlooked. The collection includes landscapes, typical of Solomon’s oeuvre together with a wonderful collection of portraits depicting her friends, writers and fellow republicans. These portraits include one of the poet Ella Young (Lot 198) from Ballymena who was involved in the Gaelic Revival and was a founding member of Cumann na mBán and Solomons was an active member of the group with her close friend Kathleen Goodfellow (Lot 197). Other notable subjects include Erskine Childers and Darrell Figgis; both of whom were involved in the Howth gun-running operation in July 1914. 

These works were acquired many decades ago from the artist’s estate by Geoffrey O’Connor who passed away earlier this year. Many of the portraits were included in the 1998 documentary on the artist “Estelle” by Paradox Films which was screened here during the Summer loan show Irish Women Artists 1870 - 1970 in July this year.

Deepwell was the home of the Reihill family for over 70 years; and the collection was amassed by two generations of the same family. John P. Reihill Snr originally bought the house and with the advice and guidance of Senator Joseph Brennan he set about decorating the walls with pictures from the Waddington Galleries and from Leo Smith at the newly established Dawson Gallery. He was a patron of the sculptor Jerome Connor, commissioning several works from him directly as well as buying pieces from him and from the Waddington Galleries. Several decades later his son John P. Reihill, who died last year, continued the family tradition of collecting. He acquired numerous traditional works together with a collection of works by Roderic O’Conor and contemporary artworks by artists such as Louis le Brocquy. This is the second and final tranche of Irish pictures and sculpture coming to us from the estate of John P. Reihill. 

William and Joan Roth’s introduction to Ireland began as a result of William’s passion for the literature of W.B. Yeats. He compiled a bibliography of Yeats’ works for the Yale University Library in Connecticut. The Roth’s got married in 1947 and decided to honeymoon in Ireland. It was during this time and through his connections and literary contacts that they developed a real affinity for the country; they in turn were embraced by Ireland’s literati. Many decades later they purchased Hymenstown House in Cashel and they set about furnishing it in grand style. They initially collected 18th and 19th century artworks and they frequented galleries such as Cynthia O’Connor, Oriel Gallery and the Godolphin. Later they began to embrace 20th century pieces, some of which were bought in these rooms. The paintings offered in this sale evidence their open-mindedness in collecting more contemporary artworks like le Brocquy, Ballagh and Farrell which they bought mainly from the Taylor Galleries. Despite the fact that William M. Roth was the scion of a shipping empire, he devoted much of his life to public service. He was a philanthropist and donated the land surrounding his home in Sonoma Mountain, California to a national reserve. William and Joan took great pleasure in forming their collection of Irish paintings over a forty year period, unfortunately William died earlier this year, aged 97, so the Irish adventure for him has come to an end. 

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1. Estimates and ReservesThese are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.

2. Paddle BiddingAll 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 PremiumThursday 2nd October 2014, 10.00am - 5pm 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 2014 at the purchaser’s risk and expense. After this time all uncollected lots will be removed to commercial storage and additional charges will apply.. Auctioneers commission on purchases is charged at the rate of 20% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque drawn on an Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or you have a previous cheque payment history with Adam’s. 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 1.5% on the invoice total. American Express is subject to a charge of 3.65% on the invoice total. Debit cards including laser card payments are not subject to a surcharge, there are however daily limits on Laser card payments. Bank Transfer details on request. Please ensure all bank charges are paid in addition to the invoice total, in order to avoid delays in the release of items. Goods will only be released upon clearance through the bank of all monies due. Artists Resale Rights (Droit de Suite) is NOT payable by purchasers.

4. VAT RegulationsAll 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. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. Whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Please ensure that condition report requests are received before 12 noon on Saturday 27th September as we cannot guarantee that they will be dealt with after this time.

6. Absentee BidsWe 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 and telephone bidding must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this time and cannot be guaranteed after the auction has commenced.Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot be guaranteed.

7. AcknowledgmentsWe would like to acknowledge, with thanks, the assistance of Dr. S.B.Kennedy, Dr Roy Johnston, Bruce Arnold, Denise Ferran, Claudia Kinmonth, Garrett Cormican, Hilary Pyle, Karen Reihill, Dickon Hall, Dr. Róisín Kennedy, Marianne O’Kane Boal, Dr Éimear O’Connor, Dr Julian Campbell, Giollamuire Ó Murchú and Ciarán MacGonigal and photographer James Fennell whose help and research were invaluable in compiling many of the catalogue entries.

We particularly want to acknowledge Christina Kennedy and Homan Potterton whose research and writings on ‘The Deepwell Collection’ were the basis for many of the catalogue entries from that collection.

8. All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in the salerooms

I M P O RTA N T I N F O R M AT I O N F O R P U R C H A S E R S

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Important Irish Art, wednesday 1st October 2014 at 6pm

1 Cecil fFrench Salkeld ARHA (1904-1969) Harvest Honeymoon Gouache, 13.5 x 12cm (5¼ x 4¾”)Signed. Signed, inscribed and dated Summer 1941 on label verso

€500 - 700

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2 Palm Skerrett ANCA (20th/21st Century)‘Three Auld Dubs’Watercolour, 36 x 54cm (14 x 21¼”)Signed

€400 - 600

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3 Palm Skerrett ANCA (20th/21st Century)Emigrants Gouache, pencil and ink, 41 x 28.5cm (16 x 11¼”)Signed. Inscribed with title verso

Provenance: From the Estate of the late Charlie Hennessy, Cork.

€600 - 800

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4 James Humbert Craig RHA RUA (1877-1944)Ratray Islanders, Co. Antrim Oil on canvasboard, 23 x 30.5cm (9 x 12”)Inscribed to P.J. Little from the artist verso; and sold by his family, De Veres, Dublin, March 1999, Cat. No. 29

Provenance: Mr. J.P. Reihill, Deepwell, Blackrock, Co. Dublin

€2,000 - 4,000

The Deepwell Collection

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5 James Humbert Craig RHA RUA (1877-1944)In the RossesOil on board, 28.5 x 41cm (11¼ x 16”)Signed. Signed again and inscribed with title verso

€3,000 - 5,000

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6 James Humbert Craig RHA RUA (1877-1944)On the Tweed, Scotland Oil on canvas laid on board, 23 x 30.5cm (9 x 12”)Signed

Provenance: Purchased directly from the artist c.1940 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

James Humbert Craig was almost exclusively a landscape painter. On the Tweed, an early example of his work, was painted in 1917, just two years after his first submission to the RHA. It demonstrates some of the qualities which became characteristic of the majority of his output, namely, the manipulation of rich impasto in a quick, loose, Impressionistic manner to describe brooding, cloud-filled skies, landscape and rushing water, together with an overall sense of the prevailing atmospherics and fugitive effects of light.

€1,200 - 1,600

7 James Humbert Craig RHA RUA (1877-1944)Co. Antrim Hills with Cattle GrazingOil on board, 24 x 34cm (9½ x 13½”)Signed

Provenance: Jorgensen Fine Art, Dublin

€1,000 - 1,500

The Deepwell Collection

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8 Maurice C. Wilks RHA RUA (1910-1984)Maghergallon, Co. DonegalOil on canvas, 51 x 61cm (20 x 24”)Signed; inscribed with title verso

€3,000 - 5,000

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9 Maurice C. Wilks RHA RUA (1910-1984)Ballynahinch River at Toombeola, Co. Galway Oil on canvas, 35 x 45cm (13¾ x 17¾”)Signed

€1,500 - 2,500

10 Maurice C. Wilks RHA RUA (1910-1984)Snow near Ambleside, CumbriaOil on canvas, 40.5 x 51cm (16 x 20”)Signed; signed and inscribed verso

Exhibited: Royal Hibernian Academy Annual Exhibition, Dublin, 1979, Cat No.101

€1,500 - 2,500

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11 Maurice C. Wilks RHA RUA (1910-1984)Reflections, Glenveagh, Co. Donegal Oil on canvas, 49 x 59.5cm (19½ x 23½”)Signed. Inscribed with title verso

€2,500 - 3,500

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12 Maurice C. Wilks RHA RUA (1910-1984)In the Inagh Valley, Connemara Oil on canvas, 49.5 x 75cm (19½ x 29½”)Signed. Inscribed with title verso

€3,000 - 5,000

The Deepwell Collection

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13 Frank McKelvey RHA RUA (1895-1974)Ards Bay, Co. Donegal Oil on canvas, 51 x 66cm (20 x 26”)Signed

Provenance: Mr. J.P. Reihill, Deepwell, Blackrock, Co. Dublin; who purchased it in these salerooms circa 1978.

Exhibited: Collector’s Choice Exhibition, Bank of Ireland, 1982, Cat. No. 52

McKelvey’s landscapes from the 1950s onwards, become increasingly atmospheric and possess a certain “velvety” quality. Here, the tonal landscape is invigorated by the alternation of diffused golden light with areas of rich, dark shade. The darkened foreground of this composition has the effect of making the viewer feel that he or she is surrounded by the landscape - that the cloud which causes the shadow is directly over the viewer’s head. This painting illustrates McKelvey’s mastery at depicting cloudy, wind-swept skies.

€5,000 - 7,000

The Deepwell Collection

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14 Seán Keating PRHA HRA HRSA (1889-1977)Portrait of a Young WomanCharcoal, 50 x 57cm (19¾ x 22½”)Signed

€800 - 1200

15 Seán Keating PRHA HRA HRSA (1889-1977)Study after The Tipperary Hurler c. 1930 Charcoal, 49 x 42cm (19¼ x 16½”)Signed

Two galleries in New York were of great importance to the market for Irish art during the 1920s: the Helen Hackett Gallery, and The Irish Art Rooms, later the Museum of Irish Art, run by a jovial Irish-American, Patric Farrell. Seán Keating first exhibited in a group show with Helen Hackett in 1929, and then in a one-person exhibition in the same gallery for which he travelled to the city in 1930. He then moved to the Irish Art Rooms where his work was shown in several group exhibitions during the 1930s. Keating’s The Tipperary Hurler, completed for the Paris Olympiad in 1928, was sent to New York in 1929 where it was exhibited to great acclaim by both above-mentioned galleries, and later, at the World’s Fair held in the city in 1939. Featuring a well-known star of the GAA, (now known to have been an amalgamation of two sitters; the famous Tipperary hurler, John Joe Hayes, and, when he knew that the painting had to be finished on time for the Olympiad, completed using the features of a similar looking art student, former IRA member, Ben O’Hickey), the painting appealed to the large Irish émigré communities in America.

A label on the reverse of Study after The Tipperary Hurler offers tantalising evidence about the origin of the work. The drawing was framed at David Bendann’s Fine Art Rooms, a renowned gallery in Baltimore, Maryland, established in 1859 and still in existence today. The label suggests that the drawing post-dated the painting from which it derived, and may have been commissioned by an American purchaser to whom The Tipperary Hurler appealed. The suggestion is not at all implausible. Keating was in New York for a month in December 1930, and although exhibiting with Helen Hackett, he was doing commissioned drawings in a space provided for him by Patric Farrell in the Irish Art Rooms. If not made during that trip in 1930 then Study after the Tipperary Hurler may have been commissioned, through Patric Farrell, sometime over the ensuing years. Keating was extremely precise in his treatment of the subject matter, so much so that the study, with its striking lines, and the powerful gaze of the sitter, has all the attributes of the painting from which it originates, including the important lettering on the sash, CHC (Commercial Hurling Club), founded by the GAA in Dublin in 1886, and still in existence today. There is one small difference: the face of the hurler is slightly younger, and a little thinner, than that portrayed in the painting.

The connection to America through the label on the reverse of Study after The Tipperary Hurler is apposite. The original painting, The Tipperary Hurler, proved extraordinarily popular among the press, and viewers, in New York, Boston and further afield. Although it might have found a home in America, the painting was donated to the Municipal Gallery Dublin (now the Dublin City Gallery the Hugh Lane) in 1957 by - Patric Farrell.

©Dr Éimear O’Connor HRHA Research Associate, TRIARC-Irish Art Research Centre, Trinity College Dublin, August 2014

€3,000 - 5,000

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16 Charles Lamb RHA RUA (1893 - 1964)Fisherman and Boats, Sruthán Harbour, CarraroeOil on board, 26 x 35cm (10¼ x 14¼”)Signed

€1,500 - 2,500

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17 Charles Lamb RHA RUA (1893 - 1964)Bann Bridge, PortadownOil on board, 28 x 40cm (11½ x 16”)

Provenance: Collection of the late Dr. Flood in whose house the artist lived for a time in Dublin; Sold in these rooms, Important Irish Art sale, 8th December 1999, where purchased by the current owners

€2,000 - 4,000

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18 William Conor RHA PRUA OBE (1884-1968)Fun at the Fair Oil on canvas, 51 x 40.5cm (20 x 16”)Signed

Provenance: Thought to have been bought circa 1940s at exhibition in Dublin; and thence by descent

Martyn Anglesea has written about how William Conor found a champion in John Hewitt. “...Hewitt perceptively described Conor as ‘a proletarian artist without protest.’ Angelsea observes, ‘this is a fair point. Conor’s Belfast working classes are never abject, but usually happy and enjoying themselves. There is no sense of exploitation...He depicted the working people from both the Protestant and Catholic traditions in Belfast with the same affection. In fact, as he spelled his name with only one N, many people assumed that he was Catholic rather than Protestant. He did not seem to mind.’ (William Conor - The People’s Painter, 1999, p25). John Hewitt has also written ‘For the middle decades of the century William Conor was the representative artist...few can have realised how representative he has been, how broadly typical of our best moods and impulses. In the art history of Ireland, William Conor must be placed with Paul Henry and Jack B Yeats, as one of the first to record the life of the people in painterly terms, without the trappings of stage-Irishry, and by himself, the pioneer in taking his subjects from town - rather than country folk.’ (Art in Ulster I, 1977, p86)In a similar vein to his English contemporary L. S. Lowry, William Conor enjoyed representing Fair Days with their bustle and sense of anticipation. Unlike Lowry’s large sweeping views of the masses coming and going on Fair Day, Conor focused on small intimate groups and integrated personality into his compositions. Fun at the Fair’ is a painterly representation, carefully arranged and it is a work that strongly demonstrates a mark of Impressionism. Conor lived in Paris for about six months in 1912 and would have been familiar with the work of Renoir and Monet both of whom appear influences on this work with its colouring, strong summer light in the middle distance and treatment of figures. This painting is clearly a key genre scene in Conor’s oeuvre. Harmoniously composed with plenty of drama and depth to delight the eye, the artist has clearly considered the perfect balance of figures and space, light and shade, colour and line. Another painting by Conor that shows a similar compositional strategy is Fun of the Fair (Lammas Fair, Ballycastle) 1935 in the collection of the Ulster Folk and Transport Museum. Although the action in this work depicting the Lammas Fair (which dates to the seventeenth century), is depicted on a shallower plane, it has the

same overall structure. The principal players in the scene are the man with his back to the viewer to the left of the painting with figures gathered, largely children, to his right. One child looks directly at the viewer to welcome us into the happy proceedings. The figures are all sheltered from the sun by the canopy overhead. Here in Fun at the Fair, Conor again gathers the primary group at the fair under the canopy in the foreground. Like the other painting, an old lady clad in green to the left of the composition is a key player in this scene. Again a child with smiling face connects directly with the viewer to include the audience in the fair. It is a nostalgic painting but remains somewhat atypical for Conor in its more European composition and treatment. This is a timeless view yet it depicts a largely bygone era in Ireland, north and south. “A noteworthy characteristic of an Irish fair has been that its size did not necessarily bear any relation whatsoever to the size or importance of the place in which it was held. Some quite large towns have never at any time had either fairs or markets. The most outstanding examples in County Antrim would be such townships as Portrush or Whitehead, and the Ould Lammas Fair, Ballycastle. As for Cushendall...Its fairs were eight in number and all of them were held on dates associated in one way or other with the Christian dispensation.” Hugh Alexander Boyd, Fairs and Markets in Cushendall and Ballycastle, The Glynns Vol. 15 (1987)It is quite remarkable that although Conor painted contemporary subjects, even at the time he knew these scenes would not last forever. He foretold this in somewhat singular fashion when discussing his work; “...when we have trampled on the best of the past and sacrificed everything of value to the much vaunted name of progress I trust these paintings and drawings will recall a world that is quickly disappearing and could soon be forgotten.” (Anglesea) The artist has left us a considerable legacy of paintings, 80 within the Museums and Galleries of Northern Ireland (MAGNI) and almost 1200 pieces in the Ulster Folk and Transport Museum. These works make up the most comprehensive social record in visual art of Belfast in the mid twentieth century. Marianne O’Kane Boal

€15,000 - 20,000

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19 Letitia Marion Hamilton RHA (1878-1964) Cottages, Monasterevin, Co Kildare

Oil on board, 41 x 48cm (16 x 18¾”)Signed

€4,000 - 5,000

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20 Letitia Marion Hamilton RHA (1878-1964)Coastal Farmsteads, Achill Island Oil on canvas, 51 x 61cm (20 x 24”)Signed with initials

€7,000 - 10,000

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21 Georgina Moutray Kyle RUA (1865-1950) Continental Street Scene

Oil on canvas, 30 x 30cm (11¾ x 11¾”)Signed

Born at Craigavad, Co. Down, Georgina Moutray Kyle was educated at home by governess and tutors. After attending the Colarossi’s studio in Paris in 1880’s, she travelled widely before returning to Ireland with a distinctly modern palette and post-impressionist style. She also exhibited works of Concarneau and Quimperlé at the RHA and the Belfast Society. She became an active committee member of the Belfast Art Society (later called the Ulster Academy of Arts) and was a dominant persona in Belfast exhibitions in the 1920s and 30s.

€800 - 1,200

The Deepwell Collection

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22 Lilian Lucy Davidson ARHA (1893-1954)A Pull Towards Shore Oil on canvas, 51 x 40.75cm (20 x 16”)Signed with monogram

Provenance: The Frederick Gallery, Dublin Summer Exhibition1998, Cat. No. 8 where purchased by John P. Reihill, Deepwell, Blackrock, Co. Dublin

Exhibited: Royal Hibernian Academy Annual Exhibition 1951, Dublin, Cat. No. 113 Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 79

Literature: One Hundred Years of Irish Art The Oriel Gallery, 1993, illustrated P 36 Irish Women Artists 1870-1970, illustrated p.94

€3,000 - 5,000

The Deepwell Collection

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23 Norah McGuinness HRHA (1901 - 1980)Flight over MulroyOil on canvas, 51 x 76cm (20 x 30”)SignedDawson Gallery label verso

Exhibited: Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 89

Literature: Irish Women Artists 1870-1970, illustrated p.103

Norah McGuinness’s paintings of the coastline of Ireland were highly regarded in her lifetime and have since come to be recognised as amongst her most distinctive contribution to modern Irish landscape painting. Many depict the murky sandbanks of Dublin, where she lived. But she also had a studio at Rathmullan on the banks of Lough Swilly close to Co. Derry where she was from originally. While staying here she painted many scenes of Mulroy Bay in North Donegal, the earliest dating from the 1940s. Mulroy links Fanad Head and Rosguill Peninsula and is now spanned by a bridge but was connected by ferry for many years. Literally taking a bird’s eye view the painting lays out the contours of the land and sea as seen from above. The shape of the coastline is simplified and the rocks, hills and shrubbery transformed into decorative elements within the flat patterning of the terrain. Soaring across this stylised landscape is a gull, its body extended outwards revealing its plumage and making it appear exotic. More detailed and focused than the ground beneath it, the juxtaposition of the bird and the land emphasise the two separate planes that each occupy. In this way McGuinness draws on her extensive understanding of design and her knowledge of cubism. The final painting was made in the studio, not en plein air, although the artist probably used drawings and sketches made at the scene as her initial inspiration. In the final painting the vagaries of the landscape are subsumed into a more controlled work of art. Subtle geometric patterning and blends of greens, greys and orange transform the natural world into a self-consciously modern painting. As in McGuinness’s other Irish landscapes, she manages to make the familiar unfamiliar and present the Irish coastline as exotic and strangely contemporary.

Dr. Roisin KennedyDublin, September 2014

€8,000 - 12,000

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24 Nano Reid RHA (1900-1981)Churchyard by the SeaWatercolour, 32 x 56cm (12½ x 22”)Signed

Exhibited: Dublin, Municipal Gallery & Ulster Museum, Belfast, 1974/75 Nano Reid Retrospective; Belfast, Cat. No. 39

€1,500 - 2,000

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25 Nano Reid RHA (1900-1981)Workmen on Tin RoofOil on board, 44.5 x 60cm (17½ x 23½”)Signed

Exhibited: Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug- Sept 2014, Cat. No. 39

Literature: Irish Women Artists 1870-1970, illustrated p.51

€3,000 - 5,000

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26 Mary Swanzy HRHA (1882-1978)Flower MarketOil on canvas, 46 x 36cm (18 x 14”)Signed

Exhibited: Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 24

Literature: Irish Women Artists 1870-1970, illustrated p.33

€3,000 - 5,000

The Deepwell Collection

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27 Mary Swanzy HRHA (1882-1978)A Wooded Landscape Oil on panel, 30 x 36.7cm (11¾ x 14½”)Signed

Provenance: Taylor Galleries, 1978, where purchased by John P. Reihill, Deepwell, Blackrock, Co. Dublin

Essentially Fauve in character, this painting is close in style to House in a Mountainous Landscape, known to date from the period when the artist was dividing her time between Ireland and St. Tropez during the years of the First World War. Probably a southern French view, light and the bright colours of the Mediterranean landscape infuse this work, the latter being used as much for effect as for description which is a typically Fauvist trait.

€3,000 - 5,000

The Deepwell Collection

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28 Olive Henry RUA (1902 - 1989) Boy with Hoop by a GateOil on canvas, 51 x 41cm (20 x 16”)Signed

Belfast artist Olive Henry is known not only for her painting but also her photography and stained glass. After taking evening classes at the Belfast School of Art she was apprenticed to the glass company WF Clokey & Co. Ltd where she worked for more than half a century. Henry had an interest in photography from an early age and won various awards for her photographs. She also wrote a column for Amateur Photography in the 1930s. Her paintings were exhibited at the Oireachtas, Royal Ulster Academy, the Irish Exhibition of Living Art, Water Colour Society of Ireland and the National Society in London. Additionally she had an important joint show with Violet McAdoo at Belfast Museum and Gallery in 1944. Henry enjoyed travelling and made trips to Brittany, America and Belgium, where she won an international scholarship in 1957. Following the bombing of the Ulster Hospital for Women and Children in 1941, the Ulster Academy published a portfolio of Henry’s lithographs in order to raise money. She was a founding member of the Ulster Society of Women Artists, and president of the society from 1979 to 1981.

€500 - 800

29 Barbara Warren RHA (b.1925)Mother and ChildOil on board, 40 x 33cm (15¾ x 13”)Signed. Inscribed artist’s label verso

€800 - 1,200

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30 Lady Beatrice Glenavy RHA (1883 - 1968)Mother and ChildOil on canvas, 61 x 41cm (24 x 16”)Signed with monogram

Provenance: Sir John Purser - Griffith and by family decent to his great niece Miss. A Griffith

Exhibited: Irish Women Artists Exhibition, National Gallery of Ireland, 1987, Cat. No. 114 Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 49

Literature: Irish Women Artists, National Gallery of Ireland publication, 1987 illustrated page 134; 100 years of Irish Art - A Millennium Presentation by Eamon Mallie 2000, page 144, full page illustration page 145 Irish Women Artists 1870-1970, full page illustration p.65

€3,000 - 5,000

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31 Mainie Jellett (1897-1944)

Homage to Fra Angelico (1928)Oil on canvas, 183 x 152.5cms (72 x 60’’)

Provenance: From the Collection of Dr. Eileen MacCarvill, Fitzwilliam Square, Dublin

Exhibited: Mainie Jellett Exhibition, Dublin Painters Gallery 1928 Irish Exhibition of Living Art, 1944, Cat. No. 91 An Tostal-Irish Painting 1903-1953, The Hugh Lane Municipal Gallery, Dublin 1953 Mainie Jellett Retrospective 1962, Hugh Lane Gallery Cat. No. 38 Irish Art 1900-1950, Cork ROSC 1975, The Crawford Gallery, Cork, 1975, Cat. No. 65 The Irish Renaissance, Pyms Gallery, London, 1986, Cat. No. 39 Mainie Jellett Retrospective 1991/92, Irish Museum of Modern Art Cat. No. 89 The National Gallery of Ireland, New Millennium Wing, Opening Exhibition of 20th Century Irish Paintings, January 2002-December 2003 The Collectors’ Eye, The Model Arts & Niland Gallery, Sligo, January-February 2004, Cat. No. 12; The Hunt Museum, Limerick, March-April 2004 A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, June- September 2011, Cat. No 21 Analysing Cubism Exhibition Irish Museum of Modern Art Feb/May 2013, The Crawford Gallery Cork June / August 2014 and The FE Mc William Museum September/November 2013 Irish Women Artists 1870 - 1970 Summer loan exhibition Adams Dublin July 2014 and The Ava Gallery , Clandeboye Estate August/September Cat. No. 70.

Literature: The Irish Statesman, 16th June 1928 Stella Frost, A Tribute to Evie Hone & Mainie Jellett, Dublin 1957, pp19-20 Kenneth McConkey, A Free Spirit-Irish Art 1860-1960, 1990, fig 58 p75 Dr. S.B. Kennedy, Irish Art & Modernism, 1991, p37 Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, 1991, full page illustration p120 Mainie Jellett, IMMA Cat, No. 89 p75 Analysing Cubism 2013 Full page illustration P125 Irish women artists 1870 - 1970 Full page illustration P87

€40,000 - 60,000

Cont.on p38

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Homage to Fra Angelico is a major work in the oeuvre of Mainie Jellett, a leading advocate of modernist art in Ireland. Exhibited at a solo exhibition at the Society of Dublin Painters in 1928, the work was warmly received by the critics of the Irish Times and the Irish Statesman, two publications which had only five years earlier lambasted Jellett for her abstract and seemingly incomprehensible painting, Decoration, (1923, National Gallery of Ireland). The work represents a turning point in Jellett’s reputation and to some extent her practice. In it she moves from an extreme abstraction to the use of more recognisable figurative elements. Homage pays tribute to the work of the early Renaissance artist Fra Angelico, whose paintings, which were reproduced in religious journals, were well known in Ireland. Jellett schematises the underlying forms and shapes of Fra Angelico’s design of his altarpiece, the Coronation of the Virgin (c. 1435, Uffizi), editing out unnecessary detail. The curved form of the composition derives directly from the framing of Fra Angelico’s painting. In addition Jellett draws on the work’s dominant colours and tones using a similar neutral background with yellows, blues and reds marking the prominent components in the painting. Through the language of cubism she transforms a 15th century religious artwork into a modern expression of spirituality. In doing so she convinced many of her contemporaries in Ireland of the value and relevance of modern art. As Riann Coulter has discussed Jellett’s choice of the Virgin as a subject was a way of linking modern art to the sensibilities of the predominantly Roman Catholic public of Free State Ireland.

The theme of the Coronation of the Virgin is found in Gothic and early Renaissance art and represents Mary being crowned Queen of

32 Mainie Jellett (1897-1944)Virgin with AngelsGouache, 43.5 x 33cm (17 x 13”)Signed and dated 1930

Provenance: From the collection of the late Miss Hosford

Exhibited: The Dawson Gallery (original label verso) Mainie Jellett Retrospective Exhibition, The Hugh Lane Gallery, Dublin, July - Oct 1962, Catalogue. No. 100 Irish Women Artists 1870-1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 29

Literature: Irish Women Artists 1870-1970, full page illustration p.29

€4,000 - 6,000

Heaven. The story, which is recounted in the bible, was popularised in the 13th century Golden Legend. For Jellett such a theme evoked a period of widespread devotion in which the artwork played a central role. Homage to Fra Angelico relates closely to a work produced by Albert Gleizes, Jellett’s friend and mentor, who completed a painting with a similar composition in 1927. Gleizes’s work was intended to be part of a scheme of murals for a church at Serrieres close to where he had established a commune of artists on the banks of the Rhone. In the end the murals were never installed. Jellett, who visited Gleizes and who corresponded regularly with him knew of the project. Both artists began in this period to make explicit reference to religious themes. According to Gleizes’s biographer, Peter Brooke, the French artist’s version of the Coronation of the Virgin owed a great deal to Jellett. Homage to Fra Angelico belonged to the academic Eileen MacCarvill who was a great champion of Jellett’s work after the artist’s early death in 1944. In 1958 MacCarvill published Jellett’s key writings on art together with tributes from And Lhote and Gleizes in Mainie Jellett: The Artist’s Vision. Included in the book is a full-page illustration of Homage to Fra Angelico together with reproductions of the series of preparatory studies that Jellett produced for the painting showing how she transformed the original early Renaissance image. Jellett’s work was seen to incapsulate the core values of spirituality and universality which her particular form of cubism championed and which challenged what the artist saw as the superficiality of contemporary academic and realist art. Dr. Róisín Kennedy Riann Coulter, ‘Translating Modernism. Mainie Jellett, Ireland and the Search for a Modernist Language’, Apollo, 164, 2006, pp.56-62. Peter Brooke, Albert Gleizes: For and Against the 20th century, Yale University Press, 2001, p.159.

Note on Lot 31 Mainie Jellett (1897-1944) Homage to Fra Angelico (1928)

Cont. from p36

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33 Evie Hone HRHA (1894-1955)Composition Gouache, 22.5 x 16cm (8¾ x 6¼”)Signed

Provenance: The Dawson Gallery, Dublin (label verso)

€1,500 - 2,500

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34 Evie Hone HRHA (1894-1955)Composition Gouache, 26 x 20.5cm (10¼ x 8”)Signed

Provenance: The Dawson Gallery, Dublin (label verso)

€1,500 - 2,500

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35 Frances Kelly ARHA (1908-2002)Mother and Child Gouache on board, 20 x 25.5cm (8 x 9”)Signed

€200 - 400

36 May Guinness RHA (1863-1955)Boats in HarbourWatercolour, 29 x 22cm (11½ x 8¾”)Signed

€1,500 - 2,500

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37 Evie Hone HRHA (1894-1955)Abstract Figural CompositionStained glass panel, 30.5 x 23cm (12 x 9”)Contained within a custom made timber light box, 58.5 x 51cm (23 x 20”)

Provenance: Previously in the Collection of the Church Preservation Trust

€2,000 - 4,000

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38 Jerome Connor (1876-1943)The Singer Bronze, 23cm high (9”)Signed

Provenance: Purchased directly from the artist c.1942 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

This piece is identified as The Singer due to its close relationship with a correspondingly titled piece in the Digby Collection. Its smooth finish and concise modelling relate it most immediately to The Boxer, sold in these rooms, May 2014, Cat. No. 37

€2,000 - 4,000

Born near Annascaul, Co. Kerry, in 1874, Connor was thirteen when the family emigrated to Massachusetts. Shortly after their arrival his fa-ther died so Connor left home to seek work, beginning first in New York where he found employment as a sign-painter, a machinist and then as a stone-cutter for a monument company in Massachusetts, where he worked on the South Hadley Civil War Memorial. During this time he made addi-tional money as a prizefighter under the name of Patrick J. O’Connor. He also trained as a bronze-founder and assisted Roland Hinton Perry (1870-1941), in the casting of The Fountain of Neptune bronzes for the Library of Congress, Washington DC, all before he was twenty-one years old.Having worked for a period at the Roycroft Institution, East Aurora, New York, where he produced commercial terracotta busts. Connor graduated to “high” art via portraiture, producing Civil War memorials and various mon-uments. His Irish-American connections brought him the Robert Emmet commission, and later, the Lusitania Memorial commission, funded by the Lusitania Peace Memorial committee and to be sited at Cobh. He was also commissioned to carry out a full length statue of Elbert Hubbard, founder of the Roycroft Institution and personal friend of Connor’s who died in the sinking of the Lusitania. On the strength of these two commissions he returned to Ireland in 1925, taking a studio on the North Circular Road in Dublin. However, the designs for the Lusitania Memorial were fre-

Jerome Connor (1876-1943)

The Deepwell CollectionThe Deepwell Collection

quently changed, although whether the decision of change came from the Lusitania committee or the sculptor himself is unclear. Conceived of as a symbolic appeal for world peace, the Memorial was to occupy Connor for nearly eight years, from 1929-1936, and although he had produced several designs, plans, scale models and some full-size symbolic figures it remained unfinished at the time of his death in 1943. (The monument was not finally completed until 1968).Connor undertook other commissions including a memorial for Tralee entitled The Pikeman, to commemorate the 1798 Rising, and a figure of Éire, for the Killarney Poets Society in commemoration of Gaelic poets of 18th century Kerry. He also entered designs for a national coinage, became friendly with W.B. Yeats and A.E. and exhibited in London where his work was positively reviewed by leading critics. At the same time he kept up his links with America, going back there regularly, (his wife and daughter had returned there c.1934). In 1939 Connor was declared bankrupt; he lost possession of his studio and the war cut him off from his family in America. From this time until his death Connor exhibited in Dublin a remarkable series of small bronzes which he described as “little pieces of free work”, more loosely handled in their use of clay than his earlier output. They are of particular importance as they are the product of a talent which first intro-duced the processes of casting, chasing and patinating of bronze to Ireland.

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39 Jerome Connor (1876-1943)StatiaBronze, 24cm high (9½”)Signed

Provenance: Purchased through the Victor Waddington Galleries 16/12/40 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

Exhibited: Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 4 Jerome Connor, Annascaul, April/May 1988 Jerome Connor, Irish-American Sculptor, National Gallery of Ireland, Feb/Mar 1993, Cat. No 10f

Literature: Máirín Allen, Jerome Connor-Two, Capuchin Annual 1964, pp353-69 (illustration p367) Giollamuire Ó Murchú, Jerome Connor, Irish- American Sculptor, NGI, p56

This is a portrait study of Anastatia Balfe whom Connor employed as a cook and housekeeper after his wife and daughter returned to America to live. Statia prepared his meals, tidied his house and sometimes posed for him and it was she who was Connor’s final model for the Angel of Peace which surmounted the Lusitania Memorial. Connor felt something of a father figure to her and even went so far as to ask his solicitor to arrange some sort of formal adoption. She stayed with him until her marriage.

€2,000 - 4,000

The Deepwell Collection

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40 Jerome Connor (1876-1943)Peace Bronze, 17.8cm high (7”)Signed and inscribed

Provenance: Purchased through the Victor Waddington Galleries, 16/02/40 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

Exhibited: IELA 1st Exhibition, Memorial Section to Jerome Connor, Cat. No. 11 Irish Art 1900-1950, ROSC Chorcaí, The Crawford Gallery, Cat. No. 168 Irish Art from Private Collections 1870-1930, Wexford Arts, 1977 Centre, Cat. No. 3 Jerome Connor, Annascaul, April/May 1988 Jerome Connor, Irish-American Sculptor, National Gallery of Ireland, Feb/Mar 1993, Cat. No 10g

Literature: Máirín Allen, Jerome Connor-Two, Capuchin Annual 1964, pp353-69 (illustration p367) Giollamuire Ó Murchú, Jerome Connor, Irish- American Sculptor, National Gallery of Ireland, 1993 (illustrated p57)

This is one of a number of studies on the theme of Peace, linked to the second and third of four designs drawn up by Connor for the Lusitania Memorial’s Angel of Peace. It also recalls the veiled, allegorical figure of Peace which, with a figure of Patriotism, flank the Angels of the Battlefield public memorial in Washington DC which Connor executed in 1924. Anastasia Balfe is the model.

€2,000 - 4,000

The Deepwell CollectionThe Deepwell Collection

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41 Jerome Connor (1876-1943)Bust of a Man in a HatBronze, 26cm high (10¼”)Signed

Provenance: Purchased directly from the artist c.1941 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

Exhibited: Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 5

A very late example of Connor’s work, in formal terms this is one of his most ‘abstract’ pieces. Though obviously figurative, Connor is concerned less with the definition of the man’s physiognomy and form than he is with overall texture and surface pattern. The treatment of this piece emphasises its sheer physical presence. Connor’s familiarity with Epstein’s work is particularly relevant in this instance.

€2,000 - 3,000

The Deepwell CollectionThe Deepwell Collection

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42 Jerome Connor (1876-1943)Peggy ConnorBronze, 28cm high (11”)Signed

Provenance: Purchased directly from the artist c.1942 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

This figure was identified by Máirín Allen as Peggy Connor, the artist’s only child. Though Connor’s daughter is more frequently remembered as Marjorie, they are presumably one and the same person. Both names occur in the RHA listing for 1938 and refer to two respective pieces: a marble (405), entitled Peggy, and a bronze (406), entitled Marjorie, both lent by Joseph Brennan Esq.

€1,500 - 2,500

43 Jerome Connor (1876-1943)Portrait Study Bronze, 19cm high (7½”)Signed

Provenance: Purchased directly from the artist c.1941 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin

Exhibited: RHA Annual Exhibition, Dublin, 1941, Cat. No. 386

Literature: Máirín Allen, Jerome Connor-Two, Capuchin Annual 1964, pp353-69 (illustration p367)

The identity of the sitter is unknown but she bears a strong resemblance to the model (identity also unknown), for the Éire memorial, executed in 1932 and now in Merrion Square Park, Dublin. Its format and treatment suggest a date of c.1938. Though the modelling is succinct, the piece, texturally, begins to display the granular character of Connor’s later work.

€1,500 - 2,500

The Deepwell Collection

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44 Oisín Kelly RHA (1915-1981)The Flautist (1972)Bronze on a stone plinth, 52cm high (including plinth) (20½”)Plinth: 71cm wide x 36cm deep (28 x 14¼”)From an edition of six

€3,000 - 5,000

The Deepwell Collection

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45 Louis le Brocquy HRHA (1916-2012)Cúchulainn Blanc et Rose (1973)Tabard Frères et Soeurs Aubusson tapestry, 184 x 184cm (72 x 72”) Signed and numbered 8/9 on the label verso

Provenance: Purchased from Taylor Gallery, Dublin, 1977, by John P. Reihill, Deepwell, Blackrock, Co. Dublin

The theme of the Táin, the early Irish epic translated by the poet Thomas Kinsella in 1969 and for which le Brocquy was commissioned to provide the accompanying black brush drawings, inspired in the artist a fresh surge of creativity in the realm of tapestry. The word ‘Táin’ means ‘hosting’ or gathering of a large crowd for a raid and provided the theme for a number of tapestries designed by the artist. The surface of the tapestry is completely covered in multi-coloured, irregular, oval heads, all with minute irregular ‘features’ and all facing the spectator. Each head exists as a single entity and does not relate to its neighbour. There is no order, no ranking, yet some inherent, instinctive force holds them together. In 1970 P.J. Carroll and Co. through their architects Scott Tallon Walker commissioned the first Táin tapestry from le Brocquy for the foyer of their Dundalk factory, this is now in the collection of the Irish Museum of Modern Art.

Louis le Brocquy has said “I hope these images from Táin Bó Cúailnge, transmuted into the woven forms of tapestry, may be seen as a tribute to the poet Thomas Kinsella, who inspired them and to the devoted publisher and designer, Liam Miller, who gave their original coherence.”

“In this tapestry I have tried to produce a sort of group or mass emergence of human presence, features uncertain - merely shadowed blobs or patches - but vaguely analogous perhaps in terms of woven colour to be weathered, enduring stone boss-heads of Clonfert or Entremont - or of Dysert O’Dea....” “each individual head is conscious only of the viewer vertically facing it. This I think is the secret of their mass regard. Each head is self-contained, finally a lump of presence. No exchange or incident takes place between their multiplied features”.

“All of the Táin tapestries were woven in Aubusson, and in them the artist has contrived a masterly conjunction between the narrative content of the epic, his own and the ancient Celtic concern of the head image and the visual architectural demands of a large modern wall hanging.”

We are indebted to the late Dorothy Walker, whose writings formed the basis for this catalogue entry.

€40,000 - 60,000

The Deepwell Collection

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The Deepwell Collection

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46 Louis le Brocquy HRHA (1916-2012)Goldfish, 1984 (508)Oil on canvas, 27 x 34.5cm (10½ x 13½”)Signed, dated 1984 and inscribed with reference 508 verso

Provenance: The Estate of William Roth

Exhibited : Louis le Brocquy : Procession of Lilies and other new work, Taylor Galleries March/April 1985 Cat. No. 22

This is one of three works entitled Goldfish included in the Taylor Gallery exhibition. After two decades of mainly painting the human head and from 1975 the heads becoming more specific people such as poets,writers and painters in 1984 the artist began to explore other subjects. The best known were his Procession of Lilies series but he also painted nature, be it his ever popular Fantail Pigeons, still lifes , peonies, bignonia and goldfish.

In an interview with Ann Cremin in Paris in November 1984 the artist stated “For just twenty years now, I’ve been painting heads in one form or another. I imagine most of these heads are - when they emerge at all - essentially tragic, pertaining as they do to the past, to memory to reflection ......

Nature is by definition ever present. It has no past other than its soil. I’ve tended to refer back to nature recently. I don’t think, however, that a painter consciously chooses his way. He hasn’t much say in the matter, not much decision. He simply does his best to catch some sort of inner tide, to avoid being stranded. Often I am stranded, but just now I seem to have caught a sort of ebb tide, to have returned to an older pre-occupation in a shift back to natural things around me - to growing plants and fruit and goldfish and fantail pigeons. Perhaps this is simply a temporary release from the heads and their intense reflective consciousness, their tragic aspect. A return to a simple state of being, emerging in its own nature, filling out its little volume of reality with the various natural possibilities of its form”.

Dorothy Walker writing in the 1985 Spring issue of “The Irish Arts Review” refers to the Goldfish series :- “Even in his paintings of Goldfish, le Brocquy has created a more intense reality than one can imagine emanating from that somewhat cool customer. If not even Solomon in all his glory was arrayed as one of the lilies of the field, then not even the Queen of Sheba could rival the dumb, frightened goldfish shimmying through a succession of present movements in a ukioye flow of self - images reflected in the side of her bowl , and bathed in the art-light refracted from the relativity of all living things.

€20,000 - 30,000

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The Roth Collection

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47 Louis le Brocquy HRHA (1916-2012)Study Towards an Image of W.B. Yeats Etching, 49 x 44cm (19¼ x 17¼”)Signed, dated 1975 and marked Artist’s Proof I

Provenance: The Estate of William Roth

Exhibited: Dublin, Taylor Galleries (label verso)

€800 - 1,200

47A Hughie O’Donoghue RA (b.1953)Where is your Garden Carborundum, 49.5 x 63.5cm (19½ x 25”)Signed, inscribed with title, numbered 23/50 and dated 2005

Exhibited: Gardens of Earthly Delight, Chester Beatty Library, Dublin Castle in conjunction with The Graphic Studio, May-October 2005, cat. no. 31

€300 - 500

The Roth Collection

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48 Louis le Brocquy HRHA (1916-2012) Cottage Dwellers

Watercolour, 17 x 23cm (6¾ x 9”) Signed

Exhibited: New York, The Galleries of Associated American Artists

€5,000 - 7,000

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49 Robert Ballagh (b.1943)Theo McNab Box Mixed media, 32 x 41.5 x 5.5cm (12½ x 16¼ x 2¼”)

Provenance: The Estate of William Roth

Exhibited: Dublin, David Hendriks Gallery, March 1974 (label verso)

€2,000 - 3,000

The Roth Collection The Roth Collection

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50 Robert Ballagh (b.1943)Adolf Gottlieb BoxMixed media, 32 x 41.5 x 5.5cm (12½ x 16¼ x 2¼”)

Provenance: The Estate of William Roth

Exhibited: Dublin, David Hendriks Gallery, March 1974 (label verso)

€2,000 - 3,000

The Roth Collection The Roth Collection

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51 Michéal Farrell (1940-2000)Le Trente Deux Oil on linen canvas and oil on timber, irregular shape, 59 x 60cm (including plinth) (23¼ x 23½”)Signed and dated ‘74 on canvas verso. Also signed, inscribed and dated Juin ‘74 on the stretcher verso

Provenance: The Estate of William Roth

€1,500 - 2,500

51A Michéal Farrell (1940-2000)Le Rencontre Lithograph and Etching, 59 x 88cm (23¼ x 34½”)Signed, inscribed, dated ‘84 and numbered IV/XXV

Provenance: The Estate of William Roth

€400 - 600

The Roth Collection

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52 Barrie Cooke HRHA (1931-2014)Reclining NudeOil on canvas, 90.5 x 101cm (35½ x 39¾”)Signed and dated ‘65

Original gallery label verso

Exhibited: Dublin, Ritchie Hendriks Gallery, Barrie Cooke Exhibition, June 1966, Cat. No. xxx; where purchased by the current vendor’s family and thence by descent

€8,000 - 12,000

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53 Camille Souter HRHA (b.1929) The Alexander in a Broken Pot Oil on paper, 55.5 x 39cm (22 x 15½”) Signed and dated 1973. Signed again, inscribed with title and dated verso

Bruce Arnold has written of Camille Souter:- “Richness. Not prodigality. Nothing wasted. Intimations of so much still to come. Behind the titles, poetry and vision, an exciting mind at work. In her colours great simplicity, yet great depth. Her subjects are so often human wastelands, junk, dereliction, the fringes of great cities. Yet she brings to them a passionate concern, not for their welfare - that is not in her painting, she is not a romantic - but for their simple existence, their life in the light of day. This means that her passionate concern is directed with equal intensity at all things. Cabbages in a back yard in Winter, iron bed ends, bicycle wheels, open stretches of land and sky, distant towns and cities, are reduced in, and by, her eyes to the fragmentation of understanding, and are then transformed into paintings that obey strictly egalitarian principles. All things are equal in Camille Souter’s world, and the only inequality she has to contend with is the degree of her success in transforming vision into the reality of a finished canvas. She has to contend with the difficulty of choosing what to paint when all things lay equal claim on her attention. The easy landscape, the obvious still life, these are not for her. And in this she is by no means unique. But whereas for many artists, who choose to paint as she does, the result of picking on debris and decay - the butt ends of life - is so often sombre and drab, with her the result is painting which sings with light and colour. There is a gleam, a richness to her tones: her contrasts of colour are vivid, yet controlled; and her composition - the placing of low nondescript buildings along a horizon, the casual assembling of objects on a table - has just the right measure of flatness, of the minor key, to keep within the bounds the splendid assurance of her paint, both in colour and texture. She is a completely integrated artist, and this gives her great flexibility. As well as all things being equal to Camille Souter all people are, too. And the titles of her paintings are often like invitations; here are quite ordinary things for quite ordinary people to see. But how well they have been gathered, and how well transformed.”

Garrett Cormican in his book on “Camille Souter : The Mirror in the Sea” states “For Souter, all still lifes are essentially ‘ ... a glorification of life - what a wonderful world . What more can you say about them ?”. Camille’s still life paintings are those in which she arranged the objects herself - they “ made her feel like a ‘real painter’ “ as she had no formal training she felt that this was what art students spent their time doing in art college .

€8,000 - 12,000

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54 Camille Souter HRHA (b.1929)Achill - Up the BraeOil, black enamel and spirit aluminium on paper, 48.2 x 72.4cm (19 x 28½”)Signed, inscribed ‘Achill’ and dated 1960

Exhibited: Dublin, Municipal Gallery of Modern Art, One Mans Meat: Sir Basil Goulding Collection, 1961, Cat. No. 56 Belfast, Ulster Museum, Two Painters: Camille Souter & Barrie Cooke, Jan/Feb 1965, Cat. No. 25 Dublin, The Carroll Building Grand Parade, Two Deeply, One Hundred Paintings by Barrie Cooke & Camille Souter, Cat. No. 18 Wexford, YMCA as part of Festival, Camille Souter Exhibition Oct/Nov 1972, Cat. No. 16 Dublin, Douglas Hyde Gallery TCD, Camille Souter Retrospective, June/July 1980, Cat. No. 11 Dublin, The Taylor Galleries, From the Collection of Sir Basil Goulding, December 1982, Cat. No. 52

Provenance: The Basil Goulding Collection sale, these rooms, March 2005, Cat. No. 66; where purchased by the current owner

Who better than Sir Basil Goulding, Camille Souter’s biggest patron, to give us an insight into the artist ? Not alone did he choose all the work for the 1961 Exhibition “One Man’s Meat”, which featured Souter on the cover and included this work, but he also wrote a short personal piece on each artist which is worth reprinting here over 50 years later :-

“Camille Souter is a painter of the most rotund delicacy. It must be very rare for an artist to possess or attain to - and in this case they seem to coincide - powers of unfailing sensitivity as transmitted by techniques of unfailing discrimination - and all without much popular notice .

One way of verifying a statement of this extremity is to see the artist’s whole stock of paintings: if almost none are exceptions, and they only partial, one may speak. It is intriguing, by the way, to notice how inadequate materials, brown paper, newspaper, spirt - aluminium, printers ink, bicycle enamel, etc in these few pictures- are powerless to inhibit surely evocative artistry “.

€5,000 - 8,000

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55 Tony O’Malley HRHA (1913-2003) St Martin’s Series Gouache, 29 x 21cm (11.5 x 8.25”)

Signed with initials and dated 3/74

Provenance: Tom Caldwell Gallery Belfast

€800 - 1,200

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56 Patrick Collins HRHA (1911-1994)MenhirsOil on canvasboard, (shaped), 37 x 41cm (14½ x 16”)Signed

Exhibited, Dublin, The Ritchie Hendriks Gallery, Patrick Collins Exhibition, June/July 1965, Cat. No. 12; where purchased by Dr & Mrs J.B. Kearney

Provenance: From the collection of Dr & Mrs J.B. Kearney and their sale these rooms December 2007, Cat. No. 23; where purchased by the current owner

€4,000 - 6,000

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57 William Crozier HRHA (1930-2011) Red SkullOil on canvas, 59 x 43cm (23¼ x 17”)Signed

In the early 1960s, Crozier started to introduce figures into his landscapes, half skeleton and half man-like creatures, that were to pervade his art for the next fifteen years. He saw this in part as a reaction against the art of his generation that he felt had become ‘limited in its aspirations’. Crozier said he wanted to ‘convey a sense of austerity and isolation, of emotional unease and perhaps a suggestion of tragedy’ (Katharine Crouan (Ed.), William Crozier, Lund Humphries, 2007, p.14).  Commenting on these pictures he said ‘I always thought of them as portraits,even self portraits’ (Op.Cit, p.15) but they are also without question a universal depiction of man. Crozier, having spent several months in Paris at the start of his career, had been particularly influenced by post-war existentialist thought. He had lived through some of the greatest horrors of the 20th Century, and during the 1960s with the Cold War at its height, the question of man’s isolation and the condition of mankind was at the forefront of his concerns as an artist. 1956 had brought contemporary American art and in particular Abstract Expressionism to the attention of the British public through an exhibition at the Tate, and Crozier had undoubtedly been influenced by the gestural painting style of this new generation of artists. In the early 1960s he incorporated this in his landscape painting with a reduction of colour, relying upon just primary colours to create landscapes of high emotional drama. 

Our thanks to Katharine Crouan whose writings formed the basis for this catalogue entry. 

€1,000 - 1,500

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58 William Crozier HRHA (1930-2011)Plant Room at NightOil on canvas, 80 x 100cm (31½ x 39¼”)Signed, also signed and inscribed with title verso

Provenance: The Oliver Sears Gallery, Kinsale, October 2000, where purchased by the current owners

William Crozier studied at the School of Art in his hometown of Glasgow before dividing his time between travelling through Europe, America and South Africa and his studios in West Cork and Hampshire. Examples of his work can be found in many collections around the world, including the Crawford Municipal Gallery in Cork, Copenhagen Museum of Art, Dallas Museum of Art, Scottish Gallery of Modern Art, Gdansk National Museum in Poland, The Victoria and Albert Museum, National Gallery of Australia, National Gallery of Canada and Warsaw National Museum.

€5,000 - 8,000

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59 Seán McSweeney HRHA (b.1935)ShorelineMixed media, 23.5 x 31.5cm (9¼ x 12¼”) Signed. Signed again, inscribed with title & dated ‘05 verso

€300 - 500

60 Breon O’Casey (1928-2011)Two BluesAcrylic on paper, 28 x 37cm (11 x 14½”)Signed & dated ‘06. Signed again & inscribed with title verso

Provenance: The Mullan Gallery, Belfast

€250 - 350

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61 Patrick Scott HRHA (1921-2014)Green FountTempera on linen canvas, 122 x 122cm (48 x 48”)Signed, inscribed and dated ‘74 on canvas verso

Provenance: The Estate of William Roth

Exhibited: Dublin, Taylor Galleries, 27th-31st August 1978, Cat. No. xx (label verso); where purchased by the current owner

€6,000 - 8,000

The Roth Collection

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62 Cecil King (1921-1986)Intrusion (1973)Pastel, 48.5 x 38cm (19 x 15”)Signed

Exhibited: Kilkenny Arts Week, Cecil King Ten year Retrospective Exhibition, 1975, Cat. No. 14; where purchased by Sir Basil Goulding Dublin, David Hendriks Gallery, From the Collection of Sir Basil Goulding, December 1982, Cat. No. 31; where purchased by the current owner

€500 - 700

63 Cecil King (1921-1986)Pendulum (1794)Oil on canvas, 152 x 101.5cm (59¾ x 40”)

Exhibited: Dublin, Municipal Gallery, Cecil King Retrospective, Oct/Nov 1981 Kilkenny Arts Week, Cecil King Ten year Retrospective Exhibition, 1975, Cat. No. 48; where purchased by current owner

€1,000 - 1,500

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64 Cecil King (1921-1986)Untitled (1985)Oil on canvas, 101.5 x 101.5cm (40 x 40”)

Provenance: Private collection, Dublin

Exhibited: Dublin, Oliver Dowling Gallery, Dublin, October 1991, Cat. No. 15, Irish Museum of Modern Art, Cecil King - A Legacy of Painting, February-May 2008, Cat. No. 74Literature: Cecill King IMMA 2008 Full page illustration in Catalogue

€3,000 - 5,000

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65 Francis Tansey (b.1959) Bike Path Boogie Woogie IIAcrylic on canvas, 76 x 76cm (30 x 30”)Signed with monogram and dated ‘94, also inscribed verso with artists name and title

This painting was commissioned by the current vendor. It depicts Venice Beach in California. The deep blue sky dominates the background; it fades into a burning orange sunset over the sea, which lies over the yellow sandy beach. The foreground depicts bands of brightly contrasting colours. These represent the blazingly dressed Californian people; cycling, roller-blading and walking along the palm tree-lined seaside pathways of Venice Beach.

€1,000 - 1,500

65A Chung Eun-Mo (b.1946)

Abstract CompositionOil on linen, 24 x 20cm (9½ x 7¾ “) shaped Signed & dated 2011 verso. Artist’s reference C1116

€250 - 350

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66 Theo McNab (b.1940)Room 6/5Oil on canvas laid on board, 81 x 51cm (31¾ x 20”)Signed, inscribed and dated ‘76 verso

Exhibited: Dublin, David Hendriks Gallery, Theo McNab Exhibition, February 1977, where purchased by the current owner

€600 - 1,000

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67 Joseph William Carey RUA (1859-1937)Bantry BayWatercolour, 20 x 37cm (8 x 14½”)Signed, inscribed and dated 1931

€300 - 400

68 Joseph William Carey RUA (1859-1937)

The Gobbins, Co. AntrimWatercolour, 43 x 71cm (17 x 28”)Signed, inscribed and dated 1935

€700 - 1,000

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69 Alfred Downing Fripp RWS (1822-1895)Interior of a Fisherman’s Cabin, Galway Watercolour, 48 x 61.5cm (19 x 24¼”)Signed and dated 1845

Literature : The National Library of Ireland version is illustrated in Irish rural interiors in Art 2006 by Claudia Kinmonth Fig 24 illustrated P 24 and in Whipping The Herring The Crawford Gallery 2006 P180 Full page illustration P181.

Alfred Fripp was born in Bristol, and studied at the British Museum and Royal Academy School. He exhibited regularly with the Royal Watercolour Society (where he was secretary from 1870 to 1895), at the Royal Academy, the Royal Society of British Artists, and eight titles at Dublin’s Royal Hibernian Academy between 1844 and 1853. Frederick Goodall encouraged him to visit Ireland, and together with Francis William Topham and Mark Anthony they worked together during several visits to Galway from 1844 onwards. Their focus on poor rural Irish culture has resulted in a unique legacy of related work. Fripp visited Ireland between 1844-53 and illustrated a book on Clonmacnoise in 1846. He exhibited several works over the years with Galway titles.

A smaller version of this work , perhaps a study as it is dated a year earlier, turned up in Christies in London in 2005 and is now in the collection of The National Library of Ireland. It was exhibited in the Crawford Gallery Exhibition Whipping the Herring in 2006 whereClaudia Kinmonth draws ones attention to the empty woven basket called a skib, which was the traditional substitution for a table wherepeople gathered around to eat the potatoes communally with their hands as symbolic of the household’s hunger. The dresser whichnormally contained the families most prized possessions is nearly empty, no pot hangs from the fire and the skib is empty which are all symbolic of the households poverty and hunger a portent of the coming great hunger.

We acknowledge with thanks Claudia Kinmonth’s various writings on the subject of rural interiors which formed the basis of this catalogue entry.

€2,000 - 4,000

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70 Rose Maynard Barton RWS ASWA (1856-1929)Gordon’s StatueWatercolour, 26.5 x 16.5cm (10½ x 6½”)Signed and dated 1893

Provenance: Previously in the collection of Lord Iveagh

Literature: Familiar London by Rose Barton, 1904 full page illustration opposite page 120

This lot is a accompanied by a copy of the book Familiar London painted by Rose Barton (1904)

Tipperary born Rose Barton began a long relationship with the Royal Water Colour Society of Ireland in 1872 when she first exhibited with them. Three years later she spent some time in Brussels, taking painting and drawing classes, and in 1878 she exhibited for the first time at the RHA. The following year she sat on the committee of the Irish Fine Art Society.After a spell of studying in London under Paul Jacob Naftel (1817-91), her work was included in the Royal Academy show in 1884. She continued to exhibit in London at venues such as the Japanese Gallery, The Dudley Gallery, Grosvenor Gallery and Clifford Gallery. In 1904 two of her works were included in Hugh Lane’s Irish Art exhibition at Guildhall in London, and three were shown at the RHA annual show. Barton’s watercolours, mainly executed in Dublin and London, are distinguished by an emphasis on the almost tangible atmospheric effects of weather conditions. She became known not only through these original works but also through her illustrated books of both cities.

€3,000 - 5,000

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71 Rose Maynard Barton RWS ASWA (1856-1929)St Patrick’s CathedralWatercolour, 27.5 x 18cm (10¾ x 7¼”)

Provenance: From the Collection of the Late Major Victor McCal mont, Mount Juliet, Co. Kilkenny, Christie’s Dublin, 12th December 1990 (front cover illustration), where purchased by the current owners

Exhibited: Rose Barton Retrospective, The Crawford Gallery, Cork, Jan 1987 Fine Art Society, London, Feb/Mar 1987 Ulster Museum Belfast, Mar/Apr 1987 The Butler Gallery, Kilkenny, May 1987, Catalogue No. 31 Irish Women Artists 1870-1970 Exhibition Cat No. 10

Literature: Irish Women Artists 1870-1970, full page illustration p.13

€4,000 - 6,000

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72 Mildred Anne Butler RA RWS (1858 - 1941)The Gate to the Herbaceous GardenWatercolour, 36.5 x 27cm (14½ x 10½”)Signed

Provenance: Important Irish Art sale, these rooms, 15th March 1990, Cat. No. 141, where purchased by the current owners

Exhibition: Irish Women Artists 1870-1970 Exhibition Cat No. 8

Literature: Irish Women Artists 1870-1970, full page illustration p.10

A privileged upbringing allowed Mildred Anne Butler to travel to London to study under Paul Jacob Naftel (1817-91) and later to Paris where she joined the studio of Henri Gervex (1852-1929) for a time. She exhibited at the Dudley Gallery in 1888 and in 1890 with the Royal Water Colour Society of Ireland. She was included in the first exhibition of the Belfast Art Society, showed five works at the RHA and in 1896 had the rare honour of being included in the Royal Academy annual show where her presence was vastly outnumbered by those of male artists. Butler’s work was represented at Hugh Lane’s exhibition at Guildhall in London in 1904, and three years later had a show with Percy French, Claude Hayes and Bingham McGuinness at the New Dudley Gallery.

€3,000 - 5,000

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73 Mildred Anne Butler RA RWS (1858 - 1941)Cattle in a Summer Pasture with Wild FlowersWatercolour, 38 x 28cm (14¾ x 11”)Signed

With a Royal Institute of Painters and Watercolours label preserved verso “when daisies & buttercups gladdened my sight like recumbent treasures of silver. Mildred Butler, Kilmurry, Thomastown”

€4,000 - 6,000

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74 Helen Colvill (1856-1953)The Four Courts, Dublin, Fifty Years AgoWatercolour, 33 x 47.5cm (13 x 18¾”)Signed. Inscribed artist’s label verso

Exhibited: Memorial Section to Helen Colvill Watercolour Society of Ireland 1954 Cat. No. 52

€700 - 1,000

75 Helen Colvill (1856-1953)

View from the Baily, Looking South to WicklowWatercolour, 28.5 x 40cm (13 x 18¾”)Signed With a painting of a canal scene verso (unframed)

€500 - 600

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76 Lady Kate Dobbin (1868-1955)Inniscarra Abbey on the River LeeWatercolour, 35 x 45cm (13¾ x 17¾”)Signed. Inscribed artist’s label verso

Exhibited: The RHA Annual Exhibition 1928 Cat. No. 239

€600 - 1,000

77 Harry Scully RHA (c.1863-1935)Buildings on a Quayside Watercolour, 26 x 16.5cm (10¼ x 6½”)Signed

€500 - 700

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78 Maurice MacGonigal PRHA (1900 - 1979) Unloading the Turf Boats, Kilmurvey Pier, Inis Mhór, Aran Islands

Oil on board, 40 x 50cm (15¾ x 19¾”)Signed

Maurice MacGonigal was born in Dublin and started his career at his uncle’s stained glass design business. He took classes at the Dublin Metropolitan School of Art, and was awarded medals for his painting, particularly of landscapes. After a brief visit to the Netherlands to study, he returned to Dublin and became a respected teacher in the same art school where he had previously been trained. He exhibited at the Royal Hibernian Academy extensively between 1924 and 1968, in total showing over 200 paintings, and was made an academician there in 1933. He also exhibited regularly in the Royal Academy in London and the Royal Scottish Academy. “Unloading turf at Kilmurvey Pier, Inis Mhór, Aran Islands.” probably dates to 1954...the Islands having no natural peat bogs remaining due to erosion, all the fuel has to be brought in from the mainland, and that particular little pier is the main landing place for the most westerly part of the main island Inis Mhór or Inishmor...and not be to be confused with Arannmor off Burtonport Co.Donegal..that particular year was a very long dry summer so that the turf (peat)was of the highest quality..and unloading the turn from the hookers & pucans was a community effort requiring a large collaborative effort. For a painter the appeal is obvious,and the artist and his family were staying at the local “big house” Kilmurvey House home to the O’Flaherty Johnstons; adjoining the pier was the original house built by Robert Flaherty for his Movie, “Man of Aran”. The flat limestone flags overlooking the little pier were an ideal perch for a painter who could sit there for hours drawing and painting and just sufficient wind to keep the midges at bay (always a hazard for plein air painters).MacGonigal had been on the island painting in the 1930s,but this works dates from the 1950s, a time of long warm days and zephyr breezes.

Ciarán MacGonigal

€8,000 - 12,000

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79 Maurice MacGonigal PRHA (1900-1979)Roundstone, Co. GalwayWatercolour, 39 x 26cm (15¼ x 10¼”)Signed

Provenance: Dawson Gallery, Dubllin (label verso)

€600 - 800

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80 Maurice MacGonigal PRHA (1900-1979)Nightfall, Connemara Oil on canvasboard, 35.5 x 45cm (14 x 17¾”)Signed; inscribed with title verso

€2,500 - 3,500

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81 Desmond Stephenson ARHA (1922-1963)Self-PortraitOil on board, 52 x 42cm (20½ x 16½”)Signed

€800 - 1,200

82 Desmond Stephenson ARHA (1922-1963)Portrait of Eamon De Valera - President of Ireland (1959-1973)Pastel, 42.5 x 52cm (16¾ x 20½”)Signed, inscribed ‘Ennis’ and dated Sunday 24th February 1957

€500 - 800

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83 Desmond Stephenson ARHA (1922-1963)Connemara LakeOil on canvas, 49 x 59cm (19¼ x 23¼”)Signed and dated 1962. Inscribed with title verso

€800 - 1,200

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84 Jack Butler Yeats RHA (1871-1957)A Rose (1936)Oil on panel, 23 x 35.5cm (9 x 14”)Signed

Exhibited: The Royal Hibernian Academy Annual Exhibition 1939 Cat. No. 255 Exhibited by Irish Artists presented by the Victor Waddington Galleries in Waterford and Cork. Paintings and Sculptures by Irish Artists presented by Victor Waddington Galleries RDS Dublin May 1941 Jack B Yeats - National Loan Exhibition NCAD June - July 1945 Cat. No. 104 Irish Art from Private Collections 1870 - 1930 Wexford Arts Centre 1977 Cat. No. 40

Literature: Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings Hilary Pyle 1992 Vol 1 p438 further illustrated vol III p207 Jack B. Yeats by Bruce Arnold 1998 p278 - 280n illustrated p279

Provenance: Senator Joseph Brennan from the sale of whose collection purchased 1942 by John P. Rehill Snr, Deepwell, Blackrock, Co. Dublin

This is one of a series of four paintings of roses begun by Jack B. Yeats in the late summer of 1936.  All are of the same proportion and three of them were shown together in the major Jack B. Yeats National Loan Exhibition in Dublin in 1945. But each work is a separate study and they were never intended to be shown together. Another The Rose in the Basin, (Private Collection, 1936) belonged to Kenneth Clarke and was included in the exhibition of Yeats’s work that he curated at the National Gallery of London in 1942.In 1936 when he began working on the series, Yeats wrote to the then director of the National Gallery of Ireland Thomas Bodkin, an old friend, telling him that he had ‘painted a new subject for me – a rose’. The flower had in fact appeared in an earlier work, the Scene Painter’s Rose, (Private Collection, 1927), where a rose in a vase stands on a table in the artist’s studio, as a symbol of natural beauty in contrast to the artificiality of the artwork.In A Rose he concentrates on the flower, rather than its surroundings. At the centre of the composition is the dark red form of the rose, drooping over the edge of a white basin on a mantelpiece. The blossom takes on a theatrical quality contrasting dramatically with its muted backdrop. The apparent simplicity of this traditional subject, a still-life painting of a flower, is challenged by the complex handling of colour and light in the work. The white wall against which the bowl is placed is constructed of vibrant flecks of blue, yellow, pink and green made from diverse brushstrokes. This suggests movement and life as opposed to the solemnity of the dark sculptural rose. It is testament to Yeats’s ability as a painter that he can draw so much drama from such a simple device. Samuel Beckett was much taken with the paintings when he saw them on a visit to Yeats’s studio. He referred to this work, the first to be completed, as ‘the tyranny of the rose’. There is in fact something tyrannical or at least compelling about A Rose which while full of potent symbolism and beauty is at the same time fragile and transitory.  The work subtly conveys both aspects of the subject while retaining its integrity as a complex painting in its own right. Dr. Róisín KennedyDublin September 2014

€40,000 - 60,000

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The Deepwell Collection

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85 Jack Butler Yeats RHA (1871-1957)‘Lines to Philip Samson’ (The Boxer)Pen and ink, 8 x 12cm (3¼ x 4¾”)Signed with initials

Provenance: Waddington Galleries, London

Literature: H. Pyle, The Different Worlds of Jack B. Yeats, by Hilary Pyle Cat No.1354, p.184

€1,500 - 2,500

86 Jack Butler Yeats RHA (1871 - 1957) Come Gather Round Me, Parnellites (1937)

Pen and ink, 18 x 16cm (7 x 6¼”)Signed

Provenance: Victor Waddington, London

Literature: A Broadside, No. 1 (New Series) 1937 Edited by Dorothy Wellesley and W.B. Yeats Jack B Yeats - his cartoons and illustrations by Hilary Pyle, 1993, Catalogue No. 2002, page 279

€1,500 - 2,500

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87 Jack Butler Yeats RHA (1871-1957)“How Did You Get Here?” He Asked in AmazementIllustration from ‘The Turf-Cutter’s Donkey’ by Patricia LynchWatercolour and ink, 19 x 26cm (7½ x 10¼”)

Provenance: Dawson Gallery, Dublin; Taylor Galleries, Dublin; Christies (Belfast) 30th May 1990, Lot. 319; Private Collection, Dublin Literature: The Different Worlds of Jack B. Yeats, by Hilary Pyle Cat No.1447, p.201

The Turf Cutter’s Donkey, Illustrated by Jack B. Yeats was published in London by Dent in 1934 and re-issued in an Irish translation in 1944

€3,000 - 5,000

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88 John Butler Yeats RHA (1839-1922)Portrait of a Lady, standing in a dark coat Pencil, 17.5 x 9.25cm (7 x 3½”)

Provenance: The Estate of William Roth

€2,000 - 3,000

The Roth Collection The Roth Collection

89 John Butler Yeats RHA (1839-1922)Portrait of a Young Lady, seated Pencil, 18 x 11cm (7 x 4¼”)Signed

Provenance: The Estate of William Roth

€2,000 - 3,000

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90 John Butler Yeats RHA (1839-1922)Portrait of a Bearded Gentleman, seated wearing a wide brimmed hatPencil , 18 x 9.5cm (7 x 3¾”)

Provenance: The Estate of William Roth

€2,000 - 3,000

The Roth Collection The Roth Collection

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91 Dermod O’Brien PRHA (1865-1945)Violin Player Pencil, 24 x 19cm (9½ x 7½”)

Provenance: Artist’s family by descent; Purchased through the Frederick Gallery by John P. Reihill; Deepwell, Blackrock, Co. Dublin

€400 - 600

92 Sir William Orpen RHA RA RI (1878-1931)

Drawing at the SladePencil, 23 x 17.7cm (9 x 7”)

Provenance: John P. Reihill, Deepwell, Blackrock, Co. Dublin

Literature: Orpen Mirror to an Age by Bruce Arrnold 1981 illustrated p. 45€500 - 700

The Deepwell Collection

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93 Walter Frederick Osborne RHA ROI (1859-1903)Fast Falls the Eventide (1888)Pen and ink, 34 x 24cm (13½ x 9½”)Signed. Signed, inscribed and dated ‘88 verso

Exhibited: Dublin, National Gallery of Ireland, Cat No. 29 (label verso)

Literature: Henry Blackburn Academy Sketches (1888) p.199 Walter Osborne by Jeanne Sheehy 1974 Cat. No. 202 Walter Osborne NGI 1983 illustrated p81.

Provenance: The Estate of William Roth

€6,000 - 8,000

The Roth Collection

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94 Sir William Orpen RHA RA RI (1878-1931)The Master of those that KnowPencil on paper, 18 x 22.5cm (7 x 9”)Drawn on the notepaper of Oliver St. John Gogarty and from his collection

This is a portrait of Henry Stuart McCran (Professor of Moral Philosophy, T.C.D.)

Literature: Oliver St. John Gogarty, As I was going down Sackville Street, New York edition, illustrated facing page 334 (photostat verso)

€1,000 - 1,500

95 Paul Henry (1876-1958)The Storm c.1898-9Charcoal on paper, 36 x 44 cm (14 x 17¼”)Signed

Provenance: Private collection, London thence by descent

Exhibited: Goupil Gallery Salon, London, October-December, 1908 (130); Goupil Gallery, London, March, 1909 (226); Water Colour Society of Ireland, Mills’ Hall, Dublin, March, 1920 (122); Paintings by Mr. & Mrs. Paul Henry, Magee’s Gallery, Belfast, 17-31 March, 1924 (23); Paintings and Charcoals: Paul Henry RHA, Waddington Galleries, Dublin, 21 February-3 March, 1952 (29); Paintings and Drawings by Paul Henry, The Studio, Sidmonton Square, Bray, until 8 November 1956 (27); Paul Henry: Retrospective Exhibition, Ritchie Hendriks Gallery, Dublin, and Belfast Museum & Art Gallery, Belfast, May- July, 1957 (73); Paul Henry: Paintings & Drawings, Shannon Free Airport, Limerick, August, 1957 (35)

Literature; S. B. Kennedy: Paul Henry, Yale University Press, New Haven and London, 2000, p.39; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale, 2007, p.128, catalogue number 151

Reviewing Henry’s 1924 Belfast exhibition, Belfast’s News-Letter (18 March 1924) commented, possibly of this drawing, that it ‘conveys a wonderful sense of elemental fury.... In the foreground are two tall gaunt, leafless trees, bending over before the onslaught of the storm … and overhead the sky is filled with heavy onimous clouds.’ Priced at 12 guineas (£12.12) in the 1908 Goupil Gallery Salon exhibition catalogue, this was considered a finished drawing and not merely a sketch. Although the literary reference in Kennedy, 2007, illustrates another drawing, that reference now seems undoubtedly to refer to this work. Dated c.1898-9 on the form of the signature.

Dr. S.B. Kennedy, October 2014

€8,000 - 12,000

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96 Roderic O’Conor (1860-1940)Étude de Femme (c.1915-17) Oil on canvas, 54.5 x 66cm (21½ x 26”)Signed. Atelier stamp versoSigned on middle bar of stretcher “No.9 Roderic O’Conor ‘Etude de Femme’

Exhibited: Salon d’Automne, 1919 (1420); Modern British Paintings, Crane Kalman Gallery, London, 1969 (2), ill.; London Roderic O’Conor 1860-1940, Retrospective Exhibition, Barbican Art Gallery, London; Ulster Museum, Belfast; National Gallery of Ireland, Dublin; Whitworth Gallery, Manchester, 1985 Cat. no. 66.

Provenance: Hotel Drouot, Paris, Vente O’Conor 7 février, 1956, Crane Kalman Gallery, London, 1969; Mr.J. P. Reihill, Deepwell Blackrock.

Literature: Roderic O’Conor 1860 -1940 by Roy Johnston 1985 illustrated p89, Roderic O’Conor 1860-1940, by Jonathan Benington Cat. No. 195 p.213 Dublin, 1992

The young woman who is the subject of this painting by Roderic O’Conor is believed to be Renée Honta. She was born in 1894 in the south west of France in the historic city of Pau, which is situated near the Pyrenees close to the border with Spain. Little is known about her early life or her reasons for leaving the parental home to travel to Paris, but Renée was to play an important role in O’Conor’s life, initially as his model and mistress and then as his constant companion, later his wife in 1933. O’Conor included the painting in a group of nine works which he exhibited at the Salon d’Automne in 1919, the year which marked the return of the Salon to the Paris exhibition calendar following its temporary suspension during World War I.

In this painting Renée, then in her early 20’s, is depicted in a relaxed pose lying on what appears to be a wooden seat or long bench with a wooden arm rest. Her upper body is probably being supported by a concealed cushion covered with a draped blue and white patterned fabric, which appears frequently in O’Conor’s studio paintings. She appears comfortable in her surroundings, and the subtlety of her smile and facial expression seem to indicate a relaxed relationship with the artist, who, when this portrait was painted, was thirty four years older than she was.O’Conor has composed his figure on the diagonal and has added interest to his composition through the introduction of a specific anatomical contrast between the angularity of her arms and the subtle rhythm of her reposing body. He has also made the most of the contrast between light and dark areas through an increase in values in the painting of her upper body and arms, which he has set off against the dark area of the bench and studio wall beyond. Additional visual contrast is introduced through variety in the paint application, which ranges from the dark background stain quickly scrubbed into the canvas to the energy of the brush marks defining the fabric of Renée’s dress in the bottom right corner of the painting. The expressive wet on wet technique and blending of the paint directly on the canvas is typical of O’Conor’s painting technique at this period in his career.

Dr. Roy Johnston

€60,000 - 80,000

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The Deepwell Collection

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97 Roderic O’Conor (1860-1940)Le Châle Bleu or The Blue Shawl (1920-21) Oil on canvas, 64.75 x 54.5cm (25½ x 21½”)Signed. Atelier stamp verso. Inscribed on middle bar of the stretcher, ‘No.3 Roderic O’Conor ‘Le Châle Bleu’

Exhibited: Paris, Salon d’Automne, 1921 (1778)

Provenance: Hôtel Drouot, Paris, Vente O’Conor, 7 février 1956; with Blache, Versailles, 16 December 1973 and 28 April, 1974: Roland, Browse and Delbanco, London: Mr. J. P. Reihill,Deepwell, Blackrock

Literature: Roderic O’Conor, 1860-1940, by Jonathan Benington Cat. No. 231 p.218, Dublin,1992.

In the Salon d’Automne exhibition of 1921, Roderic O’Conor showed a group of five paintings, three of which were still lifes. His other two exhibits were especially interesting because of their subject matter. One was this portrait of a quite meditative Renée Honta and the other was a rather unflattering self-portrait in which O’Conor depicted himself as a full length figure, standing at his easel and looking very much his age, which was then sixty-one. It was the first and only occasion on which O’Conor showed two distinctly different and separate paintings of himself and his youthful mistress in the same exhibition, thereby drawing attention to the considerable difference in their ages. As was often the case with O’Conor, his motives on that occasion were not clear.

For this sensitive portrait of Renée Honta, O’Conor chose to seat her close to the studio window, which was the main light source in his Montparnasse studio. Her serene and rather contemplative expression suggests that O’Conor worked on the portrait over a period of time and may have required more than one sitting in order to achieve a good likeness. The palette knife technique which he has used throughout the painting gives the work a special character and relates it back to much earlier portraits of Breton peasants which he painted during his first visit to Pont-Aven, circa 1887.

O’Conor’s ability to successfully manage and control the thickly applied paint in this portrait shows his considerable versatility and skill as a painter, a characteristic of his working methods which impressed his closest friends. As he progressed into the 1920’s his subject matter changed and he painted a series of ambitious still life paintings in which he further refined and developed his palette knife technique to emphasize the play of light and shade, as he demonstrates in this painting.

Dr. Roy Johnston

€20,000 - 40,000

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The Deepwell Collection

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98 Roderic O’Conor (1860-1940)Landscape with Red Haystacks (1932)Oil on board, 38 x 46cm (15 x 18¼”)

Exhibited: Possibly Copenhagen, Winkel and Magnussen, Gauguin Og Hans Venner (Gauguin and His Friends), 1956, (104) as Landskab med Kornstakke

Provenance: Mr. J. P Reihill, Deepwell, Blackrock, Co. Dublin

Literature: Roderic O’Conor 1860-1940, by Jonathan Benington Cat. No. 302 p.225 Dublin 1992.

€20,000 - 30,000

In 1956, sixteen years after his death in France, a painting by O’Conor was included in an exhibition titled Gauguin and His Friends which was assembled in Copenhagen by the auction house, Winkel and Magnussen. The similarity of subject matter between O’Conor’s painting in that exhibition, Landscape with Cornstack, and Landscape with Red Haystacks suggests a possible link between them, but this has not been positively verified.Of all the rural sites made famous by French artists in the mid-nineteenth century, the most significant was the small village of Barbizon, situated on the edge of the great forest of Fontainebleau and a short journey from Paris. Barbizon had attracted landscape artists such as Millet, Rousseau, Daubigny, Dupré and Corot, who were drawn by the beauty of the forest and the dappled light which filtered through the trees.

In 1932, Roderic O’Conor, at the age of seventy-two, accompanied by his model and close companion, Renée Honta, left Paris temporarily to paint in the country, choosing to stay at Chailly-en-Bière rather than at Barbizon, which had become a popular tourist destination. Apart from a visit to Cassis in the summer of 1913, most of O’Conor’s painting activity in Paris had been centered on studio-based subject matter and he probably felt the need to return to landscape themes and a closer connection to nature.

Chailly was just three kilometres from Barbizon and provided a more tranquil and suitable location for his needs at that time. There was also an artists’ inn at Chailly, called L’Auberge du Cheval Blanc, whose proprietor had developed a reputation for being sympathetic to the activities of visiting artists who came to paint in the Barbizon environment. The dining room at the inn was filled with paintings donated by artists in lieu of payment for their accommodation.Some of O’Conor’s friends who were in contact with him queried his decision to paint in the Barbizon area at Chailly, claiming that it had lost its relevance as an artists’ colony and that the area had become a magnet for ill-informed tourists. Even his friend Joseph

Milner-Kite, who had studied with him in Antwerp, suggested that he might be back on the bus to Paris within a few days.

Chailly’s location on the fertile plain of Bière and its distinctive flat landscape provided the background for several O’Conor paintings in which haystacks became the primary subject matter. He may have been influenced by Monet’s 1890-91 grainstack series painted in Normandy at Giverny. Whereas Monet was exploring the effects of light and seasonal change upon a variety of grainstacks, O’Conor appears to have only been interested in their shapes, the colors and their relationship to the surrounding landscape. O’Conor was in the last decade of his life when he painted Landscape with Red Haystacks. The scene is lightly painted with well diluted oil pigment, quickly sketched as if to capture the immediacy of the moment. The tracks in the field lead the viewer into the composition and hint at recent activity, probably associated with building the haystacks, which are set against a belt of dark green trees running across the picture plane in the center of the painting. The blue-gray pigment which O’Conor introduced into the upper right corner creates a darkened sky and suggests an impending storm.

Some of O’Conor’s friends who were in contact with him by letter queried his decision to paint in the Barbizon area at Chailly, claiming that it was no longer relevant as an artists colony and that the area had become a magnet for ill-informed tourists. Even his English friend and painter Joseph Miner- Kite, who had studied with him in Antwerp, suggested to him that he would probably be back on the bus to Paris within a few days (i). However, judging from the number and range of his Chailly paintings, several of which include well worked views of its 12th century Eglise de Saint Paul, it is evident that O’Conor’s time in the area was well spent and he must have returned to Paris in a much refreshed mood as a direct result.(i) The letter was found in 1982 in a private collection in Nueil-sur-Layon in the west of France where O’Conor died on 18 March, 1940.

Dr. Roy Johnston

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The Deepwell Collection

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99 William John Leech RHA (1881-1938)Grey Bridge, Regent’s Park Oil on canvas, 77 x 97cm (30¼ x 38¼”)Signed

Exhibited : The Royal Hibernian Academy Annual Exhibition 1959 Cat. No. 16

Provenance : The Dawson Gallery where purchased by Mr James J. Stafford . Later with the Godolphin Gallery, Dublin July 1979 where purchased by Mr & Mrs Roth and thence from the estate of William Roth.

Leech’s “Regents Park” series was one of his longest comprising over twenty known works and stretching in time from 1935 over the following 25 years. The location was one the artist returned to many times when he could not travel to France. Just a short walk downhill from his studio at Steele’s Studios Leech found subject matter he could sketch plein air and then work up into exhibition pieces back at the studio.

In fact a nearly identical but much smaller work to this from the McClelland Collection had been exhibited a year earlier at the RHA and was included in the Leech retrospective “An Irish Painter Abroad” in The National Gallery of Ireland in 1997. Writing about that work in the catalogue Denise Ferran writes :-

‘The Bridge, Regents Park’ is painted in a silverly light with York Bridge, a high horizon- band of subdued umber tones, merging into the soft blue-grey tones of the background. In the foreground, the river reflects the cool grey of a winter sky which mingles with the muddy browns and greens of the still water. All the edges of objects, solid or reflected, are blurred and softened; the top of the bridge is masked by the overhanging grey- green leaves of a weeping willow.

We acknowledge Denise Ferran whose writings on Leech formed the basis of this catalogue entry.

€20,000 - 30,000

The Roth Collection

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The Roth Collection

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100 Aloysius O’Kelly (1853-1936)On the Sheepscott River MaineOil on canvas, 38 x 53.4cm (15 x 21”)Signed

Provenance: John P. Reihill, Deepwell, Blackrock, Co. Dublin

Althought originally thought to be a work from Brittany this work is likely to be a view on the Sheepscott River Maine. A number of O’Kelly characteristics may be discerned, most notably sinuous, almost stylised dark shadows as they appear beneath the tree in the foreground and the use of pale blue to describe the hazy distance.

€1,200 - 1,600

The Deepwell Collection

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101 Norman Garstin (1847-1926)Figures in a Breton StreetscapeOil on panel, 34 x 24.5cm (13½ x 9¾”)Signed

€3,000 - 5,000

The Deepwell Collection

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102 Nathaniel Hone RHA (1831-1917)Driving Cattle Home through the Bend Oil on canvas, 61 x 91.5cm (24 x 36”)

Provenance: Deepwell, Blackrock. Presented to J.P. Reihill by the Board of Irish Life circa 1983

€15,000 - 20,000

Nathaniel Hone was the first native artist to introduce the in-fluence of 19th century French Naturalism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone, a merchant and director of the Midland Great Western Railway and was the great-grandnephew of the 18th century painter of the same name. Though a mem-ber of this very artistic family, his initial training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853, at the age of twenty-one to study painting. He first studied under Adolphe Yvon, the French military painter and later Thomas Couture who was one of the earliest exponents of re-alism and from whom Hone learned principles which would influence his work throughout his career.

Hone moved to the village of Barbizon in the Forest of Fon-tainebleau circa 1856, where he painted with Millet, Courbet, Daubigny and Harpignies. Corot’s paintings had the greatest influence upon his work. The advice which Hone had ab-sorbed from Couture to “retain the brilliant qualities of a first painting”, were echoed by Corot in Barbizon: “surrender to the first impression”. While based in Fontainebleau, Hone also made trips to Normandy, Brittany, the Mediterranean coast and briefly visited Italy. Wherever he travelled his sub-ject matter was consistent, always choosing to observe the landscape and country life, in scenes of shepherds with their herds, fishing villages and the seashore.

During his seventeen years in France, Hone made regu-

lar visits home before this final return in 1872. Within a few months he married Magdalen Jameson of the wealthy, distill-ing family and they settled near Malahide. The paintings which he completed in Ireland after his return from France maintain the mood and muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had portrayed in France: woodlands, pastures and coastline; the major part of his output was of scenes around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare and made sev-eral trips abroad to Greece, Asia Minor and Egypt.

From 1876, except for four years, Hone exhibited at the RHA. He was elected a full member in 1880 and in 1894 became Professor of Painting. His exhibition with John Butler Yeats in 1901 was one of the turning points for the history of Irish art as it was their paintings which convinced Sir Hugh Lane that Dublin should have a gallery of modern art. After his death in 1917 his widow bequeathed the contents of his studio to the National Gallery of Ireland.

This painting was one of the unframed canvases catalogued by Dermod O’Brien and listed by Thomas Bodkin as being in the collection of Mrs Hone at the time of her death (Four Irish Painters, p.172, no. 89). It displays Hone’s great feeling for specific light and weather condition. His concentration is on billowing cumulus skies, which echo, formally, the shape of the undulating countryside beneath. The use of rapid, flecked brushstrokes in the foreground and to describe the cows and drover suggests an awareness of Impressionism.

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The Deepwell Collection

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103 George Campbell RHA RUA (1917-1974)My Window, Tenerife Mixed media and collage, 59 x 36cm (23¼ x 14¼”)Signed

Exhibited: Dublin, David Hendriks Gallery, George Campbell Exhibition, April 1971, Cat No. 18 where purchased by Gordon Lambert

Provenance: Gifted by Gordon Lambert to the Taoiseach, Jack Lynch and his wife Máirín on the occasion of an opening on 25th May 1972 at the Municipal Gallery Dublin (personal inscription verso)

€500 - 700

104 Daniel O’Neill (1920-1974)Sacred Heart Madonna, Headstone, Rathmullan Cemetery Mixed media on paper, 19.5 x 13cm (7½ x 5”)Signed

Provenance: Fine Art & Furniture Auction, Glenstal Abbey, Murroe, Co. Limerick, May 10th, Lot no.140 (original catalogue accompanies this lot)

€600 - 800

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105 Daniel O’Neill (1920-1974)Condé - A French VillageOil on board, 51 x 61cm (20 x 24”)Signed, inscribed with title on artist’s label verso

Provenance: Christie’s, Belfast Castle Auction, October 1990, where purchased by the current owners

€4,000 - 6,000

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106 Daniel O’Neill (1920-1974)CarnivalOil on board, 50 x 66cm (19¾ x 26”)Signed, inscribed with title verso

Carnival is a rare multi-figure composition painted by Daniel O’Neill, who seemed to prefer the intensity of single figures and empty landscapes or the focused narrative of pairs or small groups. It is also unusual in its largely celebratory mood as his work often contained a sense of melancholy expressed more or less overtly.

There is little description of the wooded landscape that is bathed in an Arcadian golden evening light, but the colourful hanging bunting reinforces the mood of the title and this vibrancy is reflected in the group of figures beneath. Most of this group merge into an undefined passage of irregular shapes and colours and the figures gradually become more defined as the approach the foreground. The stylised faces and strangely timeless costumes are typical of O’Neill, but the figure to the left of the group of revelers closest to us is an intriguing counterpoint to the rest of the painting. Her dress and facial features occur throughout O’Neill’s work and she is slightly set apart from the main group, while occupying a crucial pictoral position. Her presence and mood inject a gentle note of ambiguity and nostalgia into an otherwise lively and cheerful scene.

Dickon Hall

€8,000 - 12,000

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107 Arthur Armstrong RHA (1924-1996)Encrusted RocksOil on board, 45 x 55cm (18 x 22”)Inscribed verso

€1,000 - 1,500

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108 Arthur Armstrong RHA (1924-1996)Last Light Oil on board, 45 x 55cm (18 x 22”)Signed. Inscribed verso

€1,000 - 1,500

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109 George Campbell RHA RUA (1917-1979)Carol Singers, Malaga Oil on board, 100 x 75cm (39½ X 29½”)Signed

Exhibited: The RHA Annual Exhibition 1967 Catalogue No. 21

Exhibited at the RHA, 1967, Carol Singers, Malaga was executed during a high point in the artist’s career. Other works from this period include, Musicians, Virginia and The Street Musicians. Often stating he painted according to his mood, Campbell’s application of warm tones, blues and pinks signify contentment. Years earlier, he had won prizes and found patronage in the Catholic Church with his stained glass designs.

Musically gifted, Campbell’s Aunt Kitty and Mother, Gretta Bowen, a primitive painter were both musical and his Grandfather played the Clarinet. Speaking about his musical background in a BBC interview in 1973, he remarked, “So, I presume music was being syphoned through to me most of the time and its power to move and interest me stays firmly with me and I believe, influences my work greatly.”

George or “Jorge” as his Spanish friends knew him was a fluent Spanish speaker and was an accomplished Flamenco guitarist. Fascinated with Spain, he returned to Malaga annually for the winter months living in a fishing village, Pedregalejo, a short bus ride from the city.

Influenced by Picasso and Braque, this large work of carol singers was more than likely executed in his new studio in Ranelagh, Dublin. Walking around Malaga city during the winter months, Campbell absorbed the atmosphere preferring to make quick sketches of “its introverted extrovert people, its song and dance.” On his return to Dublin each spring, he recalled the scenes he enjoyed most, arranging the subject as he imagined them in a quasi-cubist style. Employing structure and form the figures are depicted in various sizes, the sombrero hats, circular tambourines and round jingles add pattern, shape and design.

In an interview in the 1970’s Campbell was asked how did he think Spain regarded him, “Spain-What do they think of me? I suppose an Irishman domiciled in Spain. A nutty Irishman playing flamenco.” In 1978, Campbell received the honour of being given a knighthood from Spain. In 2006, Malaga, honoured the artist by naming a roundabout Glorieta Jorge Campbell on the road to his village, Pedregalejo.

Karen ReihillCurrently working on a loan exhibition, “George Campbell & The Belfast Boys” for the Clandeboye Festival, summer, 2015.

€8,000 - 12,000

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110 George Campbell RHA RUA (1917-1979)Long Ago and Far Away Oil on board, 102 x 126cm (40 x 49½”)Signed. Also signed and inscribed verso

Exhibited: The Oireachtas Annual Exhibition 1976 Catalogue No. 12

After an absence of five years, Campbell chose this work “Fado Agus Bhfad o bhaile” to show at the Oireachtas exhibition, 1976. The title of this abstract landscape Long Ago and Far Away may point to his life during the early 1970’s or relate to his memories from his visits to the West of Ireland in the 1950’s and 60’s with many of his close friends.

Working in a variety of styles and mediums, the early 1970’s was a period of reflection, for the artist. The ‘Troubles’ in Northern Ireland had spurred him to execute a series of works, The Belfast Series and friends Gerard Dillon and Daniel O’Neill had died in their 50’s. His work also came in for negative comment. Art critics found his French Modernist style out of date.

Prosperity in Ireland in the late 1960’s led to dramatic changes in the visual arts. Optical, Conceptual and Pop Art emerged from a younger generation of artists. Campbell couldn’t comprehend the divergence in art practices while his focus remained on Ireland’s Celtic heritage. Throughout the 1960’s and 70’s accompanied by friends, Campbell returned to favourite monastic sites close to Glendalough, Clonmacnoise, and Inishmór for subject matter.

Referring to his abstract works in an interview in the 1960’s Campbell said, ”I don’t think there is really a great deal of difference between the abstract things I paint and the figurative things. The figurative is in the abstract anyway. Any abstract thing I paint is painted from my backlog of things…what I have garnered in imagination and memory.”

Campbell often advised his students to interpret subjects for themselves. Encompassing texture and form, Campbell’s abstract works acted as another vehicle to interpret his imagination, thoughts and feelings. In his final solo show in Dublin at Gallery 22, November 1978, Campbell exhibited several abstract works that recall earlier memories from Spain and Ireland Memories of Lanzarote and Autumnal Complex.

Karen ReihillCurrently working on a loan exhibition “George Campbell & The Belfast Boys” for the Clandeboye Festival, Summer, 2015

€6,000 - 10,000

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11 Nevill Johnson RHA RUA (1911-1999)The Holy Hour (1976)Pen and wash, 38 x 51cm (15 x 20”)Signed and dated ‘76. Signed again and dated ‘75 verso

€500 - 700

112 Nevill Johnson RHA RUA (1911-1999)

The FamilyPen, ink and pencil, 19 x 17cm (7½ x 6½”) Signed and dated ‘96

€300 - 500

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113 Nevill Johnson RHA RUA (1911-1999)Abstract CompositionOil on board, 36.5 x 32cm (14¼ x 12½”)Signed and dated ‘91

€800 - 1,200

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114 Colin Middleton RHA RUA MBE (1910-1983)Sleeping Beauty (1976)Oil on board, 61 x 61cm (24 x 24”) Signed, Inscribed with title verso

Sleeping Beauty forms part of the Westerness cycle of paintings that is arguably the last great series of works Colin Middleton completed, although it was painted slightly later than the bulk of the group, which were exhibited together in 1976.

The Westerness Series (the title was inspired by ‘Finnegan’s Wake’) brought together many of the elements that had dominated Middleton’s work at various stages of his career. The suggestion of a vast, empty landscape was perhaps inspired by Middleton’s travels to Spain and Australia in the early 1970s and he had also written in the early 1970s of his interest in expressing the withdrawal of the soul into a wilderness such as this setting suggests. The consciousness of design evident here in the repeated use of geometric slivers of bright clean colours, as well as in his fascination with pattern, surface texture and material are all traits of his design training that Middleton never abandoned.

Above all, this cycle explores concepts of the female archetype that dominated Middleton’s career. Increasingly through the 1960s this form became interrelated with the landscape and here this ambiguity continues; the female body remains sexualised and her carefully described clothing hints at a context more fully explored in other Westerness paintings, but the contours of the body are deliberately reminiscent of the rhythms of landscape.

In paintings such as Sleeping Beauty Middleton has found a manner of creating a world that suggests the physical and tactile but remains ultimately immaterial. These are paintings about metamorphosis rather than surrealist works and suggest a mystical synchronicity within the natural world.

Dickon Hall

€20,000 - 30,000

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115 Colin Middleton RHA RUA MBE (1910-1983)Female LandscapeWatercolour, 13.5 x 18cm (5¼ x 7¼”) Signed

€300 - 500

116 Colin Middleton RHA RUA MBE (1910-1983)Surrealist Composition with Girl, Bell and BirdOil on board, 61 x 61cm (24 x 24”)Studio stamp verso

Provenance: ‘Colin Middleton Studio Sale’ Christies London 4th October 1985 where purchased Cat. No. 184 (illustrated)

Surrealist Composition with Girl, Bell and Bird was probably painted around 1974, between Colin Middleton’s two major late achievements, the Wilderness and Westerness cycles. The 1970s marked Middleton’s return to an engagement with Surrealism, which he had first explored in the 1930s at a point when only a handful of artists working in Britain were committed to this movement.

Middleton’s early surrealist works, however, appear more emotionally inspired and more unsettling in tone, experimenting with a range of subversive Jungian imagery to explore the psychological and physical experience of a war-ravaged world. In the 1970s Middleton’s surrealism seems less visceral and more self-consciously inventive, demonstrating his remarkable skill to interrelate a series of fantastical ideas to create a pictorial logic that fully engages the viewer.

There is a sense of ceremony or performance in the present work. This is presented within a shallow space that still hints at a larger landscape and it appears as if the figure has emerged from the boxes beside her that form part of a drawn-in contraption that is ambiguous in its action or intention. While the bell can suggest transition amongst many other meanings, the bird is often used in Middleton’s work in close conjunction with a female figure to represent their spiritual or non-physical aspects. Middleton creates a world in parallel to ours to explore ideas that transcend the physical but, as in the Wilderness Series, he sets out an intriguing puzzle without defining an answer.

Dickon Hall

€10,000 - 15,000

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117 Basil Ivan Rákóczi (1908-1979)The Harvest before Winter, (1951)Gouache on paper, 54 x 75cm (21¼ x 29½”)Signed

€2,000 - 4,000

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118 Basil Ivan Rákóczi (1908-1979)The Grape Harvest, 1951Gouache on paper, 54 x 75cm (21¼ x 29½”)Signed

€2,000 - 4,000

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119 Markey Robinson (1918-1999) Clowns with Drum and Flute Gouache, 52 x 30cm (20½ x 12”) Signed

€800 - 1,200

120 Markey Robinson (1918-1999)

Still Life in a Window Gouache, 52 x 30.5cm (20½ x 11”) Signed

€800 - 1,200

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121 Markey Robinson (1918-1999) Waiting for the Boats Oil on board, 19 x 23.5cm (7½ x 9½” )Signed

€600 - 800

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122 Peter Pearson (b.1955)Aerial View of Dún Laoghaire Harbour Oil on board, 50 x 66cm (19¾ x 26”)Signed and dated 2000

€1,000 - 1,500

123 Peter Pearson (b.1955)

Liberty Hall and The Custom’s House, from the Quays, NightfallOil on canvasboard, 34.5 x 55cm (13½ x 21½”)Signed and dated ‘09

€800 - 1,200

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124 Anthony Klitz (1917-2000)Looking Towards City Hall, Cork Oil on canvas, 37 x 76cm (14.5 x 30”) Signed. Artist stamp verso dated 1979

€2,000 - 3,000

125 Anthony Klitz (1917-2000)St. Patrick’s Bridge, Cork Oil on canvas, 49 x 101cm (19.25 x 39.75”) Signed. Artist stamp verso dated 1979

€1,500 - 2,000

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127 Harry Kernoff RHA (1900-1974)The North-West Corner of St. Stephen’s GreenWatercolour, 24 x 27cm (9½ x 10½”)Signed. Inscribed verso

Provenance: Purchased directly from the artist, a family friend; and thence by descent

€2,000 - 4,000

126 Harry Kernoff RHA (1900-1974)Gilbey’s Bonded Stores Watercolour, 36.5 x 26.5cm (14½ x 10½”)Signed

Provenance: Purchased directly from the artist, a family friend; and thence by descent

€1,500 - 2,500

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128 Tom Carr HRHA HRUA ARWS (1909 - 1999)Wall Street, The CrownWatercolour, 32 x 47cm (12½ x 18½”)Signed and dated ‘64

Exhibited: Tom Caldwell Gallery, Belfast Tom Carr Retrospective Exhibition, The Ulster Museum, Belfast, Nov/Dec 1983 The Douglas Hyde Gallery, Trinity College Dublin, Jan 1984, Catalogue No. 82. Organised by The Arts Council of Northern Ireland

€600 - 800

129 Dorothy Blackham (1896-1975)Bangor from Ballyholme Oil pastel, 22.5 x 32.5cm (9 x 12¾”)Signed

€500 - 700

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130 Flora H. Mitchell (1890-1973)Donegall Square, BelfastPencil, ink and watercolour, 27 x 28cm (10½ x 11”)Signed, inscribed and dated 1929

€1,000 - 1,500

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131 Thomas Ryan PRHA (b.1929)Tailor’s Hall, Dublin Oil on board, 22 x 34cm (8¾ x 13½”)Signed; also signed, inscribed and dated October 1966 verso

€300 - 500

132 Thomas Ryan PRHA (b.1929)Lake in the Phoenix Park Dublin, March 1961Oil on canvas, 25.5 x 40.6cm (10 x 16”)Signed; signed again and inscribed with title verso

Personal inscription from the artist to art critic and collector Alan Denson, May 1971

€200 - 400

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133 James le Jeune RHA (1910-1983)A Busy Street, South of FranceOil on board, 63 x 75cm (24¾ x 29½”)Signed

€2,500 - 3,500

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134 Niccolo d’Ardia Caracciolo RHA (1941-1989)Palazzo di Giustizia, FlorenceWatercolour, 31 x 22.5cm (12 x 8¾”)Signed

€300 - 400

135 Niccolo d’Ardia Caracciolo RHA (1941-1989)

View of a Church in Palm Beach, FloridaWatercolour, 28 x 19cm (11 x 7½”)Signed

€300 - 400

136 Aidan Bradley (b.1961)The Green Pump Oil on board, 49.5 x 49.5cm (19½ x 19½”)Signed and dated ‘02

€400 - 600

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137 Henry Healy RHA (1909-1982)Boats at Howth Harbour Oil on board, 50 x 60cm (19¾ x 23¼”)Signed

€1,500 - 2,000

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138 Pádraig MacMiadhacháin (b.1929)Mourne Study I, NewcastleOil on board 19 x 23cm (7½ x 9”)Signed. Signed again and inscribed with title verso

€250 - 350

139 Tim Goulding (b.1945)

Winter CrossMixed media, 39 x 30cm (15¼ x 11¾”)Signed, inscribed and dated 1964 verso

€300 - 500

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140 Tim Goulding (b.1945)BallydoneganOil on canvas, 40 x 31.5cm (15¾ x 12½”)Signed with initials and dated ‘78

Exhibited: Dublin, David Henrdiks Gallery, December 1979

Provenance: From the collection of Mr & Mrs W.J. Milne

€500 - 700

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141 Martin Mooney (b.1960)Still Life with Imari Bowl Oil on board, 29.5 x 59cm (11¾ x 23¼”)Signed and dated XIV. Signed, inscribed and dated 2014 verso

€2,000 - 4,000

142 Martin Mooney (b.1960)

White Tulips in Ch-inese VaseOil on board, 28.5 x 23.5cm (11¼ x 9¼”)Signed and dated XIV. Signed, inscribed and dated 2014 verso

€1,200 - 1,600

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143 Martin Mooney (b.1960)Venice, Grand Canal Oil on board, 29.5 x 59cm (11¾ x 23¼”)Signed and dated XIV. Signed, inscribed and dated 2014 verso

€2,000 - 4,000

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144 Norman J. McCaig (1929-2001)Evening Catch Oil on canvasboard, 35.5 x 45.7cm (14 x 18”)Signed

€500 - 700

145 Norman Teeling (b.1944)

ConvertedOil on board, 50 x 40cm (19¾ x 15¾”)Signed

€500 - 700

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146 Mark O’Neill (b.1963)Sheep Grazing, WinterOil on board, 49 x 71cm (19¼ x 28”) Signed and dated 2002

€2,000 - 3,000

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147 Liam Treacy (1939-2004)Still Life with Sketch PadOil on board, 40 x 30cm (15¾ x 11¾”)Signed

€800 - 1,200

148 Liam Treacy (1939-2004)

Farmyard Oil on board, 24 x 30cm (9¼ x 11¾”)Signed

€500 - 700

147

148

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149 Liam Treacy (1939-2004)Students at Work Oil on canvas, 44 x 54cm (17¼ x 21¼”)Signed

€800 - 1,200

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150 John Shinnors (b.1950)A Bird is to Bury Oil on board, 50.5 x 40.5cm (20 x 16”)Signed and dated ‘84

Born in Limerick in 1950, John Shinnors studied for a short time at Limerick School of Art and Design under Jack Donovan before leaving the confines of conventional education to pursue his own vision of artistic creativity. His paintings tend to combine the figurative and abstract at once, with coloured or black and white geometric shapes and repetition of form featuring strongly in his work. This unique style and treatment of subject matter lend well toShinnors’ favoured motifs which include lighthouses, scarecrows, clowns and indigenous wildlife such as cows, crows and rabbits.

€2,000 - 3,000

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151 John Brobbel RBA (b.1950)En Plein AirOil on canvas, 76 x 60cm (30 x 23½”)Signed and dated 1995

Exhibited: The Royal Hibernian Academy Annual Exhibition, Dublin, 1995, Cat. No.36 (label verso)

€1,000 - 1,500

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152 Paul McHugh (b.1945)Aphrodite White marble, 46cm high (18”) x 30cm wide (12”)Unique

€700 - 1,000

153 Sandra Bell (b.1954)The Horn Blower Bronze, 45.5cm high (17.75”)Signed with monogram, editioned 6/8 and dated ‘97

€800 - 1,200

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154 Rowan Gillespie (b.1953)Destiny Bronze, 35cm high (13¾”)Signed, editioned 4/9 and dated ‘90

Provenance: Acquired directly from the artist by the current owner

€2,000 - 4,000

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155 Edward Delaney RHA (1930-2009)Abstract Standing Form Bronze on a stone plinth, 44cm high (17.25”) (including plinth)Plinth: 18 x 18cm (7 x 7”)

€1,000 - 1,500

156 Edward Delaney RHA (1930-2009)Abstract Form Mixed media on a perspex base and granite plinth, 57cm high (22.5”) (including plinth)Plinth: 31 x 31cm (12 x 12”)

€700 - 1,000

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157 Edward Delaney RHA (1930-2009)The Column Bronze on a marble base, 56cm high (22”) (including base)

€1,000 - 1,500

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158 Richard Kingston RHA (1922-2003)Abstract Coastal Landscape Oil on board, 49.5 x 74cm (19½ x 29¼”)Signed

€1,000 - 2,000

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159 Richard Kingston RHA (1922-2003) Merrion Strand (from Dublin Coastline Series)Oil on canvas, 50.8 x 85.7cm (20 x 33¾”)Signed. Title inscribed on artist’s label verso

€1,500 - 2,500

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160 Claude Hayes RI ROI (1852-1922)Tying up the Osiers Watercolour, 52 x 34cm (20½ x 13½”)Signed

€300 - 500

161 Wycliffe Egginton RI RCA (1875-1951)

Moorland PoniesWatercolour, 35 x 51cm (13¾ x 20”)Signed

€400 - 600

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162 Attributed to Daniel Maclise RA RHA (1806-1870)The Wandering MinstrelWatercolour and chalk, 62 x 78cm (24½ x 30¾”)

€1,500 - 2,500

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163 John Crampton Walker HRHA (1890-1942)Dysart Castle, Co. ClareOil on board, 24 x 35cm (9½ x 13¾”)Signed. Inscribed with title verso. Daniel Egan gallery label verso

€500 - 700

164 George Mounsey Wheatley Atkinson (1806-1884)The Black Sybil at Queenstown, Co. CorkOil on canvas, 65 x 100cm (25½ x 39¼”)

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.

€8,000 - 12,000

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163 John Crampton Walker HRHA (1890-1942)Dysart Castle, Co. ClareOil on board, 24 x 35cm (9½ x 13¾”)Signed. Inscribed with title verso. Daniel Egan gallery label verso

€500 - 700

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165 Attributed to George Barret Jnr (1767-1842)Figures on a Path in Wooded LandscapeWatercolour, 28 x 36cm (11 x 14¼”)

€300 - 500

166 Andrew Nicholl RHA (1804-1886)Cattle in a Mountain LandscapeWatercolour, 35 x 52cm (13¾ x 20½”)

€600 - 1,000

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167 John Faulkner RHA (1835-1894)On the Beacanbrack River, Lough Corrib, ConnemaraWatercolour, 43 x 74cm (17 x 29”)Signed

€1,500 - 2,500

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168 Circle of James Arthur O’Connor (1792-1841)Horse and Rider by a Bridge in a Mountainous LandscapeOil on panel, 20 x 29.5cm (8 x 11½”)Bearing signature “J.A. O’Connor”

€1,500 - 2,500

168A Nathaniel Hone the Elder RA (1718-1784)Portrait Miniature of Mr. HayterOil on ivory, 3.5 x 3cm (1.4 x 1.25”)Signed with initials and dated 1761

€700 - 1,000

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169 Erskine Nicol RSA ARA (1825-1904)The Flute Player Oil on canvasboard, 20.5 x 17.5cm (8 x 6¾”)Signed and dated 1853

€800 - 1,200

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170 George Russell Æ (1867-1935)Mother and Child on a Pathway at Dusk Oil on canvas, 52.3 x 80.5cm (20½ x 31¾”)Signed with monogram

Bregazzi & Sons, Merrion Row, Dublin framing label verso

€2,000 - 4,000

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The Roth Collection

171 George Russell Æ (1867-1935)Children on a Beach Building Sandcastles Oil on canvas, 52 x 80cm (20½ x 31½”)Signed with monogram

Provenance: The Estate of William Roth

€6,000 - 8,000

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173 Thomas Ryan PRHA (b.1929)

Beecham at WorkPencil, 14.5 x 19.75cm (5¾ x 7¾”)Signed, inscribed with title and dated 28/3/71

This is a posthumous portrait of the conductor Sir Thomas Beechamtogether with two further works Female Nude (March 1963) inscribed to Alan Denson; John (1973) (3)

€200 - 400

172 Sophia Rosamund Praeger (1867-1954)

A Mother’s TouchPlaster relief plaque in an oak frame, 31 x 36.25cm (12¼ x 14¼”)

Signed

€600-800

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174 Edward Sheil RHA (1834-1869)Making Daisy Chains at the Corner of a CornfieldOil on canvas, 16.5 x 64cm (20¼ x 25¼”)Signed and dated 1857

Edward Shiel was born in Coleraine, Co. Derry around 1834. He later moved to Cork and became a student at the School of Art there; later becoming second Master in 1857 and then was appointed headmaster in 1859. However, although very successful, his term was brief as he suffered from delicate health. Sheil was elected ARHA in 1861 and became a full member in 1864.

A resident of Cork, Shiel maintained a studio in Queen-stown (now Cobh) from 1865 - 1868. He died aged only thirty-five at the house of his friend, the writer and patriot Denny Lane, leaving behind a wife and two children. He was well thought of as a genre artist and his brother who worked at the Cork Examiner wrote favourably of his work. Works by Shiel are rare due to his death at such a young age.

€3,000 - 5,000

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175 Margaret Stokes (1915-1996)Dodder River II Woodcut print, 33 x 37.5cm (13 x 14¾”)Signed, dated 1977 and numbered 4/25; together with another woodcut The Oak Tree, signed, dated 1983 and numbered 1/25 (2)

€250 - 350

176 Margaret Stokes (1915-1996)Landscape, Cashel, Connemara Oil on panel, 14 x 17.5cm (5½ x 7”)Signed with initials; together with a study of trees, signed verso (2)

€200 - 300

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177 Sir John Lavery RA RHA (1856-1941)A Military Camp in the Great WarOil on canvas, 52 x 72 (20½ x 28¼”)

Provenance: The artist’s own collection, then by gift to his second daughter (Mrs McEnnry, Co. Kilkenny); wprivate collection, Dublin

€6,000 - 10,000

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178 Anne Yeats (1919-2001)A Tangle of Thread and some FruitMixed media on board, 38 x 55cm (15 x 21¾”)Signed

Provenance: The Dawson Gallery, Dublin label verso

€500 - 800

179 Patrick Hickey HRHA (1927-1998) Still Life With Lemons Lithograph, 51 x 70cm (20 x 27½’) Signed, inscribed and numbered 10/20

Exhibited: Dublin, The Dawson Gallery (label verso)

€300 - 500

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180 Margaret Clarke RHA (1888-1961)Coltsfoot, Greystones Oil on panel, 46 x 56cm (18 x 22”)Signed

Exhibited: David Clarke Retrospective, The Frederick Gallery, Dublin, Cat. No. 62 (label verso)

Margaret Clarke was born and educated in Newry. In 1906 she was awarded a scholarship to the DMSA, where she became one of Orpen’s star pupils, and won many prizes. Her fellow students included Beatrice Glenavy, James Sleator, Kathleen Fox, Leo Whelan, Patrick Tuohy and Harry Clarke, whom she married in 1915. Margaret excelled at portrait painting. Her dispassionate, searching eye enabled her to reveal the deep nature, the “true self ” of the sitter, even when painting her own family. She was commissioned to paint many notable figures of the times, including Eamon De Valera, Dr. John Charles McQuaid and Dermod O’Brien (President of the RHA). Strong-minded and independent, she particularly enjoyed the artistic and intellectual freedom of genre painting such as “The Ghost Sonate” (Ulster Museum)’ based on a play by Strindberg, or “Bathtime at the Creche” (National Gallery). Her outstanding ability as a draughtswoman can be appreciated in all her work. Like so many women artists she had to combine devotion to her career with the care of her family, and after Harry’s death, with much of the responsibility for the studios on a greatly reduced income. Genre paintings became a luxury rarely affordable. In later life she loved to paint delightful, simple vases of flowers or scenes from the Wicklow hills. She died in Dublin in 1961.

Fiana Griffin

€800 - 1,200

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181 Patrick Graham (b.1943)Adonis & Venus Mixed media and collage, 80 x 110cm (31½ x 43¼”)Signed, inscribed with title and ‘Amatori’ and dated ‘75

Provenance: From the Estate of the late Charlie Hennessy, Cork

€800 - 1,200

182 Patrick Graham (b.1943)Somewhere Jerusalem 2Mixed media and collage, 80 x 110cm (31½ x 43¼”)Signed, inscribed ‘Somewhere Home’ and dated ‘76

Contained in a customised handpainted timber frame

Provenance: From the Estate of the late Charlie Hennessy, Cork

€800 - 1,200

The Deepwell Collection

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183 Graham Knuttel (b.1954)Still Life with Screen Mixed media on paper, 76 x 57cm (30 x 22½”)Signed

Provenance: A gift to Mr & Mrs J.P. Reihill circa 1992; Deepwell, Blackrock, Co. Dublin

€400 - 600

The Deepwell Collection

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184 Max MacCabe RUA ROI FRSA (1917-2000)Still Life with Red Apples and Wine Bottle Watercolour, 24.5 x 35.5cm (9¾ x 14”)Signed

Provenance: Max MacCabe Studio Sale, in these rooms, December 2003, lot no. 74

€400 - 600

185 John Kingerlee (b.1936)The Boatman’s Dream enters the Theatre Oil on canvas, 45 x 57cm (17¾ x 22¼”)Signed with artist’s device and dated ‘85. Also signed and inscribed verso

€800 - 1,200

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186 Mike Fitzharris (b.1952)Landscape Oil and charcoal on board, 50 x 62cm (19¾ x 24½”)Signed

€1,000 - 1,500

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187 Tom Nisbet RHA (1909-2001)Canal Scene, Dublin Watercolour, 29 x 37cm (11½ x 14½”)Signed

€200 - 300

188 William Percy French (1854-1920)

Coastline LandscapeWatercolour, 11 x 16.5cm (4¼ x 6½”)Signed

€800 - 1,200

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189 Frank Egginton RCA FIAL (1908-1990)Fishermen in a Boat on a LoughWatercolour, 38 x 53cm (15 x 20¾”)Signed

€600 - 800

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190 Gerard Marjoram (b.1936)Cashel, ConnemaraOil on canvas, 45 x 90cm (17¾ x 35½”)Signed

€400 - 600

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191 Micheál De Búrca RHA (1913-1985)Bogland Landscape with Figures Oil on canvas, 44 x 55cm (17¼ x 21½”)

€1,000 - 1500

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192 Father Jack P. Hanlon (1913-1968)Wintry Vistas Watercolour, 50 x 29cm (19¾ x 11½”)

Provenance: Taylor Galleries, Dublin, with certificate of authenticity signed by Dr. James White

€200 - 300

193 Seamus Ó Colmáin (1925-1990)The Home-MakerOil on board, 35 x 42cm (13¾ x 16½”)Signed

Exhibited: Dublin, The Ritchie Hendriks Gallery, July 1970

€250 - 350

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194 Séamus Ó Colmáin (1925-1990)Merchant’s Arch Oil on board, 21 x 15cm (8¼ x 6”)together with three small sketches by the same artist (4)

€400 - 600

195 Séamus Ó Colmáin (1925-1990)Twilight, Bridge over the Liffey Oil on board, 35 x 25cm (13¾ x 9¾”)Signed

€400 - 600

Lot 195

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196 Kathleen Fox (1880-1963)Ruins of the Four CourtsOil on canvas, 51 x 68.5cm (20 x 27”)Signed and dated 1922

Provenance: Purchased from Leo Smith, The Dawson Gallery, Dublin 1943; by John P. Reihill SNR Deepwell, Blackrock

Exhibited: 1923 RHA Annual Exhibition Cat. No. 243 priced £52.10.0 The Crawford Gallery, Cork, May - August 2006 Ireland: Her People and Landscape The AVA Gallery, June - Sept 2012, Cat. No. 14 Irish Women Artists 1870 - 1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 17

Literature: Whipping the Herring, published by The Crawford Gallery 2006. Full page illustration p209; One Hundred Years of Irish Art - A Millennium Presentation by Eamonn Mallie p222 Full page Illustration p223; Ireland: Her People and Landscape Exhibition Catalogue, full page illustration p21 Irish Women Artists 1870-1970, full page illustration p.27

€4,000 - 6,000

The daughter of Captain Henry Charles Fox of the King’s Dragoon Guards, Kathleen Fox came of an Irish Catholic upper middle class family with a British Army tradition. She was brought up at Glenageary Hall, Co. Dublin and went to school at St. Mary’s, Ascot and Loreto Abbey Convent, Dalkey. She entered the Dublin Metropolitan School of Art in 1903, a decision which, given her background , was probably opposed by her family, but she was independent-minded, a characteristic which became particularly pronounced when later she earned the nick-name “the little rebel”, because of her sympathies with those involved in the 1916 Easter Rising.While at the Metropolitan School, she was at first attracted by the crafts of fine metalwork and enamelling. Under the guidance of Oswald Reeves she won top prizes for her metalwork in London at the National Competitions of 1908 and 1909. She also worked on painted china, carved wood, silver, costume design and stained glass, which were aspects of the strong arts and crafts revival in Ireland. However, her interest in painting was to be fired by the teaching in Dublin of Sir William Orpen, only two years her senior, who encouraged her and for whom she had a high regard. It was Orpen’s style of tonal realism acquired at the Slade School of Art, which he passed on to her. In 1910 she was admitted to the RHA Life School. She exhibited for the first time at the RHA in 1911 with Science and Power (Hugh Lane Municipal Gallery), sometime after which she left to paint in Paris and Bruges. She was back in Dublin in 1916 and became known as the “Artist of the Rising”. She went openly into the most dangerous centres in Dublin to capture in her paintings the spirit and personalities of the Rising. She also carried messages between the leaders.

During the First World War Kathleen Fox kept a studio in London where she met her husband Lieutenant Cyril Pym who was killed in action. There a daughter was born in 1918. Later she moved to Nice where she continued to paint and exhibited in France, London and Dublin. In 1921 her work was shown at the New English Art Club, the National Portrait Society, the Royal Academy and the Royal Hibernian Academy. She returned to Dublin in the early twenties and later inherited the family home in Milltown, Dublin where she painted many interior views. For the next twenty years she worked as a highly successful portrait painter in Ireland and England but made not further submissions to the RHA until 1944.In her later paintings there is a significant and enduring transformation in terms of subject matter. Gone is the spirited work of some twenty years earlier, to be replaced by highly competent flower-studies which she exhibited throughout the 1940s and 50s and for which today, perhaps unfairly, she is best known. She died in 1963.The artist painted this view of the Four Courts shortly after its sacking in 1922 by the artillery fire of the Pro-Treaty forces during the War of Independence. Kathleen Fox must have found it bitterly ironic that the men and women who fought on the side of Pearse and his companions and whom she had portrayed six years earlier had now divided into two warring factions. Interestingly, there exists another, larger “View of the Four Courts”, (UCD Newman House), undated, but painted by the artist prior to the the destruction of the building. Whereas that picture is tight and academic with a strong emphasis on tonality, this view, depicted after a heavy shower of rain, is painted in a spontaneous, “impressionistic” manner full of moist atmosphere.

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The Deepwell Collection

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197 Estella Frances Solomons HRHA (1882-1968)Kathleen GoodfellowOil on canvas, 61 x 51cm (24 x 20”)

Provenance: From the Artist’s Studio and thence from the estate of the late Geoffrey O’Connor, KerryExhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 22

€1,200 - 1,600

The Estella Solomons Collection (Lots 197 - 216)

Born in Dublin in 1882. Estella attended the Royal Hibernian Academy Schools under Walter Osborne, and entered the Metropolitan School of Art, where she became a pupil of William Orpen. In 1906, she visited the Rembrandt tercentenary exhibition in Amsterdam, which was a significant event for her. Despite being taught by William Orpen, she was never a formula painter and painted by inclination and sympathy, not by chequebook. She abandoned the Old-Masterish and academician’s style of working because it weighed her feminine love of spontaneity. Estella was no publicist, her talent was a refined, rather private one exercised more for her own pleasure than for the public’s.

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198 Estella Frances Solomons HRHA (1882-1968)

Ella Young (1867-1956)Oil on canvas, 61 x 51cm (24 x 20”)

Provenance: From the Artist’s Studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 79

Ella Young (1867 - 1956) was a poet, republican and mystic who was born near Ballymena, Co. Antrim. Her family moved to Dublin around 1880 and she graduated from RUI 1898. After learning Irish in 1902 she visited Achill Island in 1903 to collect folklore for her friend George Russell. She became involved with the Celtic Revival with her friends Maud Gonne and W.B. Yeats amongst others.Young joined Sinn Féin in 1912 and in 1914 was one of the founder members of Cumann na mBan. Like Solomons she stored ammunitions at her home . She was strongly opposed to the Anglo-Irish treaty as a result of which she was interned and she and AE never spoke again. She became a lecturer in Irish Myth and lore at the University of California at Berkeley and lived for most of the rest of her life in Oceano ,a theosophical settlement in California where she wrote several books .

€1,200 - 1,600

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199 Estella Frances Solomons HRHA (1882-1968)Autumn TreeOil on canvas, 61 x 51 cm (24 x 20”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 21

€800 - 1200

200 Estella Frances Solomons HRHA (1882-1968)Seascape, Co. DonegalOil on board, 25 x 29.5 (9¾ x 11½”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 139

€600 - 800

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201 Estella Frances Solomons HRHA (1882-1968)Hayfield at RushOil on canvas, 43 x 53cm (17 x 20 ¾”)Inscribed verso

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

€1,500 - 2,500

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202 Estella Frances Solomons HRHA (1882-1968)Erskine ChildersOil on canvas, 54 x 43.5cm (21¼ x 17¼”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Robert Erskine Childers (1870 - 1922)Childers was an author and patriot . Although born in London , Glendalough House , the home of his mothers family, the Barton’s, was his only real home until his marriage to Mary Ellen Osgood of Boston. He fought in the Boer War and wrote his memories of it in “In the ranks of the CIV” but it was his book “The riddle of the sands” ,which was probably the first 20th Century spy thriller, that brought him to public attention. It is a fictional account of German preparations to invade England and the book went through many reprints right into the 21st Century. Childers is probably best remembered today for his involvement in Howth gun running incident in July 1914 when he used his yacht “The Asgard” , a wedding present, to run guns from Germany to Howth with Darell Figgis opposite. After he moved permanently to Ireland in 1919 he became heavily involved in Sinn Féin propaganda. Although he attended the treaty negotiations his relationship with Collins and Griffith became increasingly strained . He became one of the fiercest public opponents of the treaty. He was arrested at Glendalough House in November 1922 and charged with possession of a small pistol which was actually a keepsake from Michael Collins . He was executed two weeks later having first shaken hands with each member of the firing squad. His son , Erskine Hamilton Childers, served as President od Ireland before his untimely death in 1974.

€1,000 - 2,000

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203 Estella Frances Solomons HRHA (1882-1968)Darrell FiggisOil on canvas, 61 x 46cm (24 x 18”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: “Estella Solomons” Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 23

Darrell Figgis (1882-1925) was born into a wealthy tea merchant family moving to Ceylon while an infant but the tea business was not for him as he preferred to write both as a poet and journalist. He moved home to Ireland around 1910 and quickly discovered Irish politics and nationality. In 1913 he joined the volunteers and was one of the instigators of the Howth gun-running incident of July 1914 having bought the arms in Hamburg and moved them to the Roetigen lightship off the coast of Belgium where they were transferred to the yachts belonging to Erskine Childers and Conor O’Brien.

Although not active in the 1916 rising he was arrested and transferred with the elite to Reading prison, one of many detentions imposed in the following years. He wrote about these detentions in two chronicles in which he apparently exaggerated his role as he was generally unpopular. However Arthur Griffith admired and trusted him as they were both wary of the more militarist wing of the Nationalist movement. He supported the treaty and was elected to the Sinn Féin executive in 1922 where he was appointed vice- chairman of the committee to draft the Free State Constitution. He ran as a pro-treaty Independent candidate in June 1922 when he topped the poll. His political career went into decline after that and eventually he took his own life in London in October 1925. Darrell Figgis (1882-1925) was born into a wealthy tea merchant family moving to Ceylon while an infant but the tea business was not for him as he preferred to write both as a poet and journalist. He moved home to Ireland around 1910 and quickly discovered Irish politics and nationality. In 1913 he joined the volunteers and was one of the instigators of the Howth gun-running incident of July 1914 having bought the arms in Hamburg and moved them to the Roetigen lightship off the coast of Belgium where they were transferred to the yachts belonging to Erskine Childers and Conor O’Brien.

Although not active in the 1916 rising he was arrested and transferred with the elite to Reading prison, one of many detentions imposed in the following years. He wrote about these detentions in two chronicles in which he apparently exaggerated his role as he was generally unpopular. However Arthur Griffith admired and trusted him as they were both wary of the more militarist wing of the Nationalist movement. He supported the treaty and was elected to the Sinn Féin executive in 1922 where he was appointed vice- chairman of the committee to draft the Free State Constitution. He ran as a pro-treaty Independent candidate in June 1922 when he topped the poll. His political career went into decline after that and eventually he took his own life in London in October 1925.

€1,200 - 1,600

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204 Estella Frances Solomons HRHA (1882-1968)Volendam (1911)Oil on canvas, mounted on board, 26.5 x 36.5cm (10½ x 14¼”) Inscribed with title and dated 1911 verso,

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 153

€800 - 1,200

205 Estella Frances Solomons HRHA (1882-1968)

Laru (1911)Oil on canvas mounted on board, 26.5 x 36.5cm (10½ x 14 ¼”)Inscribed with title and dated May 11 verso

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

€800 - 1,200

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206 Estella Frances Solomons HRHA (1882-1968)Edam (1911)Oil on canvas mounted on board, 36.5 x 26.5 (14¼ x 10½”) Inscribed with title and dated May 1911 verso

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 156

€800 - 1,200

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207 Estella Frances Solomons HRHA (1882-1968)Castlecove, Co. KerryOil on canvas mounted on board, 33 x 45cm (14 x 18”)Signed and dated ‘38Inscribed artist’s label verso

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 125

€700 - 1200

208 Estella Frances Solomons HRHA (1882-1968)Dunquin, Co Kerry (1940)Oil on board, 31.5 x 41.5 cm (12½ x 16¼”)Signed

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Royal Hibernian Academy, Annual exhibition 1941, Cat. No 112

€800 - 1200

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209 Estella Frances Solomons HRHA (1882-1968)A Castle of the Desmonds, Ballinskelligs, Co KerryOil on canvasboard, 33 x 45 cm (14 x 18”)Inscribed artist’s label verso, signed and dated ‘38

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 124

€1000 - 1500

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211 Estella Frances Solomons HRHA (1882 1968)The ButterwomenOil on canvas, 68 x 56cm (26 x 22”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 13; Irish Women Artists 1870 - 1970, Adam’s, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 18

Literature: Portraits of Patriots by Hilary Pye Irish Women Artists 1870-1970, full page illustration p.28

€1,000 - 2,000

210 Estella Frances Solomons HRHA (1882-1968)Rosa SolomonsOil on canvas, 54 x 44cm (21¼ x 17¼”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 94

Literature: Illustrated Crawford Gallery Catalogue

€800 - 1,200

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While avoiding the sniping on Baggot Street Bridge Estella met a kindred spirit, Kathleen Goodfellow (Lot 197 and 214) and together they enlisted in Cumann na mBan, the auxiliary branch of women volunteers. By 1918 every working-class women was a member of Cumann na mBan so powerful the organisation developed, and the fastidious Countess Markievicz was at their head. Phyllis Ryan to be Seán T. O’Kelly’s future wife drilled the unit that Estella was attached. After training when most members were sent down the country Estella stayed and gave her support in Dublin.

A period of uncertainty reigned. Ireland was experiencing the duplicity of Lloyd George and his colleagues, and their prevarication; and houses were subjected to close searches for arms. Estella surprised her parents by taking an inordinate interest in gardening and she raised superb heads of lettuce for family consumption. Beneath the lettuce heads were concealed supplies of ammunition for Sinn Féin volunteers and she would deliver these to an agent, whom she called “The butterman” in Baggot Street. He taught her how to fire a revolver which they practised in his backyard. “The Butterman” was later arrested but not for his revolutionary activities but for his habit of watering the milk. This portrait of his wife, a good natured, benevolent plump woman, hung in Estella’s Studio until her death.

This note is an edited section from “Portraits of Patriots” by Hilary Pyle 1966.

Lot 211

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212 Estella Frances Solomons HRHA (1882-1968)Maud GonneOil on canvas, 92 x 61cm (36½ x 24”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 83

€1,000 - 2,000

213 Estella Frances Solomons HRHA (1882-1968)An Old FriendOil on canvas, 56 x 46cm (22 x 18”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 11

€800 - 1200

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214 Estella Frances Solomons HRHA (1882-1968)Miss Kathleen GoodfellowOil on canvas, 53.5 x 43.5cm (21 x 17¼”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

Exhibited: Estella Solomons Exhibition, Crawford Gallery, Cork, May/June 1986, Cat. No. 59

€1200 - 1600

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215 Estella Frances Solomons HRHA (1882-1968)Girl on Beach, Co. KerryOil on canvasboard, 25.5 x 41 cm (10 x 16”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

€600 - 1000

216 Estella Frances Solomons HRHA (1882-1968)Kerry LandscapeOil on canvas laid on board25 x 35.5 xm (9¾ x 14”)

Provenance: From the Artist’s studio and thence from the estate of the late Geoffrey O’Connor, Kerry

€600 - 800

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DEFINITIONS AND GENERAL CONDITIONS

Definitions

1. In these conditions the following words and expressions shall have the following meanings:

‘Auctioneer’ – James Adam & Sons.

‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25.

‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication.

‘Forgery’ – A lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substantially less than it would have been had the lot been in accordance with the Catalogue description.

‘Hammer Price’ – The price at which a lot is knocked down by the Auctioneer to the buyer.

‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any lot number in any Catalogue.

‘Proceeds of Sale’ – The net amount due to the seller being the Hammer price of the lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is charge-able and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.

‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction.

‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction.

‘Total Amount Due’ – The Hammer price of the lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder.

‘V.A.T.’ – Value Added Tax.

Cataloguing Practice and Catalogue Explanations

2. Terms used in Catalogues have the following meanings and the Cataloguing practice is as follows:

The first name or names and surname of the artist; In the opinion of the Auctioneer a work by the artist.

The initials of the first name(s) and the surname of the artist; In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist.

The surname only of the artist;In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.

The surname of the artist preceded by ‘after’;In the opinion of the Auctioneer a copy of the work of the artist. ‘Signed’/’Dated’/’lnscribed’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.

‘With Signature’/’with date’/’with inscription’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.

‘Attributed to’;In the opinion of the Auctioneer probably a work of the artist.

‘Studio of/Workshop of ’In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.

‘Circle of ’;In the opinion of the Auctioneer a work of the period of the artist and showing his influence.

‘Follower of ’;In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.

‘manner of ’;In the opinion of the Auctioneer a work executed in artist’s style but of a later date.

‘*’;None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named.

GENERAL CONDITIONS

Auctioneer Acting as Agent3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer.

Auctioneer Bidding on behalf of Buyer4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids.

Admission to Auctions5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

Acceptance of Bids6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any lot, combine any two or more lots and, in the case of a dispute, to put any lot up for auction again.

Indemnities7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity is expressed to be for their benefit.

Representations in Catalogues8. representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a lot must exercise and rely on their own judgment and opinion as to such matters.

9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof.

Governing Law10. These conditions shall be governed by and construed in accordance with Irish law.

Notices11. Any notice or other communication required to be given by the Auctioneer hereunder to a buyer or a seller shall, where required, be in writing and shall be sufficiently given if delivered by hand or sent by post to, in the case of the buyer, the address of the buyer specified in the registration Form or register, and in the case of the seller, the address of the seller specified in the Sale Order Form or to such other address as the buyer or seller (as appropriate) may notify the Auctioneer in writing. Every notice or communication given in accordance with this condition shall be deemed to have been received if delivered by hand on the day and time of delivery and if delivered by post three (3) business days after posting.

General Terms and Conditions of BusinessThe 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.

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The Buyer12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal.

Commission13. The buyer shall pay the Auctioneer a commission at the rate of 20%, exclusive of V.A.T..

Payment14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a lot shall pay to the Auctioneer within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.

The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.

The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted.

Reservation of Title buyer until he has paid to the Auctioneer the Total Amount Due.15. Notwithstanding delivery or passing of risk to the buyer the ownership of a lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due.

Collection of Purchases16. The buyer shall at his own expense collect the lot purchased not later than seven (7) 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 (7) 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 Lots17. 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.

Non-Payment or Failure to Collect Purchased Lots18. 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 deficien-cy 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.

(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.

(h) To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason.

Liability of Auctioneer and Seller19. 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.

Forgeries20. 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 market-able 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 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.

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.

Photographs21. 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.

CONDITIONS WHICH MAINLY CONCERN THE SELLER

Auctioneer’s Discretion22. 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.

Seller’s Warranty and Indemnity23. 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.

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Reserves24. 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 €500 in value. The reserve shall be the minimum Hammer price at which the lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the lot after the auction. The minimum commission hereunder shall be €50. The Auctioneer may in its sole discretion sell a lot at a Hammer price below the reserve therefore but in such case the proceeds of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse.

Unless a reserve has been placed on a lot in accordance with the provisions set out above such lot shall be put up for sale without reserve.

In the event that any reserve price is not reached at auction then for so long as the lot remains with the Auctioneer and to the extent that the lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale.

Commission25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer price of all lots sold on behalf of the seller at Irish Art Sales and 17.5% on the Hammer price of all lots sold on behalf of the seller at Fine Art, Wine and militaria Sales together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13.

Insurance26. 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 1.5% 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 Sale27. 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 Sale28. 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 Sellers29. If the seller resides outside Ireland the proceeds of Sale shall be paid to such seller in Euro unless it was agreed with the seller prior to the auction that the proceeds of Sale would be paid in a currency (other than Euro) specified by the seller in which case the proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment.

Charges for Withdrawn Lots30. 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 Lots31. 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 Illustrations32. 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).

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Sir John Lavery RHA RA RSABoy Sitiing by FountainEst: €10,000-€15,000

The AVA GalleryClandeboye Estatebangor, Co. DownbT19 IrN(T) +44 (0)28 91852263web: www.adamsatclandeboye.ie

IMPORTANT IRISH ART

Auction Wednesday 4th December 2013

Est 1887

26 St Stephens Green, Dublin 2Tel +353 1 6760261 Fax +353 1 [email protected] www.adams.ie

Estimate €40,000 - €50,000

12th and 13th October 2014

The Maria edgeworTh Table

Catalogue online shortly at www.adams.ie

CounTry house ColleCTions aT slane CasTle

An Italian early 19th century scagliola trompe l’oeil circular tabletop by Pietro Della Valle, with signature oak-leaf and anthemion ground decorated in a naturalistic manner with four scattered engravings; sheet music for “St. Patrick’s Day in the Morning”; an enve-lope addressed to ‘Miss Edgeworth, Edgeworthstown, Ireland’ from William Macbean and an extract from Sir Walter Scott’s General Preface to the Waverley Novels where he commends Miss Edgeworth’s literary accomplishments. Dated 1832. 84.5cm diameter.

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Sir John Lavery RHA RA RSABoy Sitiing by FountainEst: €10,000-€15,000

Jack B Yeats RHAGathering Seaweed Mayo Coast (1909)

Est: €30,000-€50,000

HigHligHts viewing in Belfast 13tH - 20tH novemBer tHe ava gallery, ClandeBoye

full sale viewing in duBlin 30tH novemBer - 3rd deCemBer adam’s, 26 st. stepHen’s green

Paul Henry RHAGrand Canal Dock Ringsend (1928)

Est: €30,000-€50,000

The AVA GalleryClandeboye Estatebangor, Co. DownbT19 IrN(T) +44 (0)28 91852263web: www.adamsatclandeboye.ie

IMPORTANT IRISH ART

Auction Wednesday 4th December 2013

Further entries are being accepted for this prestigious sale.

Est 1887

26 St. Stephen’s Green, Dublin 2

Tel +353 1 6760261 Fax +353 1 [email protected] www.adams.ie

Est 1887

at Clandeboye

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AArmstrong, Arthur 107, 108

BBallagh, Robert 49, 50Barrett Jnr., George (Attrib. to) 165Barton, Rose 70, 71 Bell, Sandra 153Blackham, Dorothy 129Bradley, Aidan 136Brobbel, John 151Butler, Mildred Anne 72, 73

CCampbell, George 103, 109, 110Caracciolo, Niccolo d’Ardia 134, 135Carey, Joseph William 67, 68Carr, Tom 128Clarke, Margaret 180Collins, Patrick 56Colvill, Helen 74, 75 Connor, Jerome 38-43Conor, William 18Cooke, Barrie 52Craig, James Humbert 4-7 Crozier, William 57, 58 DDavidson, Lilian Lucy 22 Delaney, Edward 155-157De Búrca, Micheál 191Dobbin, Lady Kate 76Downing Fripp, Alfred 69 E Egginton, Frank 189Egginton, Wycliffe 161Eun-Mo, Chung 65A

FFarrell, Michéal 51, 51A Faulkner, John 167 Fitzharris, Mike 186Fox, Kathleen 196French, William Percy 188

GGarstin, Norman 101Gillespie, Rowan 154Glenavy, Lady Beatrice 30 Goulding, Tim 139, 140Guinness, May 36Graham, Patrick 181, 182

HHamilton, Letitia Marion 19, 20 Hanlon, Father Jack P. 192

Hayes, Claude 160 Healy, Henry 137 Henry, Olive 28Henry, Paul 95Hickey, Patrick 179Hone, Evie 33, 34, 37Hone, Nathaniel 102Hone, Nathaniel (the Elder) 168A JJellett, Mainie 31, 32Johnson, Nevill 111-113

KKeating, Seán 14, 15Kelly, Francis 35Kelly, Oisín 44Kernoff, Harry 126, 127King, Cecil 62-64Kingerlee, John 185Kingston, Richard 158, 15Klitz, Anthony 124, 125Knuttel, Graham 183Kyle, Georgina Moutray 21

LLamb, Charles 16, 17Lavery, Sir John 177 Le Brocquy, Louis 45-47, 48 Le Jeune, James 133Leech, William John 99

M

Maclise, Daniel (Attributed) 162MacCabe, Max 184MacGonigal, Maurice 78-80 MacMiadhacháin, Pádraig 138Marjoram, Gerard 190McCaig, Norman J. 144McGuinness, Norah 23 McHugh, Paul 152McKelvey, Frank 13McNab, Theo 66McSweeney, Séan 59 Middleton, Colin 114-116Mitchell, Flora H. 130Mooney, Martin 141-143

NNicholl, Andrew 166Nicol, Erskine 169Nisbet, Tom 187

OO’Brien, Dermod 91

O’Casey, Breon 60 Ó Colmáin, Séamus 193-195 O’Connor, James Arthur (Circle of) 168O’Conor, Roderic 96-98O’Donoghue, Hughie 47A O’Kelly, Aloysius 100O’Malley, Tony 55O’Neill, Daniel 104-106 O’Neill, Mark 146Orpen, Sir William 92, 94Osborne, Walter Frederick 93

PPearson, Peter 122, 123 Praeger, Sophia Rosamund 172

RRákóczi, Basil Ivan 117, 118Reid, Nano 24, 25 Robinson, Markey 119-121Russell, George (Æ) 170, 171Ryan, Thomas 131, 132, 173

SSalkeld, Cecil fFrench 1Skerrett, Palm 2, 3 Scott, Patrick 61Scully, Harry 77 Shiel, Edward 174Shinnors, John 150Solomons, Estella Frances 197-216Souter, Camille 53, 54 Stephenson, Desmond 81-83Stokes, Margaret 175, 176Swanzy, Mary 26, 27

TTansey, Francis 65 Teeling, Norman 145Treacy, Liam 147-149

WWalker, John Crampton 163Warren, Barbara 29Wheatley, George Mounsey 164Wilks, Maurice C. 8-12

YYeats, Anne 178Yeats, Jack Butler 84-87 Yeats, John Butler 88-90

INDEX

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Est 1887