Important Irish Art 26th march 2014

Important Irish Art, wednesday 26th March 2014 at 6pm
1
Wednesday 26th March 2014
Important Irish Art

2
Front Cover Patrick hennessy Lot 28
Opposite Louis le Brocquy Lot 62 (1 of 36)
Page 2 Colin Middleton Lot 65
Page 5 Paul Henry Lot 74
Page 135 Robert lowe Stopford Lot 93 (Detail)
Page 139 Norah McGuinness Lot 9
Inside Back Cover Gerard Dillon Lot 37
Back Cover Colin Middleton Lot 66

3
Important Irish Art
Auction Wednesday 26th March 2014 at 6pm

5
AUCTION
Wednesday 26th March 2014 at 6.00pm
VENUE
Adam’s Salerooms
26 St Stephen’s Green, Dublin 2.
Ireland
Viewing Highlights MArch 6th
- 13th
At The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRN
Monday - Friday 11.00am - 5.00pm
Saturday 8th
March 2.00pm - 5.00pm
Sunday 9th
March
2.00pm - 5.00pm

Full Sale Viewing March 23rd
- 26th
At Adam’s, 26 St Stephen’s Green, Dublin 2.
Sunday 23rd
March 2.00pm - 5.00pm
Monday 24th
March 10.00am - 5.00pm
Tuesday 25th
Wednesday 26th

Important Irish Art

6
Brian Coyle FSCSI FRICS
CHAIRMAN
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
David Britton BBS ACA
DIRECTOR
d.britton@adams.ie
Abigail Bernon BA
FINE ART DEPARTMENT
abigail@adams.ie
Kieran O’Boyle BA Hdip ASCSI
FINE ART DEPARTMENT MANAGER
k.oboyle@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
You can now create your own account with us by signing up and registering your particulars online at www.adams.ie
The 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.
CREATE A ‘MY ADAM’S’ ACCOUNT
26 St. Stephen’s Green , Dublin 2.
Tel +353 1 6760261 Fax +353 1 6624725
info@adams.ie www.adams.ie
Est1887
Ronan Flanagan
FINE ART DEPARTMENT
ronan@adams.ie
Caroline Kevany BA
FINE ART DEPARTMENT
caroline@adams.ie

7

8
1. Estimates and Reserves
These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers.
They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower
estimate.
2. Paddle Bidding
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recommended
to register on viewing days.
3. Payment, Delivery and Purchasers Premium
Thursday 27th March 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 27th March 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 Regulations
All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is
inclusive of VAT. This is not recoverable by any VAT registered buyer.
5. 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 22nd March as we cannot guarantee that they will be dealt with
after this time.
6. Absentee Bids
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone.
However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee 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. Acknowledgments
We would like to acknowledge, with thanks, the assistance of Dr. S.B.Kennedy, Karen Reihill, Dickon Hall, Dr. Róisín Kennedy, Philip Flanagan, Dr. Denise
Ferran and Claire Dalton whose help and research were invaluable in compiling many of the catalogue entries.
8. All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in the salerooms
IMPORTANT INFORMATION FOR PURCHASERS

9
1 Peter Curling (b.1955)
Ireland’s Best
Watercolour, 49.5 x 73.5cm (19½ x 29”)
Signed
Provenance:The Tryon Gallery, London where purchased in 1986.
Literature: Collecting Sporting Art edited by J. N. P. Watson published by Sportsman’s Press, London, illustrated p.44.
This work was one of six paintings chosen by Curling for the Injured Jockey Fund Calendar 1998.
€4,000 - 6,000

10
2 Terence P. Flanagan RHA PPRUA (1929-2011)
Lough Erne, Winter Series (1968/69)
Oil on board, 73 x 107cm (28¾ x 41¾”)
Signed
Provenance: Viola, Duchess of Westminster, Ely Lodge, Lough Erne, Co. Fermanagh
Exhibited: This is thought to be the work Lough Erne, Winter (2) exhibited at the Tom Caldwell Gallery, Belfast, 1970
Viola, Duchess of Westminster (1912-1987) lived at the family seat, Ely Lodge just west of Enniskillen in Co.
Fermanagh. She served as Lord Lieutenant of Fermanagh from 1979 until her tragic death in a car accident near
Dungannon in Co.Tyrone in 1987. She was well liked locally and was a great supporter of the arts.
The Duchess commissioned T.P. Flanagan, who was born in Enniskillen and had his studio just across the border in
Donegal, to do a series of works around Ely Lodge in the early 1970s but this is an earlier work of Lough Erne by the
artist.
Our thanks to the artist’s son Philip for his assistance in cataloguing this lot.
€1,500 - 2,500

11
3 Arthur Armstrong RHA (1924-1996)
Figures in a Brown Landscape
Oil on board, 76 x 61cm (30 x 24”)
Provenance: Viola, Duchess of Westminster, Ely Lodge,
Lough Erne, Co. Fermanagh
Exhibited: Arthur Armstrong Exhibition, Tom Caldwell
Gallery, Belfast, Sept-Oct 1970, Cat. No. 13,
organised in association with the Hendriks
Gallery, Dublin (label verso)
Arthur Armstrong was largely self-taught and a superb natural
draughtsman. A life-long devotion to Braque accounted for
an increasing abstraction in his work during the 1940s and
‘50s. He was inspired by the west of Ireland landscape and in
particular Connemara and this saw a return to pure landscape
painting during this period. Formerly happy as a figurative
painter, Armstrong had strayed away from figures in his
work. The early ‘70s saw their slow return and one can see
their successful re-employment here. Their scale shows the
artist breaking new ground,offering ideas on human existence.
This is one of several works on this theme which were carried
out in various mediums including mixed media with plaster.
In the present work Armstrong’s figures seem consumed by
the landscape, similarly in another work entitled “Figures in
a Landscape” which was included in the same exhibition and
sold in these rooms 28th September 2005 (Lot 7).
€3,000 - 5,000

12
4 Colin Middleton RHA RUA MBE (1910-1983)
Lough Erne - March (1969)
Signed
Provenance: Viola, Duchess of Westminster, Ely Lodge, Lough Erne, Co. Fermanagh
Exhibited: Colin Middleton Exhibition, David Hendriks Gallery, Dublin, October 1970, Cat.
No. 32
Colin Middleton Retrospective,The Ulster Museum, Belfast, Jan-Feb 1976 and The
Hugh Lane Gallery, Dublin, March-April 1976, Cat. No. 111
The Duchess had a number of works by Colin Middleton in her collection and donated An
Ulster Landscape by him to the National Trust’s property ‘Florence Court’ nearby in Co.
Fermanagh. This house has close associations with the Duchess as she is credited with
saving the wonderful rococo plasterwork ceiling in the dining room and much of the house’s
contents when she organized a human chain to remove them during the fire there in 1955.It is
appropriate that she is remembered there through a work by Middleton which hangs upstairs
in the house.

The 1960s were a period of re-building for Colin Middleton after the setbacks of the second
part of the 1950s. He began again to exhibit regularly, moved back to Belfast and was by now
regarded one of the leading painters working in Ireland.His work had also become increasingly
concerned with landscape and even the paintings that have clear references to the figure,almost
always female, usually relate it to forms associated with the landscape.
Lough Erne was a favourite subject for Middleton at this time; he had a caravan at Castle
Archdale and visited it for family holidays when he fished and painted. His Lough Erne
paintings suggest recollections of the landscape built up over a long period of familiarity and
the experience of changing light and weather conditions and indeed Middleton never actually
painted outdoors, preferring to make small drawings and watercolours to record motifs and
colour, before working on paintings in the caravan or at home.
Lough Erne: March is on one of the largest formats on board on which Middleton painted.
Like many of these square landscape paintings from the 1960s and 1970s a strong series of
horizontals dominate and create a sense of space,while subtler repeated vertical strokes suggest
gradations of light and texture within a more detailed exploration of the place.
A strong shaft of sunlight draws the eye to the horizon where it illuminates a narrow blue line
of hills, but it also adds a luminous sheen to the reedy edge of the lake in the foreground and
middle distance.While clearly derived from the experience of specific places and moments,the
present painting exemplifies how Middleton’s landscapes of this period are also explorations of
abstract forms and effects that interested the artist.
Dickon Hall, March 2014
€6,000 - 10,000

13

14
Estuary, West Cork
Watercolour, 30 x 30cm (11¾ X 11¾”)
Signed and dated ‘71. Signed again, inscribed with title and dated July 1971 verso
€1,000 - 2,000

15
6 Charles Brady HRHA (1926-1997)
Haycock
Oil on canvas, 43 x 38cm (17 x 15”)
Signed, also signed verso on backing board
Provenance: Babcock Gallery, New York
€800 - 1,200

16
7 Georgina Moutray Kyle RUA (1865-1950)
Market Scene, Brittany
Oil on board, 35 x 46.5cm (13¾ x 18¾”)
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 the 1880’s, she travelled widely before retuning to Ireland with a
distinctly modern palette and post-impressionist style. She also exhibited works of Concarneau and Quimperle
at the RHA and the Belfast Society.
In 1930 the artist was represented in the Irish Exhibition at Brussels, and where the Belfast Museum and Art
Gallery bought “The Market, Concarneau” which had been exhibited in the Paris Salon in 1924. 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 1920’s and 30’s.
€800 - 1,200

17
8 Letitia Marion Hamilton RHA (1878-1964)
The Market Nazaré
Signed. Inscribed artist’s label verso
Provenance: Important Irish Art Sale these rooms 27th September 1995 Cat. No. 20 where purchsed by current owner.
€4,000 - 6,000

18
9 Norah McGuinness HRHA (1901-1980)
Winter in the West
Oil on board, 50 x 65cm (20 x 25½”)
Signed
Exhibited: The Royal Hibernian Academy Annual Exhibition 1961, Cat. No. 115, where purchased;
Twelve Irish Painters Exhibition, New York 1963; and
Norah McGuinness Retrospective Exhibition,Trinity College Dublin, Oct/Nov 1968,
Cat. No. 69
Winter in the West is a skilfully composed painting of large black and white seabirds feeding on
marshy sandbanks. Behind, the tall rectangular shapes of buildings suggest the outskirts of a town.
The composition is framed by lofty swaying grasses. Their large scale emphasises the unusual
perspective of the painting, contrasting as it does with the comparatively tiny forms of the birds
and houses in the distance. This is a bird spotter’s viewpoint. Dark grey skies contrast with the
symphony of browns and greens that dominate the rest of the composition.The mud-flat is made of
interconnecting blocks of differing tones which is ultimately indebted to McGuinness’s application
of a Cubist aesthetic.The geometry of its structure,and that of the houses behind,is at variance with
the loose handling of the paint elsewhere in the work, especially the plants in the foreground. This
divergence of brushstrokes enriches the overall mood and range of the painting.The childlike forms
of the birds, the focus of the work, add a note of exoticism to the scene.
The painting was included in the Arts Council’s exhibition, Twelve Irish Painters that was shown
in New York in 1963. McGuinness’s work was greatly admired for its modern qualities in the post-
war period. Anne Crookshank summarised its ability to challenge conventional ideas of the Irish
landscape and especially, as in this painting, the West. According to Crookshank, she ‘creates a
landscape art which is far more enduring, alive and Irish than all the cottages and turf stacks which still
sadly occupy so much gallery space in Dublin’.[1]
Dr. Róisín Kennedy, March 2014
[1]
Anne Crookshank, Norah McGuinness Retrospective Exhibition,Trinity College Dublin, 1968.
€10,000 - 15,000

19

20
Flight (1962)
Oil on canvas, 71 x 50cm (28 x 19½”)
Signed and dated ‘62
Exhibited: The Royal Hibernian Academy Annual Exhibition 1962, Cat. No. 138,
where purchased
Its strong sense of design and its consciously modern treatment of the subject makes
Flight,a distinctively Norah McGuinness painting.It suggests a late autumnal scene,
with dark silhouettes of trees against an expanse of air, filled with the black forms of
departing birds.The sky, an abstract study of the colour blue in all its tones, forms a
vivid backdrop to the stark black structure of the branches and the diagonal sweep of
the birds in flight.The cool tones of the upper part of the composition are contrasted
by the warm greens, reds and yellows of the ground in the lower left foreground and
in the cascading red shapes that emerge from the branches of the trees, like falling
leaves or splashes of November colour.
The structured arrangements of the different elements of the composition reveal
McGuinness’s familiarity with Cubism which she had acquired in Paris in the late
1920s while a student at André Lhote’s academy. Although the style only made a
marginal impact on her earlier work, she renewed her interest in the aesthetic in the
later 1950s and early 1960s in paintings such as this.Cubism allowed her to simplify
form. Combined with her fundamental sense of design it produces in Flight a tightly
constructed and evocative work. The painting knowingly engages in a progressive
way with the traditional subject of landscape. It focuses on an intimate view of
nature, the trees, the birds and the sky, using understated but a highly expressive
combination of colour and form. In 1980 James White summarised McGuinness’s
ability to abstract from nature:‘...more than any of her Irish contemporaries,she was
able to impose her own will on her pictures, so that the dominating pattern of the
underlying form is little apparent. ‘ [1]
Dr. Roisin Kennedy, March 2014
[1]
James White Norah McGuinness. An Appreciation,Irish Times,24 November 1980.
€8,000 - 12,000

21

22
Lapwings at Balbriggan
Signed
Exhibited: “Norah McGuinness Exhibition”,The Dawson Gallery, Dublin, Sept
1975, Cat. No. 25, where purchased
Exhibited at one of McGuinness’s last one-woman shows at the Dawson Gallery,
Lapwings at Balbriggan deals with a favourite subject of the artist, birds on the
seashore. Living at York Road in Dun Laoghaire, the artist frequented the beaches
of county Dublin from which she created a series of studies of gulls, lapwings and
seabirds feeding on the damp marshlands of the bay. This work is based on the
coastline of north county Dublin.As James White put it,‘The sandy shores and white
Irish skies were her constant backgrounds and skill and know-how were her brushstrokes’.
[1]
Her earliest landscapes were painted on site in the open air but paintings such as
this are primarily studio works. Distilled from chalk sketches and colour notes, it
shows McGuinness more preoccupied with ‘describing only the essential features and
details of the scene’ [2]
, rather than creating a conventional topographical landscape.
Using a high viewpoint the features of the view are laid out.Its details are condensed
into a series of strong interlocking shapes and colours. The undulating line of the
water and sea is contained by the distant green coastline and the yellow sandbanks.
The schematised forms of the birds with their strange crested heads and the
decorative colours and details of the stones and the grasses in the foreground lend
the scene a distinctly exotic aura. Above all the intense yellow, harmonised with
greens and browns, transforms a familiar sight into a vibrant painting, evocative of
the intense sense of modernity that lies at the heart of McGuinness’s work.
Dr. Róisín Kennedy, March 2014
[1]
James White Norah McGuinness. An Appreciation, Irish Times, 24 November
1980.
[2]
Anne Crookshank, Norah McGuinness Retrospective Exhibition, Trinity College
Dublin, 1968.
€8,000 - 12,000

23

24
Woman with Carrots
Watercolour, 25.75 x 36cm (10¼ x 14¼”)
Signed. Inscribed with title verso
€1,500 - 2,500

25
Portsalon, Co. Donegal (c.1930’s)
Oil on canvas, 46 x 56cm (17¾ x 22”)
Detached artists’ label verso inscribed with title, price £14.4.0 and address: Bell Steps, Hammersmith Terrace, W6
Provenance: A gift from the artist to the present owner’s father, who was an apprentice to McGuinness during her time as
display director in the 1940’s at Brown Thomas, Dublin; thence by descent
€3,000 - 5,000

26
14 Father Jack P. Hanlon (1913-1968)
Montmartre, Paris
Watercolour, 34.5 x 44cm (13½ x 17¼”)
Signed
€500 - 700
15 Father Jack P. Hanlon (1913-1968)
Boats, Le Havre
Watercolour, 35.5 x 52cm (14 x 20½”)
Dawson Gallery label verso
€700 - 1,000

27
16 Basil Ivan Rákóczi (1908-1979)
Continental Streetscapes with Figures
A pair, Ink and Watercolour, each 47 x 30.5cm (18½ x 12”)
Signed
€800 - 1,200

28
17 Evie Hone HRHA (1894-1955)
Christ is Condemned to Death
Signed
Provenance:The Dawson Gallery, Dublin
€2,000 - 3,000

29
The Holy Family
Oil on board, 51 x 41 cm (20 x 16”)
€3,000 - 5,000

30
Christ Meeting the Women of Jerusalem
on the Way to Calvary
Gouache, 30.5 x 58.5cm (12 x 23”)
Signed
€2,000 - 3,000
Christ Falls for the First Time
Gouache, 30.5 x 58.5cm (12 x 23”)
Signed
€1,500 - 2,500

31
Pentecost
Triptych, Gouache, each 39 x 18cm (15.4 x 7”)
Provenance: Dawson Gallery, Dublin
€3,000 - 5,000

32
21A Mainie Jellett (1897-1944)
Rug Design
Gouache, 30 x 14cm (11¾ x 5½”)
Provenance: Jorgensen Fine Art, Dublin; where purchased by the
current owner
€1,000 - 1,500
21B Edward Montgomery O’Rorke Dickey HRUA
HRCA CBE (1894-1977)
The Farm Gate
Pen, ink and monochrome wash, 20.5 x 27cm (8 x 10.5”)
Signed
Born in Belfast, Dickey studied painting under Harold
Gilman at the Westminster School of Art. He exhibited
widely in Ireland during the early 1920’s, including at the
first exhibition of the Society of Dublin Painters along
with Paul Henry, Letitia Hamilton and Jack B Yeats.
€200 - 300

33
22 Nano Reid RHA (1900-1981)
Stoney Beach and Bathers (1974)
Oil on board, 47 x 91 cm (18.5 x 36’’)
Signed
Provenance:‘Bank of Ireland Collection Sale’, Adam’s, 24th November 2010, Lot 21, where purchased by the current owner
Exhibited: Nano Reid Retrospective, Municipal Gallery Dublin, Nov-Dec 1974; Ulster Museum, Jan-Feb 1975,
catalogue no. 107
Nano Reid Exhibition, Oct/Nov 1976, cat. no. 9 under the title Bathers on a Desolate Shore Irish Art
1943-1973, Cork ROSC 1980, cat. no. 91
On Reflection-Modern Irish Art 1960’s-1990’s,The Crawford Gallery, Cork, Aug-Oct 2005; and after
wards at Galway City Museum, 2006
Literature: Cork ROSC 1980 catalogue full page illustration, plate 14 page 53
On Reflection, full page illustration, page 68
€4,000 - 6,000

34
23 Doreen Dickie (b.1902)
An Irish Arts & Crafts Movement oxidised copper candlestick
converted to a table lamp, the dished top above tapering shaft
with inset rectangular cloisonné enamel plaques depicting
flowers, raised on a domed circular spreading foot
38cm (15”) high to fitting
Provenance: Collection of Mrs. D.P. Smith
Literature: Nicola Gordon Bowe and Elizabeth
Cumming, The Arts & Crafts Movements in
Dublin & Edinburgh 1885-1925, page 117, No. 60
Doreen Dickie was raised at her parents house in Swords
Co. Dublin . She became a student of Oswald Reeves (See
lot 24) in metalwork and enamelling while at the Dublin Art
School from 1922 - 28.She qualified as an art teacher and later
worked in a studio above Gertrude Grew’s Dublin Art Shop
in Dawson Street.
€1,000 - 1,500

35
24 Percy Oswald Reeves (1870-1967)
The Virgin, standing, in profile, on a ground of
interlocking flowerheads and ivy
Gouache, irregular lancet shape, 58 x 15cm (22.75” x 6”)
Inscribed Oswald Reeves, Wicklow verso
This is a to-scale study for his bronze memorial tablet
in The Lady Chapel at St. John’s College, University
of Sydney, NSW. The original tablet can be seen in the
black and white image below the drawing, it was made
from bronze, with copper, enamel and silver.
€1,000 - 2,000

36
25 Conor Walton (b.1970)
Bacchus
Oil on panel, 30 x 38cm (12 x 15”)
Signed and dated 2000
Exhibited: Conor Walton Exhibition, Jorgensen Fine Art, Dublin,
(label verso) where purchased by the current vendor
€800 - 1,200
26 James English RHA (b.1946)
Parsley in a Glass
Oil on board, 29 x 25.5cm (11 x 10”)
Signed, signed again with initials and dated Aug ‘02
verso
Provenance:The Greenlane Gallery, Dingle
€500 - 700

37
27 Patrick Hennessy RHA (1915-1980)
‘Purple and Gold’ - Still Life
Oil on canvas, 65 x 89cm (25.5” x 35”)
Signed
€5,000 - 8,000

38
The Long Road Home, Connemara
Oil on canvas, 53.5 x 75.5cm (21 x 29¾”)
Signed
Provenance: Ritchie Hendriks Gallery, Dublin November 1960 where purchased and by descent to current owner
€7,000 - 10,000

39
The White Mare
Oil on canvas, 61.5 x 89cm (24 x 35”)
Signed

Provenance: Important Irish Art sale, these rooms 16th June 1993 Cat. No. 32 where purchased by current owner
€4,000 - 6,000

40
30 Henry Robertson-Craig RHA (1916-1984)
Last Customers at the Philbeach
Oil on canvasboard, 25 x 35cm (9¾ x 13¾”)
Signed
Provenance: ‘Patrick Hennessy and Henry Robertson Craig Sale’
Christies, 10th July 1986, Cat. No. 84 (illustrated)
Philbeach was a popular pub & hotel which ran in Earl’s Court,
London for 27 years until 31st January 2008.
€500 - 700
Rocky Shore
Oil on board, 32 x 40 (12½ x 15¾”)
Signed
Exhibited: David Hendriks Exhibition, Cork 1974, Cat. No. 15
€500 - 800

41
A Parisian Outdoor Cafe
Oil on canvas, 60 x 50cm (23½ x 19½”)
Signed
€2,500 - 3,500

42
33 William John Leech RHA (1881-1968)
From a Hotel Window
Oil on canvas, 50.5 x 42cm (20 x 16½”)
William John Leech was educated at St. Columba’s College, Rathfarnham where
he showed early artistic promise. He subsequently attended the Dublin Metro-
politan School of Art before passing to the Royal Hibernian Academy School as a
pupil of Walter Frederick Osborne (1859-1903), and from there to the Academie
Julian in Paris in 1901.
In the 1930’s Leech embarked on a series of pictures of various themes; still life’s,
self portraits, railways, and his life long friend and partner May Botterell, who he
married in 1953. From the 1930’s, Leech painted daily at his rented No. 4 Steele
studio, and his greatest influence during this time were the ‘’Bloomsbury ‘’ paint-
ers; Duncan Grant,Vanessa Bell and Roger Fry.Their focus was more with private
than public concerns and influenced Leech to paint purely for ‘art’s sake’.
In this painting the artist is viewing a quiet English country lane in the height of
summer from a hotel window which has the top of an arrangement of summer
flowers and grasses visible, presumably on the sill. The dappled light permeating
through the verdant leaves is typically Leech as is the shadow-play through the
garden gate and on to the road which is lit by wonderful sunshine.
€8,000 - 12,000

43

44
34 William John Leech RHA (1881-1968)
Still Life of Flowers in Mirror
Signed
Another finished work verso “View of Town from a French Window” (see illustration),
which some people prefer
Provenance:The collection of Dr. Eileen McCarville; later in the Collection of George and
Maura McClelland and on loan from them to IMMA from 1999 - 2004;
Private Collection Dublin
Exhibited: RHA Annual Exhibition 1932, Cat. No.179;
William J. Leech exhibition,The Dawson Gallery, Dublin, May/June 1945, Cat.
No.25;
Irish Art 1943-1973 ROSC Cork, Aug/Nov 1980, Cat. No.70 (label verso);
William John Leech: An Irish Painter Abroad, National Gallery of Ireland, Oct/
Dec 1996, Musée des Beaux Arts, Quimper, Jan/March 1997,The Ulster Mu
seum, Belfast, March/June 1997, Cat. No.82
Literature: William John Leech: An Irish Painter Abroad by Denise Ferran 1996, full page
illustration p247;
The Hunter Gatherer, Irish Museum of Modern Art 2004, illustrated Fig.27
p.39
€10,000 - 15,000
After nearly a decade spent in France, when Leech settled in London he found himself concerned with colour, and especially
in ‘trying to evolve sunlight and reflections’. When in France he had been able to capture the effects of sunlight while painting
en plein air, but in London he concentrated instead on interior and flower studies and still lives.
Flowers in a Mirror allowed Leech to demonstrate his command of the depiction of colour, light, shape and form. The light
on the orange red gladioli and the mauve hued daisies doubly sparkle in their reflected glory, captured in the mirror behind,
confusing the viewer, leading to the question what is real or reflected, what is casual or contrived.
Leech’s virtuoso skill in composition also manifested itself. Though the viewer is drawn in to the many faceted light reflec-
tions, Leech focused attention on the slightly off centre dominant vertical created by the earthenware vase and the stems of
the flowers which is repeated in the reflected image and divides the work on the golden median principle. Similarly the deep
shadow behind the edge of the white tablecloth, divides the work horizontally.The strong diagonal, created by the edge of the
tablecloth, is repeated a multiplicity of times, in the bottom edge of the mirror, the reflected window frame and the reflected
folds of material.This formal structure underpins this image of colourful, beautiful flowers which capture the summer sunlight
for all time, long after it and the flowers and the artist have gone.
We would like to acknowledge Dr. Denise Ferran, whose research and writings formed the basis of this catalogue entry.

45
From The McClelland Collection

46
35 Maurice MacGonigal PRHA (1900-1979)
A Village Street
Oil on board, 29 x 39.5cm (11½ x 15½”)
Signed
Provenance: Goodwin Galleries, Limerick (exhibition label verso)
€3,000 - 5,000

47
36 Maurice MacGonigal PRHA (1900-1979)
Seagulls at Clifden
Signed
Provenance:This work has been in the current owner’s family since the 1970’s
€4,000 - 6,000

48
37 Gerard Dillon (1916-1971)
Kathleen Joyce
Oil on board, 33 x 29cm (13 x 11½”)
Exhibited : Gerard Dillon - Early Paintings of the West Exhibition,
The Dawson Gallery, March 1971 Cat No 24. (Label verso)
Provenance: Important Irish Art Sale, these rooms, 15th March 1990, Cat. No. 138 where
purchased by the current owner

In the late 1940’s Gerard Dillon with his friends, George Campbell and Daniel O’Neill entered
into a stipend arrangement with Victor Waddington which allowed the artist to rent accommo-
dation in the West of Ireland to execute subject matter in preparation for his solo exhibitions
with the gallery. A frequent visitor to Connemara, Dillon formed friendships with the locals
and also those with holiday homes in the area. Sometimes he asked his friends to act as models
for his paintings, Tom Baker, Moyard, was a neighbour in the area and Island Man depicts Paddy
McDonagh, who rowed Dillon to and from Inishlackan Island and Roundstone in 1951.
Dillon executed three versions of his friend, Kathleen Joyce. Girl in Blue was exhibited at the
Irish Club in London, 1955 and Kathleen; a monotype was exhibited with the Council for
the Encouragement of Music and the Arts (CEMA), 1956. This version, Kathleen Joyce first
appeared at an exhibition, Gerard Dillon and Early Paintings of The West at the Dawson Gallery
in March 1971. In a pink dress, the model appears distracted by something to the right of the
picture plane. She is wearing a hat, dark coat and fur collar. In the smaller version, Girl In Blue
Kathleen gazes directly at the viewer in a cottage in a similar coat with the door closed. Here,
the sparse furnishings,white washed walls,chickens and the rural landscape through open door,
however indicate isolation. Traveling to remote parts of Connemara, Dillon was often alone
for long periods of time.
Whilst Dillon’s two friends, George Campbell and Daniel O’Neill were enjoying some success
in the 1950’s Dillon’s quirky naïve West of Ireland images struggled to find buyers. Victor
Waddington held only two solo exhibitions of his work in 1950 and 1953. In 1955, in a letter
to John Hewitt, Dillon expressed his frustration at his inability to win over the public, I’m still
painting away, but I sometimes ask myself for what? The answer is nearly always the same, “for my
own amusement it seems like!
Following the exhibition at the Dawson Gallery in 1971, critics favourably reviewed the show
and Dillon wrote to his friend Patrick Kelly expressing his delight at the success of his show.
Three months later following the artist’s death,Bruce Arnold remarked in The Independent, He
had an inner confidence that nothing could shake and he masked it with wry good humour. The world
he has left us in his paintings is one that in time we will learn to appreciate.
Karen Reihill
Currently researching Gerard Dillon & Friends
€25,000 - 35,000

49

50
In the London Flat
Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999-2004;
Private Collection, Dublin
Exhibited: Gerard Dillon Retrospective, Droichead Arts Centre, Drogheda, Jan-Feb 2003; Art Tank Gallery, Belfast, Feb-Mar 2003,
Cat. No. 26
Northern Artists from the McClelland Collection, IMMA, Dublin, 2004-2005 and toured afterwards to Droichead Arts
Centre, Drogheda, 2005
Ulster Artists exhibiton Ava Gallery Clandeboye April 2010 Cat. No. 10
Gerard Dillon: Art & Friendships, Adam’s, Dublin, July 2013 and AVA Gallery, Clandeboye, August 2013, Cat. No. 8

Literature: Gerard Dillon Retrospective catalogue, 2003, full page illustration
Ulster Artists exhibition 2010 Illustrated p11
Gerard Dillon: Art & Friendships, 2013, illustrated page 6
€20,000 - 30,000
After the War, Gerard Dillon returned to London to live in his sister’s
Mollie’s house, which she leased from Camden Council. Mollie was
obliged to restore the house and Dillon spent weeks altering his base-
ment flat, which had its own independent entrance and door out to the
garden where he was able to store his materials. Many of Dillon’s friends
from the literary and musical world followed him to London and for a
time, Gerard’s flat was a center for artists, writers and musicians to ex-
change ideas and to support one another.
Leading a frugal life,Dillon became accustomed to living in small spaces.
Divided into three sections by a cupboard, Dillon gives the viewer an
insight into his flat in the mid 1950’s. On the left, a dressing area with a
radiogram,scattered records,shoes,socks,coat and hanger. In the centre,
a working area of a still life of a cupboard, painting, fruit, drapery and a
bird. To the right, a man in uniform is seated on the artist’s bed smoking
a cigarette holding a plate. The sitter is probably the artist’s friend from
Belfast, Jim Maguire in his National Service Uniform. Patrick Kelly,
known as ‘Pat’ or ‘Paddy’ Kelly introduced the artist to Maguire and his
family, who were were living in Winchester, Hampshire during this pe-
riod. Known to take in injured stray animals, especially cats, Dillon may
have asked his friend Maguire help him in the bird’s recovery by trying
to coax the bird to feed from the breadcrumbs on the plate.
In The London Flat belongs to a series of paintings depicting Dillon’s flat
in Abbey Road. Stylistically similar to Self Contained Flat (Ulster
Museum) Dillon employed a narrative theme to these images which
were often self-portraits. Here the artist has included his records,
clothes, working area and close friend. Also divided into three sec-
tions, Self Contained Flat, depicts himself as the narrative in his daily
life. In his West of Ireland images the artist’s gramophone player or
feet might appear sticking out from the foreground. These interior
images also signalled differences between Dillon’s urban and rural life.
In particular, the changes in modernization and the advancement of
technology,the juxtaposition of the radiogram in the London flat and
the gramophone player in the West of Ireland.
Two writers who often visited Dillon’s flat in the 1950’s, Aidan Hig-
gins and Gerard Keenan described Dillon’s flat in their publications.
- Higgins in Balcony of Europe, a novel published in 1972 and Keenan
in Farset and Gomorrah, which was serialized in The Honest Ulsterman,
1977.
Michael Longley refered to this work in a review of the exhibition for
the Irish Times on the 13th
April 1971, The earlier oils are of consid-
erable interest. These take for their subject matter everyday life…a young
soldier in an untidy bedroom. With tact and delicacy Dillon nudges prosaic
and seemingly intractable material towards the condition of poetry. He
has, indeed, the uncanny knack of releasing the poetry which lies locked up
in such objects as socks and slippers and coat-hangers-grandchildren, these,
of Van Gogh old boots!...If the title,“The Poet of Irish Painting”means any
thing, then Gerard Dillon lays serious claim to it.”
Karen Reihill
Currently researching Gerard Dillon & friends

51

52
The Shadow Box
Oil on canvas, 35 x 25cm (13¾ x 11¾”)
Exhibited: Gerard Dillon Exhibition The Mercury Gallery, London April 1967 cat No 1
(Mercury Gallery label verso)
James White wrote the foreword in the artist’s exhibition at the Mercury Gallery, Recently he
[Gerard] has become preoccupied with clowns-Pierrots in unlikely places which, one supposes, sym-
bolize the artist on his quest for himself amongst his fantasies…the degree to which the art of Dillon
is involved in the subconscious is readily apparent. Gerard Dillon never liked to speak about his
painting and his work from this period can be difficult to interpret.
Influenced by Picasso’s depiction of the masked figure,Dillon discovered by adopting the masked
Pierrot as his alter ego, it enabled him to express his ‘counter ego’or ‘shadow’. This interest in his
subconscious relates to Carl Jung’s dream theory. Dillon used his dreams as a window into his
unconscious enabling him to confront his fears and anxieties.
Following the deaths in quick succession of his three brothers, who all died in their fifties,
Gerard embarked on a personal journey to search for answers to these traumatic events. A
Pierrot is depicted in an inner enclosure or empty room with different coloured walls. There are
no windows or doors. A shadow appears against a white wall with its finger pointing upwards.
In 1991, Arthur Armstrong, a friend commented on the artist’s works from this period he was
obsessed that he was going to die young too…and was preoccupied with death in his work.
In this dream the Pierrot is not equipped with his master tools, his hands. An innovative paint-
er, Dillon embraced all forms and mediums in art. In 1974, in handwritten notes for a radio
programme George Campbell recalled his friend’s dexterity, he had strong nimble hands that were
endlessly tearing, shaping, sticking, painting or stretching. He even peeled his spuds with his hands.
Could the Pierrot be walking out of his ‘box’ towards his ‘shadow’ to join his three brothers in
the after life?
Two months before the exhibition at the Mercury, Dillon referred to these paintings as ‘Pierrots
in Poetic Fantasies”. The ‘Poetic Fantasies’ developed into highly sophisticated and complex
images till the artist suffered a stroke in 1971.
Karen Reihill
Currently researching Gerard Dillon & Friends.
€4,000 - 6,000

53

54
Captive
Mixed media on board, 46 x 55.5cm (18 x 21¾”)
Signed and inscribed with title verso
€1,000 - 2,000

55
41 Daniel O’Neill (1920-1974)
Hallowe’en
Signed
Exhibited: Thought to have been included in Daniel O’Neill
Inaugural Exhibition,The Waddington Gallery
Dublin 1946
Selected Works from the McClelland Collection,
IMMA, Dublin, Sept 2,000-Jan 2001
Literature: Daniel O’Neill by Gena Lynam, Irish Arts
Review Vol 15, 1999, illustrated page 155
The Hunter Gatherer, IMMA 2004, illustrated
fig. 44 page 40
Anne Marie Keaveney writing in “The Hunter Gatherer”
refers to this work :-
This painting evokes the essence of Hallowe’en when the souls of
the dead are said to return to earth. The painting has a cast of
characters waiting in suspense, as if anticipating some momen-
tous happening. The subdued colour and the nacreous quality of
the paint, serve to heighten the sensation.
€7,000 - 10,000

56
42 Frederick E. McWilliam HRUA RA (1909-1992)
Box I
Bronze, 20cm (8”) high
Signed with initials and numbered 5/5
Provenance:The Gordon Gallery, Derry, 26th November 1990 where
purchased by the current owner. (Copy of the original receipt available)
Exhibited : F.E. Mc William Exhibition The Waddington Gallery , London 1971
F.E. Mc William Retrospective F.E. McWilliam Retrospective travelling exhibition, Arts
Council of Ireland,The Ulster Museum, April/May 1981, Douglas Hyde Gallery, May/
June 1981, Crawford Gallery, Cork, July/August 1981, Cat. No. 87
F.E. Mc William Exhibition ,The Gordon Gallery, Derry 1984 Cat. No. 1
Literature: F.E. Mc William Retrospective 1981 Illustrated P 67
The sculpture of F.E. Mc William by Denise Ferran and Valerie Holman 2012
Cat. No. 350
Frederick Edward McWilliam was an incredibly diverse artist. McWilliam did not limit himself to any single
approach or movement and his constant experimentation with media and style is characteristic of this exploratory
attitude. McWilliam was at the centre of an interesting and talented group of British and Irish artists in the mid
20th
century. He met Henry Moore through his friend George McCann while he was still a second-year student
at the Slade School of Fine Art, and they became good friends. Parallels in subject matter and formal exploration
can be traced throughout their careers and Moore was a role model and mentor of sorts to McWilliam. McWil-
liam made lasting friendships with other artists living and working in London at the same time. He shared a
studio with John Luke while they were both students at the Slade, and his inner circle included Francis Bacon
and William Scott.
Throughout his career, McWilliam tended to work in series, exploring a theme in a succession of variations.
Characteristic of his pre and post-war sculpture was his exploration of ‘the complete fragment’, the part standing
for the whole, in works described by their titles including: Mandible (1938) and Eye, Nose and Cheek (1939; Tate
Collection). His later Legs series, including Legs Static and Umbilicus, was a more playful excursion into the same
territory. While much of his sculpture focuses on his own artistic concerns there is an element of social engage-
ment running through it. A large part of his career was devoted to public sculpture and these significant works
have made a lasting impact in their locations in universities and hospitals in particular. He taught sculpture at the
Slade and exhibited all over the world, and although he left Banbridge in 1928, he never forgot his Irish connec-
tions. His sculptures are visually intriguing, expressive and imaginative.While often Surrealist in tone, they always
retain an inherent humanity at their core.
Mc William had been going through a mosaic period between 1967 - 69 after which in 1969 he started one of his
most successful series of small bronzes of Girls.This he continued until he commenced his Women of Belfast Series
in 1972. Box I is one of the earliest pieces in the Girls series and was completed in 1969. It and the rest of the
series contrasts the highly polished external surface in which he has added incised fine lines to define the female
form and in this case the finely modeled interior which seems dull in comparison.
We thank Dr Denise Ferran whose writings on F. E. Mc William have formed the basis for this catalogue entry.
€8,000 - 12,000

57

58
43 Frederick E. McWilliam HRUA RA (1909-1992)
Suspend Belief (1976)
Bronze, height 39cm (15”), signed with initials and numbered 2/5
Exhibited: F.E. McWilliam Exhibition,The Taylor Gallery, Dublin 1978
F.E. McWilliam Retrospective travelling exhibition, Arts Council of
Ireland,The Ulster Museum, April/May 1981, Douglas Hyde Gallery,
May/June 1981, Crawford Gallery, Cork, July/August 1981, Cat. No.
125
Literature: ‘The Sculpture of F.E. McWilliam’ by Denise Ferran and Valerie
Holmes 2012, Cat. No. 433 (not illustrated)
After working on his Women of Belfast series between 1972 - 74 Mc William
turned his attention from the victims of the troubles in Northern Ireland to the
survivors. A prologue to the new series Banners was a piece called Survivor which
he completed early in 1975. He then started Banners - women as survivors and
campaigners for peace : United as mothers across the religious and political divide
we marched through towns, held rallies, galvanised speakers. This series shows again
that Mc William had not lost his Ulster roots and was concerned about what was
happening there.
He continued with this Banner series until the end of 1976 completing thirty
different pieces in the series some of which contained non-Ulster references like
“Buy more art” and other witty titles.
We thank Dr Denise Ferran whose various writing on F.E. Mc William which
formed the basis of this catalogue entry.
€8,000 - 12,000

59

60
44 Oisin Kelly RHA (1915-1981)
Arctic Tern
Bronze on granite base with silver plaque by Desmond Byrne,
61.5cm (24¼”) high
€2,000 - 4,000

61
45 John Behan RHA (b.1938)
Birds in Flight
Bronze on a black fossil marble plinth, 55cm high (including base)
(21.6”)
€2,000 - 3,000

62
46 Krystyna Pomeroy (20th/21st Century)
Pig
Bronze, 24cm high, 48cm long (9 x 19”)
Signed with initial and numbered 7/9
€1,500 - 2,500

63
47 Krystyna Pomeroy
(20th/21st Century)
Seated Hare, Black and Gold
Bronze, 51.5cm (20¼”)
Signed with initials and numbered 7/9
€1,500 - 2,500

64
48 Mark Rode (b.1965)
Man Pushing a Bicycle
Bronze, 35.5cm (14”)high, unique
Signed with initials
Originally from Melbourne,Australia,Mark Rode studied at Queens-
land College of Art and moved to England in 1998 before settling in
Ireland in 2002. Having set up a foundry and studio in Co. Mayo, he
has since executed a number of large scale public commissions,includ-
ing the Tour de France Memorial in Enniscorthy, Co. Wexford, and
the GAA Football Sculpture in Tralee, Co. Kerry. His work has been
included in group shows around Ireland, including Jorgensen Fine
Art, The Solomon, The Kenny Gallery, King House in Co. Roscom-
mon, RHA, and The Eakin Gallery Belfast, as well as at a number of
London galleries
€2,000 - 3,000
49 Yann Renard Goulet RHA (1914-1999)
Des Vainqueurs Irlandaise
Bronze on a black fossil marble base, 12 x 17cm (not including
base) (4¾ x 6¾”)
€200 - 300

65
50 Desmond A. Byrne (20th/21st Century)
A complete thirty-two piece silver and silver gilt chess set presented on a Kilkenny marble and limestone chessboard,
15.5 x 15.5cm (18 x 18”) with silver plaque inscribed with artist’s name, total silver weight: c.61ozs
€2,000 - 4,000

66
51 Francis Tansey (b.1959)
Tubular Progression
Acrylic on canvas, 89 x 178cm (35 x 70”)
Signed, inscribed and dated 2002 verso
€4,000 - 6,000

67
52 Francis Tansey (b.1959)
Spatial Logic
Acrylic on canvas, 101.5 x 101.5cm (40 x 40”)
Signed, inscribed and dated 2002 verso
€2,000 - 4,000

68
53 Sean Scully (b.1945)
Conversation
Colour Woodcut, 93 x 129.5cm (36½ x 51”)
Signed, inscribed with title, dated ‘86 and numbered 18/40
A copy of this woodcut can be found in the collection at MOMA, New York (ref. 205,1986)
€3,000 - 5,000

69
54 William Scott RA (1913-1989)
Blue Gouache
Gouache, 35.5 x 48cm (14 x 19”)
Exhibited: William Scott Festival Exhibition 1969,The Richard Demarco Gallery, Edinburgh, Cat. No. 20
‘Tenth Anniversary Exhibition of Irish Art The Eakin Gallery, February 2000, Cat. No. 56
€15,000 - 20,000

70
55 Tony O’Malley HRHA (1913-2003)
Studio (1981)
Oil on board, 61 x 91.5cn (36 x 24”)
Signed with initials and inscribed ‘Studio’. Signed again twice, inscribed with title and dated 1981
verso
Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA
from 1999-2004; Private Collection, Dublin
Tony O’Malley came late to painting after a career in banking, and was in his late 60’s and living
in St Ives when George McClelland first became aware of him, prompted by fellow artist F.E.
McWilliam. When they first met, O’Malley was not particularly successful, despite having painted
and exhibited for thirty years, but McClelland determined to change this. He relentlessly promoted
the artist between 1980 and 1983,with the result that O’Malley went from being virtually unknown
in his homeland to being given an Arts Council of Ireland Travelling Exhibition and having his
work in important public collections such as the Bank of Ireland, within a few years. A major ret-
rospective in Dublin, Cork and Belfast in 1984 cemented his place within the context of important
Irish painters of the 20th
century.
In the 1970’s O’Malley married his wife Jane and they spent a lot of time in the Bahamas. Influ-
enced by the light and surroundings, much of his work from this time became more colourful and
vibrant, moving away from the more sombre tones of his work in the 1950s and ‘60s.
In 1990 he and his wife moved back to Ireland and in 1993 he was elected a Saoi of Aosdána.
When he died in 2003 he was regarded as one of Ireland’s leading painters, due in no small part to
the influence and support of George McClelland. The Irish Museum of Modern Art held a major
retrospective of his work in 2005.
€7,000 - 10,000

71

72
The Tain
Táin Bó Cuailnge is the longest and most important of the Ulster cycle of heroic tales. In September 1969 The Dolmen Press published a unique
translation, largely from the eighth century Irish version, by Thomas Kinsella. (See lot 62A)
The Origin of the Tain
Much of early Irish literature has been lost. Much of what survives is contained in a few large manuscripts made in medieval times. Among their
miscellaneous contents are four groups of stories: mythological stories relating to the Tuatha Dé Danann (‘the Tribes of the Goddess Danann’), an
ancient divine race said to have inhabited Ireland before the coming of the Celts; the Ulster cycle, dealing with the exploits of King Conchobor
and the champions of the Red Branch, chief of whom is Cúchulainn, the Hound of Ulster; the Fenian cycle, stories of Finn mac Cumaill, his son
Oisín, and the other warriors of the Fiana; and a group of stories centred on various kings said to have reigned between the third century B.C. and
the eighth century A.D.
The oldest of these manuscripts - Lebor Na hUidre, familiarly known as the Book of the Dun Cow - was compiled in the monastery of Clonmacnoise
in the twelfth century. It contains, in a badly flawed and mutilated text, part of the earliest known form of the Táin Bó Cuailnge. Another partial
version of the same form of the story, also flawed, is contained in a late fourteenth century manuscript, the Yellow Book of Lecan. Between them these
give the main body of the Táin as used in chapters II to XIV of my translation.
The origins of the Táin are far more ancient than these manuscripts.The language of the earliest form of the story is dated to the eighth century, but
some of the verse passages may be two centuries older, and it is held by most Celtic scholars that the Ulster cycle, with the rest of early Irish litera-
ture, must have had a long oral existence before it received a literary shape and a few traces of Christian colour, at the hands of the monastic scribes.
As to the background of the Táin, the Ulster cycle was traditionally believed to refer to the time of Christ.This might seem to be supported by the
similarity between the barbaric world of the stories, uninfluenced by Greece or Rome, and the Le Téne Iron Age civilisation of Gaul and Britain.
The Táin and certain descriptions of Gaulish society by Classical authors have many details in common: in warfare alone, the individual weapons,
the boastfulness and courage of the warriors,the practices of cattle-raiding,chariot-fighting and beheading.Ireland,however,by its isolated position,
could retain traits and customs that had disappeared elsewhere centuries before, and it is possible that the kind of culture the Táin describes may
have lasted in Ireland up to the introduction of Christianity in the fifth century.
Thomas Kinsella,The Dolmen Press, 1969
56 Louis le Brocquy HRHA (1916-2012)
Cúchulainn in Warp Spasm
Lithograph, 38 x 54cm (15 x 21”)
Signed, dated 1969 and numbered 6/70
Exhibited: Louis le Brocquy: Lithographic Brush
Drawings from The Tain Exhibition”,
The Dawson Gallery, Dublin, October 1969,
Cat. No. 41, where purchased by the current
owner
Illustrated: The Tain, Pages 151-3
€600 - 800
Lots 56 - 62 are the complete set of all ‘Tain’ Lithographs exhibited at the Dawson Gallery
1969

73
Medb
Drawings from The Tain Exhibition,The
Dawson Gallery, Dublin, October 1969,
Cat. No. 42, where purchased by the
current owner

Illustrated: The Tain, p.51
€600 - 800
Invisible Chariot
Drawings from The Tain Exhibition,The
Dawson Gallery, Dublin, October 1969,
Cat. No. 45, where purchased by the
current owner
€600 - 800

74
Men and Horses
Exhibited: Louis le Brocquy: Lithographic Brush Drawings
from The Tain Exhibition,The Dawson
Gallery, Dublin, October 1969, Cat. No. 43,
where purchased by the current owner
€600 - 800
Portion of Army
Exhibited: Louis le Brocquy: Lithographic Brush Drawings from
The Tain Exhibition,The Dawson Gallery, Dublin,
October 1969, Cat. No. 44, where
€600 - 800

75
Four Epic Shields (From The Tain)
(a) “Celtchar’s Comla Cartha, the Door of Battle”
(b) “Sencha’s Resonant Shield, Sciatharglan”
(c) “Ochán, Conchobor’s Shield, the Ear of Beauty”
(d) “The Bloody Croda of Cormac”
Lithographs, 38 x 54cm (21 x 15”)
Each signed, dated 1969 and numbered 6/70 (4). Presented in a simple portfolio with title page and
preliminaries and original catalogue from The Dawson Gallery show.
Exhibited: Louis le Brocquy: Lithographic Brush Drawings from The Tain Exhibition,The Dawson
Gallery, Dublin, October 1969, Cat. No. 37-40, where purchased by the current owner
Illustrated: The Tain, pages 4 & 5
€2,000 - 4,000

76
62 Louis Le Brocquy HRHA (1916-2012)
The Tain - The Complete Set of Thirty Six Lithographs
(1969)
Lithographs, 54 x 38cm (21 x 15”)
Each signed, dated 1969 and numbered 6/70;
together with the original catalogue from The Dawson Gallery
show (36).
Exhibited: Louis le Brocquy: Lithographic Brush Drawings from
The Tain Exhibition,The Dawson Gallery, Dublin,
October 1969, Cat. No. 1-36 (portfolios 1-3), where
The complete set of this seminal series, consisting of portfolios
1, 2 and 3. Each portfolio contains twelve different “lithographic
brush drawings”, illustrating the epic Ulster cycle of heroic tales.
Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70
plus one artist’s proof.The three folios of twelve lithographs each
are presented in their original black clamshell cases with title
pages and preliminaries.
€20,000 - 30,000

77

79

80
62A Louis le Brocquy HRHA (1916-2012)
The Tain - A Unique Translation
Largely from the 8th Century Irish version by Thomas Kinsella,
published by The Dolmen Press in September 1969,
designed by Liam Miller with brush drawing illustrations
by Louis le Brocquy.
Táin Bó Cuailnge is the longest and most important
of the Ulster cycle of heroic tales. Presented in its
original slipcase and signed by Louis le Brocquy.
€300 - 500
Homage à Strindberg (1982)
Lithograph, 77 x 57cm (30¼ x 22½”)
Signed and numbered 3/100
€400 - 600

81
Study of Samuel Beckett (1979)
Aquatint, 65 x 49.5cm (25.5 x 19.5”) Sheet size
Signed and numbered 31/100
€600 - 800

82
Girl with Owl (1951)
Oil on canvas, 75 x 64cm (29½ x 25¼”)
Signed. Signed again, inscribed with title and dated February/March 1951. (AR 108)
Exhibited: Colin Middleton Paintings 1947 - 1952,Tooth Gallery, London,
October/November 1952, Cat. No. 14
Colin Middleton Retrospective September 1954, organised by CEMA Belfast Museum
and Art Gallery, Cat. No. 18
Literature: John Hewitt, Colin Middleton, Arts Council, 1976, illustrated p.21
Girl with an Owl belongs to the years Colin Middleton described as his ‘Ardglass / Ballymote’period
and it exemplifies the intensely emotional but often ambiguous quality of his work at this time.While
it belongs to the same group of paintings of female figures in a landscape as Hallowe’en and Girl with
Sunflowers the presence of the bird alongside the figure connects the painting with a theme that
recurs throughout Middleton’s career.
Middleton uses the female archetype both as a part of the landscape and also, as in the present paint-
ing, as its visual embodiment. Here the use of colour connects the figure, bird and landscape, but most
striking of all is the curve of the moon that is mirrored in the eyes of the owl. This girl has her own
identity (with a suggestion that she is holding a piece of paper, perhaps a letter) but she also expresses
the sense of the primeval power and wildness Middleton finds within the landscape and the natural
world around Ardglass.The shapes and tones of her face are repeated in aspects of the owl’s head and
the bird’s claws are noticeably the same shapes as the girl’s fingers.
The bird acts almost as a familiar to the female figure in Middleton’s work, perhaps suggesting innate
connections with the natural world or else the purely spiritual aspect of womanhood. Middleton
portrays many different types of birds, but it is interesting that he returned to the subject of a girl
with an owl in the 1960s. While there are a variety of interpretations of the owl’s symbolic role in the
painting, it is possible that he intended it to suggest the girl is endowed with an instinctive wisdom
and understanding beyond the physical world we inhabit.
This is an uncompromisingly powerful image that embodies the mood of the Ardglass period and
contains many of the ideas that were central to Middleton’s work. Clearly he considered it an impor-
tant work as the painting was reproduced in John Hewitt’s 1976 monograph on the artist (along with
a preparatory study towards it) and it was also included in the original list that Middleton drew up by
hand of the works he considered for inclusion in the touring retrospective exhibition held in that year.
€40,000 - 60,000

83

84
Paysage des Rêves Mauvais (1940)
Signed, inscribed with title and dated (19)’40
Provenance: From the Collection of George and Maura McClelland and on loan from them
to IMMA from 1999-2004; Private Collection, Dublin
Exhibited: Colin Middletion: Paintings and Drawings from the McClelland Collection,
IMMA, Dublin, Jan-June 2001
Northern Artists from the McClelland Collection, IMMA, Dublin, 2004-2005;
Droichead Arts Centre, Drogheda, 2005
The Surreal in Irish Art, F.E. McWilliam Museum, Banbridge, May-Sept
2011; The Highlanes Gallery, Drogheda, Sept-Nov 2011
Literature:The Hunter Gatherer, IMMA 2004, illustrated fig. 61 page 53
The Surreal in Irish Art, F.E. McWilliam Museum 2011 (used as the
invitation image for the exhibition), fig. 6 page 11
The world of the dream, presenting a parallel reality to our own that operates by entirely
independent rules, is a staple of surrealism. The landscape of nightmares Middleton cre-
ates here is full of drama and movement; perhaps the suggested fragility of the world
he depicts is a reference to the wartime environment in which it was painted, where the
threat of violence undermined the normal rules and logic of life.
The dynamic and contorted form of the semi-clothed figure, with its broad contours
of rich colour and shadow that is typical of Middleton’s early work, is dramatically set
against the harsh angularity of three tall sticks that lean against each other. She falls back
against a tiny ladder; pieces of material bind her to these three sticks which seem inex-
plicably to support her weight, as if this is a moment frozen in time. This world is both
primitive and also disturbingly mechanised; parts of the figure almost seem to dissolve
into unravelling lengths of steel.
An impossibly extended finger points over the top of the sticks and towards a dressing ta-
ble with a broken mirror, adding a sense of violence or threat to the vast desert landscape,
whose hostility is increased by the sudden gorge that seems to be at the very front of the
composition, in dangerous proximity to this figure.
The emotional impact of this painting is arguably as consistently strong and visceral as
Middleton achieved in his surrealist work. His strength in design and illusionistic paint-
ing is very apparent here but it never undermines the uneasy and threatening immediacy
of the work.
€30,000 - 50,000

85

86
Opus I Group II: The Wilderness, Mother & Child 3 (1941)
Oil on canvas, 61 x 40.5cm (24 x 16”)
Signed and dated 1941, signed with artist’s device and inscribed with title verso
Provenance: From the Collection of George and Maura McClelland and on loan from them to
IMMA from 1999-2004; Private Collection, Dublin
Exhibited: Colin Middleton Exhibition, Belfast Museum and Art Gallery, 1943, Cat. No. 14
Colin Middletion: Paintings and Drawings from the McClelland Collection, IMMA,
Dublin, Jan- June 2001
Northern Artists from the McClelland Collection, IMMA, Dublin, 2004-2005;
Droichead Arts Centre, Drogheda, 2005
Literature: The Hunter Gatherer, IMMA 2004, illustrated fig. 76 page 58
Colin Middleton took on the subject of the mother and child regularly throughout his career
and indeed the present painting formed part of a small group of works on this subject in his
1943 exhibition.This is, however, an unusual painting both in its treatment of the figures and
in its dark mood; in general, Middleton treats the relationship in a more traditional manner,
depicting it as nurturing and close and expressing it as an interlocking and unified pictorial
unit.
Despite the mother’s left arm holding the child, there is a clear gap between the two bodies,
which only appear to make contact again at the head. Intriguingly it is actually another face
that seems to be locked to the mother’s lips, emerging in a ghostly fashion between the two
figures, but this form is left ambiguous and unresolved.
The standing child reaches as if clawing at its mother’s eyes and her body seems contorted in
a tight and anguished pose. Strong red notes running across her nails, nipples, throat, hips and
eyes stand out against the cold tones of the skin and maintain a high emotional pitch. The
strange, foetus-like child is ambiguous, either helpless or malevolent, its eyes staring at the
mother’s upturned face.The distorted and etiolated figures are unlike anything we expect from
Middleton and, given the date, it might be read as expressing the traumatic grief Middleton
suffered at the premature death of his first wife, Maye, in 1939 and perhaps also the fact that
they had not had any children, as well as a more general expression of the pain and trauma
of wartime.
€7,000 - 10,000

87

88
Promised Land (1947)
Oil on canvas, 51 x 63.5cm, (20 x 25”)
Signed and inscribed with title and dated October 1947 verso, (AR 23)
Colin Middleton’s complex reaction to World War Two worked itself out in his work over
more than ten years. While some paintings make specific reference to the war or are clearly
influenced by it, towards the end of the 1940s a broad humanist vision begins to dominate in
which the isolated and anonymous figures dispossessed by the war and suffering its horrific
consequences become even more universal figures that represent universal human alienation
and suffering, often in the face of social indifference.
The Promised Land belongs to the very beginning of this period.The rhythmic paint surface is
a reminder of Middleton’s interest in van Gogh and looks forward to the development of his
work towards more energetic, looser and more heavily loaded brushstrokes. The two figures
cling together as if to support themselves against the swirling energy of the sky, the woman
almost naked against the harsh elements.Middleton was deeply affected by the newsreel foot-
age of the liberation of the concentration camps at the end of the war and many of the figures
in his work of this time seem as if they might have come from these films. It is unusual to find
such a monochromatic palette as in The Promised Land, its almost electric blues heightening
the tension and otherworldly mood of the work. The bareness of the landscape reflects the
destruction of the war as well as increasing our sense of its victims’ helplessness within this
environment where there is no shelter or food.
Titles drawn from the Bible occur increasingly towards the late 1940s in Middleton’s paint-
ing, bringing a wider meaning to the suffering of the figures he painted. There is a sense of
hope and of redemption in these paintings. While the literal search for a promised land was a
fact for many who had been forced from their own homes by the war, there is an intensity of
meaning that the biblical reference brings to this timeless couple. We are reminded that this
search for a new land, for peace, recurs throughout history, that we cannot look at our own
time in isolation. Middleton had recently returned from his own search for a different life at a
farming commune in England,so perhaps thoughts were in his mind of how much the idea of
a spiritual or physical promised land ahead is a part of the human condition.
€20,000 - 30,000

89

90
69 George Campbell RHA RUA (1917-1979)
Dublin Airport
Pen, ink and gouache, 24 x 19cm (9½ x 7½”)
Exhibited: Spring Exhibition, The Frederick Gallery,
March 1997.This is one of a set of three works that are
thought to have been commissioned by Bord Fáilte for
their Ireland of the Welcomes Magazine
€500 - 700
70 Trevor Geoghegan (b.1946)
‘Early Evening, Snowfield, Wicklow’
Watercolour, 8 x 16cm (3 x 6”)
Signed, inscribed with title and dated 2004
€200 - 400

91
71 Frances Kelly ARHA (1908-2002)
Flowers in Jug on Windowsill
Oil on canvas, 75 x 54.5cm (29½ x 21½”)
Signed
€1,000 - 2,000

92
72 George Russell Æ (1867-1935)
Two Figures in the Woods
Oil on canvas, 40 x 52.5cm (15¾ x 20¾”)
Signed with monogram
€2,000 - 4,000

93
73 George Russell Æ (1867-1935)
Bather in The Wood
Oil on canvas, 40.5 x 53.5cm (16 x 21”)
Signed with monogram, Daniel Egan Gallery label verso
Exhibited: A Private Collection Exhibition,The Frederick Gallery, Dublin, Dec 2001, where purchased by current owner
€4,000 - 6,000

94
74 Paul Henry RHA RUA (1876-1958)
Sailing Boat on a Lough, (1916-17)
Signed
Provenance: From the collection of George & Maura McClelland and on loan from them to IMMA
from 1999 - 2004; Private Collection Dublin
Exhibited: Possibly Pictures of the West of Ireland by Mr. & Mrs. Paul Henry, Mills’ Hall, Dublin,
16-28 April 1917 (44, as “The Sound”)
Literature: S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations,
New Haven and London, Yale University Press, 2007, p. 190, catalogue number 444.
Reviewing Henry’s 1917 Dublin exhibition the “Freeman’s Journal”(16 April 1917) commented,
possibly of this picture, with its solitary sail gliding over the dancing waters. In the early 1940s
Henry made two pictures similar in concept to this, namely The Fishing Boat (Kennedy, 2007,
catalogue number 1057, reproduced) and Landscape with a fishing boat (Kennedy, ongoing cata-
loguing of Paul Henry’s oeuvre, number 1280).The setting may be south east of Achill Sound, in
which case the distant mountain is Derreen.
€30,000 - 50,000

95

96
75 Estella Frances Solomons RHA (1882-1938)
The Slieve Mish Range, near Clogheen, west Kerry
Oil on board, 35.5 x 45.75cm (14 x 18”)
Signed
Exhibited: RHA Annual Exhibition, Dublin, 1948, Cat. No.
103
Estella Solomons Exhibition, The Crawford Gallery, Cork,
May/June 1986, Cat. No. 165
€800 - 1,200
76 Norman J. McCaig (1929-2001)
Turf Stacks, Connemara
Oil on board, 29 x 29cm (11½ x 11½”)
Signed
€700 - 1,000

97
77 James Humbert Craig RHA RUA (1877-1944)
A Farm in the Glens
Signed
€6,000 - 8,000

98
78 Fergus O’Ryan RHA ANCA (1911-1989)
The Dropping Well, Milltown
€700 - 1,000
Huband Bridge, Dublin
Oil on board, 40 x 50cm (15¾ x 19¾”)
Signed.
€800 - 1,200

99
Dublin Cityscape near Leeson Street
Signed.
€1,000 - 1,500
St.Stephen’s Green Gates
Oil on board, 28 x 39.5cm (11 x 15½”)
Signed
€800 - 1200

100
82 Simon Coleman RHA (1916-1995)
Village Square, Duleek, Co. Meath
Oil on canvasboard, 50 x 61cm (20 x 24”)
Signed
This work shows the village square of Coleman’s birthplace,
Duleek, Co. Meath.
Our thanks to Marie Bisgaard for her assistance in
cataloguing the works by Simon Coleman.
€600 - 800
83 Simon Coleman RHA (1916-1995)
Circus near Millmount Monument, Drogheda
Oil on canvasboard, 50 x 61cm (20 x 24”)
Signed
This view is thought to have been painted from the top of the
monument - known locally as ‘The Cup and Saucer’.
Our thanks to Marie Bisgaard for her assistance in
cataloguing the works by Simon Coleman.
€700 - 1,000

101
84 Thomas Ryan PRHA (b.1929)
The Four Courts, Dublin from the South Quays
Oil on canvas, 40 x 50cm (15¾ x 19½”)
Signed
€2,000 - 3,000
The Mill Pond at Brackenstown Mill (1979)
Oil on canvas laid on board, 29 x 27cm (12 x 11”)
Signed. Signed, inscribed with reference 139,79 and dated verso
Inscribed artists’ studio label verso
€800 - 1200

102
86 David Hone PRHA (b.1928)
Sunset Over Docklands, Near Ringsend
Oil on canvas, 56.5 x 76.5 (22¼ x 30”)
Signed
€1,000 - 2,000
87 Phillip Hoye (b.1979)
The Raven
Oil on board, 44.5 x 35.5cm (17½ x 14”)
€500 - 700

103
88 Edward McGuire RHA (1932-1986)
Bird and Skull (1954)
Exhibited: IELA, 1955, Cat. No. 26 (£25)
Edward McGuire RHA Exhibition, RHA Gallery, Dublin Oct- Nov 1991, Cat. No. 5A
Literature: Brian Fallon, Edward McGuire, page 115, No. 12
€1,500 - 2,500

104
89 Ernest Hayes RHA (1914-1978)
Still Life with Canework Chair and Crate of Onions
Oil on canvas, 60 x 49cm (23.6 x 19¼”)
€800 - 1200
90 Walter Verling HRHA (b.1939)
Back Garden
Oil on board, 27 x 34cm (10½ x 13.4”)
Signed
Provenance: Collection of Raymond MacDonnell, Architect.
€500 - 700

105
91 Mark O’Neill (b.1963)
A Special Place
Oil on board, 39.5 x 39.5cm (15½ x 15½”)
€2,000 - 4,000

106
92 James Malton (1761-1803)
A Picturesque and Descriptive View of the City of Dublin
A set of twenty five framed, hand coloured aquatints, 30 x 40cm (12 x 15.75”)
together with the original volume of text, descriptions of plates and maps of the city and environs,
Gilt tooled leather spine and boards, 42.5 x 56cm
€8,000 - 12,000

107

108
When it’s most famous son, Daniel O’Connell, was born on 7 August
1775, Cahersiveen was a tiny settlement of a few dwellings centered on his
parents’ farmhouse of Carhen. However, the growth of the town during
O’Connell’s lifetime and beyond was rapid as is recorded in this previous-
ly little-known panoramic view by Robert Lowe Stopford (1813-1898).
Much admired in his lifetime, this is one of the major works of the Cork-
based artist and as an invaluable record of Cahersiveen is an important
document of small town life in County Kerry. The prominence given to
the church - towering above the town like some medieval cathedral - is
wholly appropriate as it shows an idealized view of the Daniel O’Connell
Memorial Church, built to mark the centenary of The Liberator’s death.
Cahersiveen’s development owed much to the new road along the
coast of Castlemaine bay and through the Iveragh Mountains to Va-
lencia Island. Looking back in 1837 when the town boasted 1,192
inhabitants, the great topographer Samuel Lewis noted that ‘in 1815
there were only five houses in the entire village, but within the last ten
years it has rapidly increased’. Lewis noted that the town consisted
then of one principal street stretching along the main road and of two
smaller streets branching from it at right angles, one of which leads
down to the quay, and the other to the upper road or old village of Ca-
hir, which consists only of mud cabins’. By contrast Lewis noted that
the houses on the new road were ‘neatly built and roofed with slate’.
Cahersiveen’s chief trade was fishing which employed four hundred
people on a seasonal basis; the importation of timber, salt and iron
while oats and flour were exported from some mills to the east.Overall
Lewis judged that the town had a ‘lively and cheerful appearance’ and
that ‘great improvements had been made in the neighbourhood’.These
included an agency for transacting business with the National Bank of
Ireland, a pier and a small quay built in 1822, a national school and a
fever hospital and dispensary - the latter two institutions would soon
be overwhelmed as, in the decade after Lewis wrote, Cahersiveen was
devastated in the Great Famine. The Iveragh Peninsula was among
the worst hit areas of the country and the picture of prosperity - and
the church triumphant - that Stopford offers contrasts bitterly with
the short journey along the road, now known as the Paupers’ Road,
westward (leading from the town at the right hand side of the picture)
to the workhouse at Bahaghsis. As John Crowley writes in the Atlas
of the Great Irish Famine: ‘The poorest of the poor who travelled this
road at the height of the Famine must have been filled with fear and
trepidation. Their instinct for survival would have taken them here in
the hope that their admission would bring an end to the torment’.
Unfortunately the Inspector at the Workhouse was the particularly
brutal Colonel Clarke who saw his mission as ‘to chastise the poor’,
and an unknown number died and are buried at the nearby graveyard
at Srugreana Abbey.
The artist Robert Lowe Stopford was born in Dublin but spent his
career in Cork, working as an art teacher and serving as a correspondent
for the Illustrated London News. He specialised in topographical views
of Cork and its surrounding picturesque sights such as Blackrock Castle
and Youghal Strand. He also ventured into surrounding counties exhib-
iting a view ‘from the Drawing Room - Lismore Castle’at the Royal Hi-
bernian Academy in 1864 and also views of Killarney on two occasions.
Stopford painted other locations in Kerry sending views of Brandon and
Cahersiveen Bridge to the RHA (1862 and 1858). Stopford kept an al-
bum of his topographical views which he used as part of his art teaching
programme in Cork but the present work is clearly not based on sketches
taken when he painted Cahersiveen Bridge in 1858 and he must have
revisited the South Kerry town a few years later as many of the most
prominent architectural features in the view were not yet built in 1858.
The Royal Irish Constabulary Barracks, for example, is the prominent
turreted building on the waterside at the end of the Bridge Street, guar-
ding access to the crossing.This was built after the 1867 Fenian uprising
(which started in the town) and was strategically important as it defen-
ded Valentia Island, the end point of the transatlantic telegraph cable.
The building - whose oriental appearance gave rise to the story that it had
originally been planned for India and the architect’s drawings were mixed
up - now houses Cahersiveen Heritage Centre.
Of course the other prominent building in Stopford’s view is the church
officially named for the Holy Cross, but known universally as the Daniel
O’Connell Memorial Church. It is the only church in Ireland with a lay
dedicatee. Plans had been laid to start the church to mark the centenary
of O’Connell’s birth so close by but construction took place between 1882
and 1909 to designs by George Ashlin.The church as erected is different
from Stopford’s view in several respects, but most dramatically in that
the spire was never built.There is a telling parallel in this with Stopford’s
view of Cobh - or Queenstown as was - showing St Colman’s domi-
nating the skyline complete with its spire although this was not added
until after the artist’s death (Crawford Art Gallery, Cork). Intriguingly,
Ashlin was again the lead architect at St Colman’s. It is possible that the
Cahersiveen and Cobh works, showing the buildings as it was planned
they would look when complete, were commissioned as promotional ma-
terial in fundraising efforts in the United States. Certainly exterior and
interiors view of the O’Connell Memorial Church were exhibited in the
Columbian Exposition, in Chicago in 1897. Perhaps though the sheer
size and amount of anecdotal and extraneous material in the Cahirciveen
view argues against this.
The historical, social and commemorative interest of the work should
not obscure its power as a complex piece of landscape and topographical
painting. The mastery of the high vantage point; the control of mass-
ing, detail and palette make for a highly accomplished piece of landscape
painting.
A Panoramic View of Cahersiveen, County Kerry with the Daniel O’Connell Memorial Church

109
93 Robert Lowe Stopford (1813-1898)
A Panoramic View of Cahersiveen, County Kerry with the Daniel O’Connell Memorial Church
Watercolour and bodycolour, 36 x 96cm (14 x 37¾“)
An undated newspaper cutting from the Cork Constitution attached to the reverse of the work, attests to the contempo-
rary success of the painting: “We have been shown a watercolour landscape just executed by Mr R Stopford, of this city. It repre-
sents the town and Bay of Cahirciveen, showing from the telegraph station at Valentia to the remains of the house in which Daniel
O‘Connell was born, the proposed new church which Canon Brosnan is endeavouring to get built to the memory of O‘Connell. Also,
the residences of The Knight of Kerry, Messrs Blennerhasset and Mahony - the long bridge to the Protestant Church and Police Bar-
racks, the whole forming one of the most pleasing works that we have yet seen from this well known artist. The landscape has found
a ready purchaser at a good figure”.
€4,000 - 6,000
(See Detail of painting on pg 135)

110
94 William Henry Stopford (1842-1890)
Fishermen at Sea
Watercolour, 20 x 31.5cm (7¾ x 12½”)
Signed with monogram and dated 1881
€300 - 500
95 Edwin Hayes RHA RI ROI (1819-1904)
Ilfracombe, Penzance Cove
Watercolour, a pair, 11 x 17cm each (4¼ x 6¾”)
Signed and inscribed with title
(2)
Provenance: George Stacpoole Antiques
€600 - 1,000

111
96 Rose Barton RWS (1856-1929)
The Doorway
Watercolour, 37 x 26cm (14.5 x 10.25”)
Signed and dated 1918. Original exhibition label and
Royal Society of Painters in Watercolours label verso
Exhibited: Jorgensen Fine Art, Dublin
€6,000 - 8,000

112
97 William Percy French (1854-1920)
Horn Head
Watercolour, 17 x 24cm (6¾ x 9½”)
Signed indistinctly.Title inscribed on
William Rodman Gallery label verso
€2,000 - 4,000
Landscape with Heather
Watercolour, 17 x 24cm (6¾ x 9½”)
Signed
€2,000 - 4,000

113
A Stormy Sky
Watercolour, 16 x 23.5cm (6¼ x 9¼”)
Signed
€2,000 - 4,000
The Winding Lane
Watercolour, 16 x 23.5cm (6¼ x 9¼”)
Signed
€2,000 - 4,000

114
101 Jack Butler Yeats RHA (1871-1957)
The Strand Races: The Start and The Finish
Hand-coloured Cuala Press prints, a pair, 14.5 x 46cm each (5¾ x 18¼”)
One signed, (2)
Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, Dublin, 1994, p.283/4, cat nos. 2015-2016.
The original ink and watercolour drawings for these prints date c.1906 and were exhibited in London in 1913.
€600 - 800
The Mountain Farm and The Village
Hand-coloured Cuala Press prints, a pair, 11 x 36.5cm each (4.3 x 14.3”)
Both signed, (2)
Literature: Pyle, Hilary, The Different World of Jack B. Yeats His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, pp.285-286
(listed) catalogue nos. 2026 & 2027 (the latter illustrated p.286) . The original ink and watercolour drawings for these prints c.1906 were
exhibited in London in 1913.
€600 - 800
The Post Car
Hand coloured Cuala Press print, 24 x 32cm (9½ x 12½”)
Framed
Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats,
Irish Academic Press, Dublin, 1994, p.285, cat no. 2023.
€200 - 300

115
The Dry Season after the Heavy Wet
Ink on paper, 11 x 14cm (4¼ x 5½”)
Signed
€800 - 1,200
It’s all very wells, for him ter shay “Lights yer cigar
at the Candle”
Ink on paper, 18 x 14cm (7 x 5½”)
Signed
€800 - 1,200

116
106 Style of James Arthur O’Connor (1792 - 1841)
Wooded River Landscape with Woman on a Path
Oil on canvas, 25 x 30 cm (9¾ x 11¾”)
€2,000 - 3,000

117
107 James Arthur O’Connor (1792-1841)
A Traveller on a Riverside Road with a Fisherman in the Distance
Oil on board, 25 x 30cm (9¾ x 11¾”)
Signed with initials and dated 1836 indistinctly
Provenance: Biggs of Maidenhead; W.G Wilson Esq, Armagh;
Christies, London,‘The Irish Sale’, May 1998, lot no. 130
€3,000 - 5,000

118
108 Erskine Nicol RSA ARA (1825-1904)
A Shebeen
Oil on board, 24 x 34cm (9½ x 13½”)
€1,000 - 2,000
109 William Sadler II (1782-1839)
Coastal Scene Inlet with Ships and Boats
Oil on panel, 22 x 30cm (8½ x 12”)
Provenance: Cynthia O’Connor Gallery, Dublin where
purchased c.30 years ago
€1,500 - 2,000

119
110 William Sadler II (1782-1839)
A View over Dublin Bay from the Dublin Mountains
Oil on panel, 28 x 40cm (11 x 15¾”)
€2,000 - 3,000

120
111 Eva Henrietta Hamilton (1876-1960)
The Alchemist
Oil on canvas, 78.5 x 60cm (30¾ x 23¾”)
Strahan of Dublin label verso
€1,000 - 2,000
112 Estella Solomons HRHA (1882-1968)
The Writer
Oil on canvas, 76 x 54.5cm (30 x 21½”)
Provenance: The Artist’s Estate. Important Irish Art Sale,
these rooms, December 2001, Cat. No. 77 where purchased by
current owner
Exhibited: Estella Solomons Exhibition, The Crawford
Gallery, Cork May/June 1986, Cat. No. 16
€1,000 - 2,000

121
113 Hugh Douglas Hamilton RHA (1739-1808)
Portrait of General George Robert Gordon of New Grove, Co. Cork, in semi-profile wearing
military uniform
Coloured chalks over pencil, oval, 24 x 19cm (9½ x 7½”)
With mss. label verso identifying the subject signed “A. Vicars, Ulster”
Provenance: Mount Kennedy, and by descent in the family of Mount Kennedy
Robert Gordon of New Grove, Co Cork, Surveyor General of Munster, later Commissary General of
Ireland. Married Anne (d.1786) sister of Robert Cuninghame, 1st Lord Rossmore. He died 1778.
€1,000 - 1,500

122
114 William Mason (1906-2002)
Boats in the Bay
Oil on board, 29 x 43cm (11½ x 17”)
Signed
€800 - 1,200
115 Charles Lamb RHA RUA (1893-1964)
Coastal Landscape
Oil on board, 29.5 x 39cm (11¾ x 15½”)
Signed
Daniel Egan Gallery label verso
€700 - 1,000

123
116 Bartholomew Colles Watkins RHA (1833-1891)
The Gap of Dunloe, Killarney
Oil on canvas, 34.6 x 50.5 cm (13½ x 19¾”)
Signed on label attached verso, also inscribed on stretcher verso
€1,000 - 1,500

124
117 Phillipa Garner (Bayliss) (b.1940)
A Musical Recital at Castletown House
Oil on canvas, 45 x 60cm (17¾ x 23¾”)
Signed
€600 - 800
118 Patrick Leonard HRHA (1918-2005)
Sunlight & Shadow, Rush, Co. Dublin
Oil on board, 40.5 x 36cm (15¾ x 13¾”)
Signed.Signed,inscribed and priced £8-9-0 verso
€800 - 1,200

125
119 Seán O’Sullivan RHA (1906-1964)
Studio of Paul Landowski, Paris
Oil on board, 45 x 37cm (17.75 x 14.5”)
Signed
Dawson Gallery framing label verso
Provenance: Seán O’Sullivan Sale, these rooms 2nd May 2012 where purchased by current
owner, Lot No. 59
€2,000 - 4,000

126
120 Kenneth Webb RWA FRSA RUA (b.1927)
Sunset Bog
Oil on canvas, 76 x 101.5 (30 x 40”)
Signed and inscribed with title verso
€8,000 - 12,000

127
121 Kenneth Webb RWA FRSA RUA (b.1927)
Autumn, Salmon Weir, Galway
€8,000 - 12,000

128
122 Niccolo Caracciolo RHA (1941-1989)
A Tuscan Villa
Watercolour, 29 x 45cm (11 ½ x 17 ¾”)
With signed studio stamp on backing board
Provenance:The Artists family
€300 - 500
Figure Study - Seated Female Nude
Mixed media on paper, 38 x 27cm (15 x 10 ½”)
With signed studio stamp on backing board
€300 - 500

129
Portrait of a Man with a Moustache
Oil on board, 26 x 25.5cm (10 ¼ x 10”)
With signed studio stamp verso
€500 - 700

130
King’s Inn Gate
Watercolour, 23 x 29.25cm (9 x 11½”)
Signed
€600 - 1,000
126 James le Jeune RHA (1910-1983)
The Vatican
Watercolour and gouache on paper, 18.5 x 23cm
(7.3 x 9”)
Signed
€250 - 350

131
127 James English RHA (b.1946)
Bagno Tibeno, Capri
Artist’s label verso
€700 - 1,000
128 Hans Iten RUA (1874-1930)
Near Glengormley
Oil on board, 18 x 25cm (7¼ x 9¾”)
Signed
€700 - 1,000

132
129 Richard Kingston RHA (1922-2003)
Marsh
Pastel, 20 x 14cm (8 x 5½”)
Signed and dated ‘79. Signed and inscribed verso
€150 - 250
130 Tom Nisbet RHA (1909-2001)
A Tree in Ranelagh
Watercolour, 26 x 30cm (10¼ x 11¾”)
€150 - 250

133
131 Tom Cullen (b.1934)
Seapoint, Co. Dublin
Oil on canvas, 31 x 45cm (12 x 13¾”)
Signed
€500 - 700

Important Irish Art 26th march 2014

Important Irish Art 26th march 2014

Recomendados

Recomendados

Mais conteúdo relacionado

Mais procurados

Mais procurados (18)

Semelhante a Important Irish Art 26th march 2014

Semelhante a Important Irish Art 26th march 2014 (20)

Mais de Adam's Fine Art Auctioneers

Mais de Adam's Fine Art Auctioneers (20)

Último

Último (20)

Important Irish Art 26th march 2014