Whyte Sarah Gates BA Managing Director Director This Catalogue

, WHY TE S SINCE 1783

IRISH & BRITISH ART 12 MARCH 2012

IRISH & BRITISH ART MONDAY 12 MARCH 2012

VIEWING

Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 9 March, opening reception and gallery talks 6pm to 8pm Saturday 10 March 10am to 6pm (Gallery Talk 3pm) Sunday 11 March 10am to 6pm (Gallery Talk 3pm) Monday 12 March 10am to 6pm

AUCTION

Monday 12 March at 6pm Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4

ENQUIRIES

Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected]

BIDS

Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] On-line bids: www.whytes.ie

Front cover: lot 43, Charles Edward Perugini, Lovers In A Garden Inside front cover: lot 135, Patrick Hennessy, The Fledgling Page 8, 9: lot 52, Thomas James Mulvany, Coast Scene - Noon: Peasants Winnowing Corn, 1838 Page 90: lot 41, Grace Henry, Coming Home, Achill Island, c.1915 Page 92: lot 42, Sarah Henrietta Purser, Woman With Fan Page 94: lot 96, Study For “The Blue Window”, 1961 Back cover: lot 29, Jack Butler Yeats, On The Courthouse Steps, 1946 PLEASE NOTE

The exhibition of works from this sale will take place at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE Friday 9 March 6pm to 8pm Saturday 10 March 10am to 6pm Sunday 11 March 10am to 6pm Monday 12 March 10am to 6pm

The auction will be held on Monday 12 March at 6pm at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE

BALLSBRIDGE

M E R R I O N

OAD R O A D

R WHYTE ,S R D S M A I N HALL

ENTER HERE

ANGLESEA

COLLECTION OF PURCHASES

Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 13 March from Clyde Hall. After that date lots may be collected from our Molesworth Street premises.

DESIGN: DES KIELY DESIGN PHOTOGRAPHY: GILLIAN BUCKLEY PRINTING: BRUNSWICK PRESS LTD.

2 CONTENTS

Important Notes 5

Special Notices 5

Whyte's Guarantee of Authenticity 5

Glossary of Terms 5

Whyte's Terms & Conditions 7

IRISH & BRITISH ART 10

Abbreviations 100

Topographical and General Index 100

Index of Artists inside back

This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte, Sarah Gates and contributions from Dr. Róisín Kennedy, Dr. Peter Harbison and Ciarán Carty.

We would also like to thank Edward Murphy and the staff of the National Irish Visual Arts Library, the National Library of Ireland and the many artists, art historians, collectors, dealers and galleries who have assisted in our research for Ian Whyte Sarah Gates BA Managing Director Director this catalogue.

Marianne Newman Adelle Hughes BA MA Director Associate Director

ENQUIRIES CONTACTS

This catalogue: E-mail Sarah Gates and [email protected] Adelle Hughes Telephone Accounts: 01 676 2888 (+3531 676 2888 from UK and elsewhere) Peter Whyte Emma Betts BA MA Peter Whyte Fax General Enquiries: 01 676 2880 (+3531 676 2880 from UK and elsewhere) Emma Betts Postal address Curator: 38 Molesworth Street, Dublin 2, Ireland Aaron Lowry Websites whytes.ie whytes.com whytes.net

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Call 01 240 7280 for a tour of the RDS Members’ Club and facilities. Individual and Corporate Membership categories available. Call 01 240 7280 www.rds.ie/membership IMPORTANT NOTES ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 7

BUYERS’ COMMISSION 16.26% (excluding VAT) is added to the hammer price of all lots. PRICES REALISED A complete list of prices realised and unsold lots will be posted to ROOM BIDDERS our Internet website (www.whytes.ie) on the day after the sale. 1. Room bidders must register and obtain a bidding number on arrival. Proof of identity is required from clients new to us. SPECIAL NOTICES CONCERNING THIS AUCTION 2. If successful in obtaining a lot please ensure you display your number clearly to the auctioneer and that it is your number that VENUE FOR AUCTION NIGHT is called out. If there is any doubt about the hammer price or The venue for the auction is Clyde Hall, Royal Dublin Society, buyer, please draw this to the attention of the auctioneer Anglesea Road, Ballsbridge, Dublin 4 and the sale starts at 6pm. immediately. 3. Payment may be made by cash, bank draft, cleared cheque, or Bidder registration will take place here from 5pm on Monday 12 credit card – we accept Access or Visa (a charge of 1.5% is made March and the sale starts at 6pm. Complimentary tea and coffee on credit card transactions). We also accept Laser, Delta, Debit will be served in the café. and Maestro Cash Cards (maximum of €1,500) free of charges. COLLECTION OF LOTS

ABSENTEE BIDDING Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 13 March from Clyde Hall. After that date lots may be 1. If you are unable to attend you may bid before the sale, using collected from our Molesworth Street premises. the form provided. Enter the maximum you are prepared to offer for each lot and the auctioneer will represent you as if you Purchasers must pay for and collect all lots within 7 days of the are personally attending the sale. Lots are knocked down at one date of sale. Note: each lot is at the buyer’s risk from the fall of the step above the next highest bid, and not necessarily at your hammer. Storage charges will apply after 7 days. highest bid. Example: your bid is €1,000 and next highest bid is MORE INFORMATION ON OUR WEBSITE €800 – the hammer price is €850. 2. LIMIT BIDDING: Absentee bidders may limit their total purchases whytes.ie or whytes.com to a set amount by entering their limit on the bidding form. This Here you will find much useful information pertaining to lots in this is especially useful for bidders wishing to cover as many lots as auction, including biographies and previous results for many of the possible while setting a maximum amount to spend. artists featured in this sale. 3. “OR” BIDDING: Absentee bidders who wish to bid on two or more lots, but only wish to purchase one, may do so by entering “OR” between the bids – the lots will be bid on in catalogue WHYTE’S GUARANTEE OF AUTHENTICITY order. Whyte’s takes especial care to ensure that all works offered in this 4. EQUAL BIDS: In the event of equal bids being received for the catalogue are as described and are the work of the artists they are same lot the first received will be given preference. If the attributed to. In the event of any work sold from this catalogue to be instruction “break ties” is entered on the bid form the auctioneer subsequently proved to be a “deliberate forgery”, subject to our terms and will increase the bid by one step in the event of equal bids being conditions of sale (especially Clause 5c) as printed elsewhere in this received or in the event of a tie with a room bidder. catalogue Whyte’s will cancel the sale and refund to the buyer the total amount paid by the buyer to Whyte’s for the item, in the currency of the 5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy at original sale. This guarantee is provided for a period of seven (7) years after Best” shall be taken to indicate bids of up to three times the the date of the relevant auction, and may be extended at Whyte’s stated higher estimate in the catalogue. discretion. 6. LIVE INTERNET BIDDING: You may watch and/or bid live with video and audio link to the saleroom on our website GLOSSARY OF TERMS www.whytes.ie The following are examples of the terminology used in this catalogue. 7. LIVE TELEPHONE BIDDING may be arranged on request, subject to availability and given at least 24 hours notice. This facility is only 1 Sir John Lavery in our opinion a work by the artist. available on lots estimated at €2,000 or more, and a minimum bid may be requested. 2 Attributed to Sir John Lavery In our opinion probably a work by the artist but less certainty as to 8. INVOICING AND PAYMENT: Successful absentee bidders will be authorship is expressed than in the preceding paragraph. sent a pro forma invoice immediately after the sale with details 3 After Sir John Lavery of payment methods. All invoices must be paid within 7 days of In our opinion a copy of a known work by the artist. We also use this the date of the sale or the lot(s) may be deemed in default and term for prints of works by the artist. any subsequent losses incurred on resale become the 4 The term signed and/or dated and/or inscribed means that in our responsibility of the bidder. The Auctioneers and House Agents opinion the signature and/or date and/or inscription are from the hand Act, under which we are licensed to hold public auctions, only of the artist. allows for lots to be handed over to purchasers when paid for in full. 5 The term bears a signature and/or initials and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription has been added by another hand. 5 WHYTES (12 MAR 12)_3_v6:WHYTES (20 FEB 07) 15/02/2012 10:02 Page 6

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80 Leading Contemporary Irish Artists, Oil & Watercolour Paintings, Pastels, Drawings Monday 16 - Sunday 29 April Concourse Gallery, County Hall Mon to Sat: 10am - 5pm Marine Road, Dun Laoghaire, Co. Dublin Sun: 11am - 5pm (adj. DART station)

134th Exhibition

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, WHYTE S S I N C E 1 7 8 3

TERMS AND CONDITIONS OF SALE NOTICE

Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all reasonable (c) If any lot sold at this auction is subsequently proved to be a “deliberate care to ensure that all descriptions are reliable and accurate, and that each item forgery”, Whyte’s will cancel the sale and refund to the buyer the total amount is genuine unless the contrary is indicated. However, the descriptions are not paid by the buyer for the item, in the currency of the original sale. The onus of intended to be, are not and are not to be taken to be, statements of fact or proving a lot to be a “deliberate forgery” is on the buyer. For these purposes, representations of fact in relation to the lot. They are statements of the opinion “deliberate forgery” means a lot that in Whyte’s reasonable opinion is an of Whyte’s, and attention is particularly drawn to clause 5 set out below. imitation created to deceive as to authorship, where the correct description of Comments and opinions, which may be found in or on lots as labels, notes, such authorship is not reflected by the description in the catalogue (taking into lists, catalogue prices, or any other means of expression, do not constitute part account any Glossary of Terms). No lot shall be considered a deliberate forgery of lot descriptions and are not to be taken as such unless they are made or by reason only of any damage and/or restoration and/or modification work of specifically verified by Whyte’s. any kind (including repainting or overpainting). This guarantee does not apply Clause 1 if (i) either the catalogue description was in accordance with the generally (a) Each lot is put up subject to any reserve price imposed by the vendor accepted opinions of scholars and experts at the date of the sale, or the (b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shall catalogue description indicated that there was a conflict of such opinions; (ii) or be the buyer thereof the only method of establishing at the date of the sale that the item was a (c) If any dispute arises as to the highest bidder the auctioneer shall have counterfeit would have been by means of processes not then generally absolute discretion to determine the dispute and may put up again and re-sell available or accepted, unreasonably expensive or impractical to use; or likely to the lot in respect of which the dispute arises have caused damage to the lot or likely (in Whyte’s reasonable opinion) to have Clause 2 caused loss of value to the lot; or (iii) there has been no material loss in value of (a) The bidding and advances shall be regulated by and at the absolute the lot from its value had it been in accordance with its description. This discretion of the auctioneer and he shall have the right to refuse any bid or guarantee is provided for a period of seven (7) years after the date of the bids. NOTE: Where an agent bids, even on behalf of a disclosed client, the relevant auction, is solely for the benefit of the buyer and may not be auctioneer nevertheless has the right at his discretion to refuse any such bid. transferred to any third party. Whyte’s has discretion to extend the guarantee (b) The buyer of each lot shall immediately on its sale, if required by the for a longer period. To be able to claim under this Guarantee, the buyer must (i) auctioneer, give him the name and address of the buyer and pay to Whyte’s at notify Whyte’s in writing within three (3) weeks of receiving any information his discretion the whole or part of the purchase money. If the buyer of any lot that causes the buyer to question the authenticity or attribution of the item, fails to comply with any such requirement Whyte’s may put up again and re- specifying the lot number, date of the auction at which it was purchased and sell the lot; if upon such re-sale a lower price is obtained than was obtained on the reasons why it is thought to be a deliberate forgery; and (ii) return the item the first sale the buyer in default on the first sale shall make good the difference to Whyte’s in the same condition as the date of the sale to the buyer and be in price and expenses of re-sale which shall become a debt due from him. able to transfer good title in the item, free from the third party claims arising (c) Where an agent purchases on behalf of an undisclosed client such agent after the date of the sale. Whyte’s has discretion to waive any of the above shall be personally liable for payment of the purchase money to Whyte’s and requirements. Whyte’s may require the buyer to obtain at the buyer’s cost the for safe delivery of the lot to the said client. reports of two independent and recognised experts in the field, mutually Clause 3 acceptable to Whyte’s and the buyer. Whyte’s shall not be bound by any (a) Whyte’s reserves the rights to bid on behalf of clients including vendors, but reports produced by the buyer, and reserves the right to seek additional expert shall not be liable for errors or omissions in executing instructions to bid. advice at its own expense. In the event Whyte’s decides to rescind the sale (b) Whyte’s reserves the rights, before or during a sale, to group together lots under this Guarantee, it may refund the buyer the reasonable costs of up to belonging to the same vendor, to split up and to withdraw any lot or lots at two mutually approved independent expert reports. Whyte’s absolute discretion and without giving any reason in any case. (d) Any lot listed as a “mixed lot, collection, range, portfolio etc.” or stated to (c) Whyte’s acts as agent only, and therefore shall not be liable for any default comprise or contain a collection or range of items which are not described of the buyer or vendor. shall be put up for sale not subject to rejection and shall be taken by the buyer Clause 4 with all (if any) faults, lack of genuineness and errors of description and (a) Each lot shall be at the buyer’s risk from the fall of the hammer and shall be numbers of items in the lot, and the buyer shall have no right to reject the lot; paid for in full before delivery and taken away at his expense within one day of except that, notwithstanding the foregoing provisions of this sub-clause, where the sale. The buyer will be responsible for all removal, storage and insurance before a sale a person intending to bid at the sale gives notice in writing to, charges in respect of any lot which has not been collected within 7 days of the and satisfies Whyte’s that any such lot contains any item or items not described date of sale. in the sale catalogue and that person specifically describes that item or those (b) If any buyer fails to pay in full for any lot within 7 days of the date of sale items in that notice, then that item or those items shall, as between Whyte’s such lot may at any time thereafter at Whyte’s discretion be put up for sale by and that person, to be taken to form part of the description of the lot. auction again or sold privately; if upon such re-sale a lower price is obtained Clause 6 than was obtained on the first sale the buyer in default on the first sale shall The respective rights and obligations of the parties shall be governed and make good the difference in price and the expenses of re-sale which shall interpreted by Irish law, and the buyer hereby submits to the exclusive become debt due from him. jurisdiction of the Irish Courts. (c) Interest at 2 per cent per month and legal costs (if any) for recovery of monies due shall be payable by the buyer on any overdue account. SPECIAL CONDITIONS Clause 5 (a) The buyer shall pay Whyte’s a commission at the rate of 16.26% (plus VAT (a) All lots are made available for inspection before each sale and each buyer, under The Margin Scheme and which is not reclaimable). by making a bid, acknowledges that he has satisfied himself as to the physical (b) Whyte’s or its employees, servants or agents may, on request organise condition, age and catalogue description of each lot (including but not packing and shipping of lots purchased or may order on the buyer’s behalf restricted to whether the lot is damaged or has been repaired or restored). third parties to pack or ship purchases. Under no circumstances does Whyte’s (b) All lots are sold with all faults and imperfections and errors of description accept any liability whatsoever for any loss or damage howsoever occasioned and Whyte’s and its employees, servants or agents shall not be responsible for in the course of such service. any error of description or for the condition or authenticity of any lot, save for (c) The buyer authorises Whyte’s to use any photographs or illustrations of any Clause 5 (c) below. lot purchased for any or all purposes as Whyte’s may require. Written or verbal condition reports may be supplied by Whyte’s on request The placing of a bid will be taken as full agreement to all the above conditions. but these are merely statements of opinion, and any error or omission in these reports may not be taken as grounds for a cancellation of sale or refund of any part of the purchase price or the cost of any repairs to the lot or lots WHYTE & SONS AUCTIONEERS LIMITED reported on. 38 Molesworth Street, Dublin 2

IRISH & BRITISH ART Monday 12 March 2012 at 6pm Lots 1-271 , WHYTE S S I N C E 1 7 8 3

KENNETH WEBB RWA FRSA RUA (b.1927) Colour and nature are dominant features of Kenneth Webb’s painting An array of solo exhibitions took place in subsequent years in Dublin with the West of Ireland marrying these characteristics of the artist’s and Belfast as well as in the UK, Europe and the US and Canada. In the expression and forming a crucial part of his vocabulary since he first 1970s Webb opened his studio in Ballinaboy, near Clifden and began arrived in Galway over fifty years ago. His garden in Connemara is a exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show recurring source of inspiration for him, whether he focuses on its wild was held with Kenny’s and the artist has been the subject of film flowers, waterlilies, rock pools or turf banks. documentaries and texts exploring his life and works to date. 2006 Born in London, Kenneth Webb began his artistic career in the UK with marked the artist’s 80th birthday and his 18th solo show in Kennys a Slade Scholarship. He exhibited for the first time with the Royal since 1963. Academy in 1949 and continued to pursue his studies in design that To coincide with the Olympic celebrations in London, Webb’s UK agent year in Gloucester College. In 1953 he relocated to Belfast and was W.H. Patterson’s, with whom he has a thirty year relationship, will host appointed Head of The Painting School at the Ulster College of Art an exhibition of his current work and highlights from previous years. It where his part-time assistants included Tom Carr, John Luke and Colin will launch on 17 July and run until end August 2012 after which point Middleton. During his 6 years in this position Webb had a solo show the exhibits will travel to Hong Kong to be show cased there. care of the Arts Council of Northern Ireland, founded the Irish School of We are grateful to the artist for his kind assistance in cataloguing these Landscape Painting and was elected to the Royal Society of Arts. lots.

1 Kenneth Webb RWA FRSA RUA (b.1927) WILD GARDEN, BALLINABOY, GALWAY oil on canvas signed lower right 12 by 9in. (30.48 by 22.86cm)

€2,000-€3,000 (£1,680-£2,520 approx)

2 Kenneth Webb RWA FRSA RUA (b.1927) THE ENCHANTED FOREST, c. 1960s oil on canvas signed lower left; inscribed by artist on reverse; also with inscribed Blue Door Studio label on reverse 16.50 by 40.50in. (41.91 by 102.87cm)

Provenance: The Blue Door Studio, Dublin; Private collection

€6,000-€8,000 (£5,040-£6,720 approx)

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3 Kenneth Webb RWA FRSA RUA (b.1927) POPPIES ON YELLOW, c.1980s oil on canvas signed lower right; with title on reverse 20 by 30in. (50.80 by 76.20cm)

€4,000-€5,000 (£3,360-£4,200 approx)

4 Kenneth Webb RWA FRSA RUA (b.1927) EVENING GLOW, BALLINABOY POND, c. 2005 oil on canvas signed lower right; with inscribed label of the Purple Onion Gallery on reverse 20 by 16in. (50.80 by 40.64cm)

Provenance: Purple Onion Gallery, Roscommon; Private collection

€4,000-€6,000 (£3,360-£5,040 approx)

5 Kenneth Webb RWA FRSA RUA (b.1927) WATERLILIES, MARCONI BOG, c. 1970s oil on canvas signed lower left 20 by 30in. (50.80 by 76.20cm)

In 1907 the ﬁrst commercial transatlantic telegraph service connected Clifden to Glace Bay in Nova Scotia, initiated by Marconi’s wireless and telegraph company. Derrygimla bogland, adopted Marconi’s name and the eﬀect of changes to the surrounding environment transformed the bog into an ideal habitat for waterlilies.

€3,000-€5,000 (£2,520-£4,200 approx) 11 , WHYTE S S I N C E 1 7 8 3

6 7 Liam O’Neill (b.1954) Arthur K. Maderson (b.1942) HORSES STUDY, TALLOW HORSE FAIR, 1992 acrylic on canvas oil on board signed lower right; with typed gallery label on reverse signed lower right; signed again, titled, numbered 30 by 20in. (76.20 by 50.80cm) [28] and dated on reverse 46 by 33.50in. (116.84 by 85.09cm) Provenance: Apollo Gallery, Dublin; €2,500-€3,500 (£2,100-£2,940 approx) Private collection

€4,000-€6,000 (£3,360-£5,040 approx)

8 Arthur K. Maderson (b.1942) STUDY, NIGHT MARKET, LE VIGNAN, MIDI-FRANCE oil on board signed lower left; signed and inscribed again on reverse 32 by 47in. (81.28 by 119.38cm)

Provenance: Whyte’s, 20 September 2005, lot 160; Whence purchased by the present owner

€3,000-€4,000 (£2,520-£3,360 approx)

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9 Kenneth Webb RWA FRSA RUA (b.1927) WHITE FARM BUILDINGS, NUTTS CORNER, BELFAST, c. 1960s oil on canvas signed lower left; signed again, with title and original price [£150gns] inscribed on reverse 20 by 24in. (50.80 by 60.96cm)

€3,000-€4,000 (£2,520-£3,360 approx)

10 Donald Teskey RHA (b.1956) LIGHTHOUSE, GALLEY HEAD, WEST CORK, 2005 oil on canvas signed lower left; signed again, with title and dated on reverse 22.25 by 30.75in. (56.52 by 78.11cm)

€5,000-€7,000 (£4,200-£5,880 approx)

11 John Kingerlee (b.1936) LIGHTHOUSE, KILCATHERINE, CORK oil on board signed in monogram lower right; signed, titled, indistinctly dated and with monogram on reverse 6.50 by 9.50in. (16.51 by 24.13cm)

€800-€1,200 (£670-£1,010 approx) 13 , WHYTE S S I N C E 1 7 8 3

12 Robert Ballagh (b.1943) MAN WITH A MAGRITTE, 1973 oil on canvas; (octaptych) each of the eight panels numbered, signed in monogram [RB] and dated [‘73] on reverse 96 by 48in. (243.84 by 121.92cm)

Exhibited: ‘Portrayal or Betrayal’ - an exhibition of portraits of Nicholas Treadwell, Nicholas Treadwell Gallery, London, 1973

Man with a Magritte was painted at a pivotal stage in Robert Ballagh’s emergence as an international artist. Earlier in 1972 his first show at the Lerner Heller Gallery in New York was called off at the last moment. He was down to his last £100 and needed to sell a few paintings quickly. The painter Cecil King, an exhibitions officer at the Arts Council, advised him to try the Basel Art Fair, a sort of cultural Spring Show where hundreds of leading European galleries had stands. After four days without making a single contact, he was about to give up. Perhaps sensing his desperation, the Parisian Galerie des Quatre Mouvements agreed to look through his slides of series depicting people looking at paintings by iconic contemporary artists. They promptly offered to buy the lot for £2,500.

Ballagh had chanced upon a style strikingly in tune with the New Realism then coming into vogue while painting a portrait of his collector friend Gordon Lambert standing beside an Albers painting. Now suddenly everyone wanted his work. Aktionsgalerie mounted a sell-out show in Bern, the Isy Brachot Gallery in Brussels followed suit. But first Ballagh accepted an invitation to participate in a group show on the theme of ‘Portrayal or Betrayal’ at the Nicholas Treadwell Gallery in London. The idea was to provide an interesting comparison of styles of portraiture in the spirit of the 1970s at a time when it was considered aesthetically redundant. Ballagh’s acrylic on eight canvas panels show a man in white with a mop of black hair - in fact a portrait of the gallery owner, Nicholas Treadwell - looking at a surreal painting of a shattered window with jagged pieces of glass on the floor between drawn curtains. It is not a copy of an actual Magritte but rather a pastiche, as are all the paintings in this series that would become a virtual gallery of Ballagh’s own version of iconic painters who come to define modern art. It uses a panel format; originally developed purely as a means of making large paintings in the small room in a terraced cottage in Broadstone, which he used as a studio up to 1970. Shattered glass would become a recurring motif in Ballagh’s visual iconography, most notably in his portrait of the Miami Showband in 1976 and more recently, his 2009 portrait of the murdered Belfast solicitor Pat Finucane.

The people looking at paintings series gradually developed into Ballagh’s own personal examination of modernism. By the time he finished with it in 1975 by painting himself bending down to sign his 1970 homage to Goya’s The Third of May he wasn’t just signing off from the series, he was signing off from modernism itself and its rejection of all art that preceded it.

Ciarán Carty Dublin, February 2012

€25,000-€35,000 (£21,010-£29,410 approx)

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13 Robert Ballagh (b.1943) STAMP DESIGNS mixed media signed lower right 156 by 72in. (396.24 by 182.88cm)

Provenance: Purchased from the artist by the present owner

Exhibited: ‘Robert Ballagh’, RHA Gallagher Gallery, Dublin, 14 September - 22 October 2006

A photomontage of Robert Ballagh’s Irish postage stamp designs. Ballagh designed many commemorative and special stamps for the Irish Post Oﬃce in the 1970s to 1990s. He also designed the last series of Irish banknotes, replaced by the euro in 2002.

€3,000-€4,000 (£2,520-£3,360 approx)

14 Barry Castle (1935-2006) TWO SISTERS, 1979 oil on board signed with initials lower left; dated lower right; with title and artist’s name on original gallery label affixed on reverse 16.50 by 24in. (41.91 by 60.96cm)

Provenance: Portal Gallery, Dublin; Private collection

€600-€800 (£500-£670 approx)

15 Cecil King (1921-1986) WITHOUT, 2, 1980 oil on paper signed lower right; with original typed David Hendriks Gallery label on reverse; also with typed Cecil King Retrospective Exhibition label on reverse 13.75 by 17.75in. (34.93 by 45.09cm)

Provenance: David Hendriks Gallery, Dublin; Where purchased by the present owner

Exhibited: ‘Cecil King’, David Hendriks Gallery, Dublin, March 1980; ‘Cecil King Retrospective Exhibition’, Municipal Gallery of Modern Art, Dublin, 12 October to 8 November, 1981

€300-€500 (£250-£420 approx) 16 , WHYTE S S I N C E 1 7 8 3

16 John Shinnors (b.1950) GEORGIAN DANCERS oil on canvas laid on board signed lower right; titled and with artist’s address [Roxboro Rd., Limerick] on reverse 16 by 20in. (40.64 by 50.80cm)

€4,000-€6,000 (£3,360-£5,040 approx)

17 Micheal Farrell (1940-2000) MISS O’MURPHY, THE VERY FIRST REAL IRISH POLITICAL PICTURE SERIES, 1977 watercolour with gouache over pencil on buff-coloured paper signed, titled and dated [in the margins]; inscribed variously 19.50 by 25.50in. (49.53 by 64.77cm)

€800-€1,200 (£670-£1,010 approx)

18 Gerard Dillon (1916-1971) CAT AND BIRD pen and ink with watercolour over pencil signed lower right 9 by 11in. (22.86 by 27.94cm)

€800-€1,000 (£670-£840 approx)

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19 Harry Kernoff RHA (1900-1974) OLD MILL PORTMARNOCK, c.1926 oil on board signed lower left; with title and original price [£5-5-0] on reverse 11.25 by 15.25in. (28.58 by 38.74cm)

Exhibited: ‘Impressions and Landscape Paintings by Harry A. Kernoff’, St. Stephen’s Green, 20 April to 4 May, 1926, catalogue no. 38

€5,000-€7,000 (£4,200-£5,880 approx)

20 Cecil Maguire RHA RUA (b.1930) THE BOLD ONE, KILRONAN QUAY, ARAN, 1971 oil on board signed and dated lower right; inscribed with title and artist’s address [Woodlane, Lurgan] on backing board; also bearing original inscribed artist’s label on reverse 18 by 24in. (45.72 by 60.96cm)

Provenance: RHA, Dublin; Private collection

Exhibited: RHA, Dublin, 1972, catalogue no. 61

€5,000-€6,000 (£4,200-£5,040 approx)

21 Arthur Armstrong RHA (1924-1996) EBB-TIDE oil on board signed lower left; inscribed on reverse 24 by 30in. (60.96 by 76.20cm)

Exhibited: thought to have been exhibited at, ‘Further Aspects of Landscape: Exhibition of Paintings by Arthur Armstrong’, Gallery 22, Dublin, 6-23 May 1980, as catalogue no. 16

Throughout the late sixties and seventies Armstrong painted at least four known works titled Ebb-Tide. The present example is most likely the last in that series, exhibited in 1980 at Gallery 22 on St. Stephen’s Green. In reviewing this show, Desmond MacAvock noted that “all the paintings are of the rocky foreshore of the sea. Sometimes the view is across a bay with a hill on the far shore, but usually the subject is the pools and seaweed-festooned rocks weaving across the sands towards the distant sea” (Irish Times, 12 May 1980). He also noted the earthy palette of the works in that show - “browns, dark blues, sands coloured by the setting sun” - all of which aptly describes the present work.

€2,000-€3,000 (£1,680-£2,520 approx) 18 , WHYTE S S I N C E 1 7 8 3

22 Norah McGuinness HRHA (1901-1980) BARLEY MOON oil on canvas signed lower right; with original label on reverse 30 by 50in. (76.20 by 127cm)

Provenance: Dawson Gallery, Dublin; Whence purchased by the first owner; Adam’s & Bonhams, Dublin, 30 May 2007; Private collection

Exhibited: ‘Norah McGuinness Exhibition’, Dawson Gallery, Dublin, 1964, catalogue no. 14

In the original frame of the Dawson Gallery, Dublin.

This dark impressive landscape was exhibited at the Dawson Gallery, Dublin in 1964 during which time McGuinness had returned to live in Ireland. Having been formally trained at the Metropolitan School of Art, Dublin, the Chelsea Polytechnic, London, and on Mainie Jellett’s advice, under André l’Hôte in Paris, McGuinness, who was originally from Derry, proved to be a rounded, well travelled and informed artist at this point in her career. The present work, which is likely to have been executed from her cottage studio in the Dublin Mountains where she was living from 1957, shows the artist at her most confident. Her brushwork, while loose and fluid, retains control of technique with its precise application. The tone of Barley Moon is romantic both in title and subject matter. A full September moon dominates the sky and filters into the body of the work before resting in a pool of creamy luminosity in the foreground of the canvas. There is a sense of theatricality to this autumnal moonlight - an element to the work that perhaps resonates her time spent in the theatre world, in The Abbey, Dublin in the mid-twenties and later in the Westminster Theatre in London in the mid-thirties. The spotlight however in this case is focused on Barley Moon’s poetic lunar activity; the overall effect is sensual, mysterious and distinctly feminine.

€10,000-€15,000 (£8,400-£12,600 approx) 19 , WHYTE S S I N C E 1 7 8 3

23 Colin Middleton MBE RHA (1910-1983) SYCAMORES, 1940 oil on canvas signed lower left; with original typed label detailing title, date and artist’s name and address [28, Chichester Avenue, Belfast] on reverse 20 by 24in. (50.80 by 60.96cm)

€15,000-€20,000 (£12,610-£16,810 approx)

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24 Daniel O’Neill (1920-1974) FIGURE ON A SHORE oil on board signed lower left; with inscribed label detailing title and original price on reverse; also with Victor Waddington Galleries stamp preserved on reverse 16.25 by 24.50in. (41.28 by 62.23cm)

Provenance: Victor Waddington Galleries, Dublin; Private collection Sotheby’s, London, 2 June 1995, lot 328; Private collection

Exhibited: Victor Waddington Galleries, Dublin (catalogue untraced)

€15,000-€20,000 (£12,610-£16,810 approx)

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25 Grace Henry HRHA (1868-1953) LAC D’ANNECY, THE ALPS, c.1930s oil on canvas signed lower right; with title inscribed in pencil on reverse 20 by 24in. (50.80 by 60.96cm)

€2,000-€3,000 (£1,680-£2,520 approx)

26 Daniel O’Neill (1920-1974) LANDSCAPE watercolour with gouache signed lower right; with typed label on reverse detailing artist’s name, title and catalogue number [195]; also variously numbered and with “Z Lewinter Frankl” in pencil on reverse 4.75 by 7.75in. (12.07 by 19.69cm)

Provenance: The Collection of Zoltan Lewinter Frankl, Belfast; With the Ava Gallery, Clandeboye; Private collection

Exhibited: Ava Gallery, Clandeboye (catalogue untraced)

€1,800-€2,200 (£1,510-£1,850 approx)

27 Arthur Armstrong RHA (1924-1996) NIGHTSCAPE I oil on paper laid on board signed lower left; inscribed with title on reverse 11 by 30in. (27.94 by 76.20cm)

€1,500-€2,000 (£1,260-£1,680 approx)

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28 Daniel O’Neill (1920-1974) BOATS IN FALCARRAGH, COUNTY DONEGAL oil on board signed lower left; with title on reverse; also with Victor Waddington Galleries label on reverse 20 by 24in. (50.80 by 60.96cm)

Provenance: Victor Waddington Galleries, Dublin; Private collection

€12,000-€15,000 (£10,080-£12,610 approx)

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29 Jack Butler Yeats RHA (1871-1957) ON THE COURTHOUSE STEPS, 1946 oil on canvas signed lower right; inscribed with title on stretcher on reverse; with typed Arts Council exhibition label affixed on reverse; also with Dawson Gallery framing label on reverse 14 by 18in. (35.56 by 45.72cm)

Provenance: Purchased directly from the artist by Leo Smith, April 1946; with the Dawson Gallery, Dublin; ‘The Irish Sale’, Christies, 12 May 2006, lot 74; Private collection

Exhibited: ‘Contemporary Irish Art Society: Paintings and Sculpture from Private Collections’, Municipal Gallery, Dublin, July 1965, exhibition no. 72; ‘Modern Irish Painting, European Tour’, Arts Council of Ireland (An Chomhairle Ealaíon), Dublin, 1969-1971, exhibition no. 54, travelling exhibition: Helsinki, Gothenburg, Norköpping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Mayo and Donegal

Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.672, no. 744 (illustrated, Vol. III, p.396)

Contained in its original hand-carved Waddington frame.

The painting shows a vagrant resting on the steps of a court house, identified as that of Naas, Co. Kildare.1 His stick and bundle of belongings are beside him. The man’s casual appearance is in marked contrast to the classical formality of the building which is typical of the grand-style architecture of Irish court houses. These were designed to project a sense of authority on to the surrounding streets and their inhabitants, although this is not evident in Yeats’ picture.

Yeats had a long-standing fascination with the courts and their goings on. His father, John Butler Yeats’ career as a barrister had ended abruptly when he became more interested in sketching the protagonists in court than in the delivery of his legal duties. Several of Jack’s sketchbooks contain images of rural trials and legal proceedings including several concerning poteen making. In 1901 he sketched Galway’s court house paying close attention to the prominent coat of arms on its pediment.2 Yeats’ burlesque treatment of the relationship between the Irish citizen and the colonial formality of the court also features in the writings of his favourite dramatist, Dion Boucicault and in the novels of Somerville and Ross.

In his sketches Yeats draws attention to the irreverent attitude of the populace to the courts while noting the importance of the petty sessions and court related activity to town life in rural Ireland. Painted in the remarkably prolific year of 1946 this work is undoubtedly inspired by memories of such scenes. However, in this case the business of the court is not evident and other aspects of human life take precedence. Like some other works of the later 1940s, the paint is thinly applied, allowing the white of the primed canvas to function visually as the stone facade of the building and steps. The reclining stance of the traveller is counteracted by the running child in the right foreground. Behind her from the shadows of the building she pulls her tiny companion who sits in a go- cart. Their dynamism is echoed in the strong diagonal sweep of the composition, emphasised by the stretch of the road in the foreground. All three figures, the children and the old man, evoke the idea of free spirits at either ends of their imaginative lives. A strutting cockerel on the steps of the court house adds to the sense of the pastoral. It may also be a humorous allusion to the self- importance of the legal establishment and the official role of the court house.

Róisín Kennedy February 2012

1 Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, 1992, II, p.672 2 The writer acknowledges the assistance of Pauline Swords, Yeats Archivist, National Gallery of Ireland for information on the sketchbook images.

€90,000-€120,000 (£75,630-£100,840 approx)

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30 Harry Kernoff RHA (1900-1974) MEN FISHING, WEST RIVER FALLS, NOVA SCOTIA, CANADA, 1957 oil and pastel on board signed lower left; titled and dated on reverse 17 by 21in. (43.18 by 53.34cm)

Provenance: Jefferson Smurfit Group, Dublin; Adam’s & Bonhams, 8 December 2004, lot 113; Private collection

Exhibited: Hendriks Gallery, Dublin, 1958 (catalogue untraced); ‘30th Anniversary Exhibition of Harry Kernoff (1900-1974)’, Spiller Art, Dublin, 16-28 February 2005, catalogue no. 2

Kernoff visited Canada for six months in 1957 at the invitation of a Canadian businessman, whom he met and befriended in the Bailey pub. He completed approximately thirty works there and they all sold in the Hendriks Gallery in 1958, including this oil and pastel of West River Falls. This painting was subsequently in the Jefferson Smurfit Collection and has been in another private collection since 2004.

€6,000-€8,000 (£5,040-£6,720 approx)

31 Harry Kernoff RHA (1900-1974) “AN ASPECT OF SUPERREALISM” or “FLOATING CUBES, (AN ESSAY IN SUPERREALISM)” oil on board signed lower right; with title inscribed on reverse; also with typed label on reverse 20 by 21.50in. (50.80 by 54.61cm)

Exhibited: RHA, Dublin, 1962, as Floating Cubes, (an essay in Superrealism), catalogue no. 122 [£55-0-0]; ‘The 30th Anniversary Exhibition of Harry Kernoff (1900-1974)’, Spiller Art Gallery, Dublin, 16-26 February, 2005, catalogue no. 7 (illustrated)

€2,000-€3,000 (£1,680-£2,520 approx)

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32 Harry Kernoff RHA (1900-1974) PORTRAIT OF HERMAN (THE ARTIST’S BROTHER), 1925 oil on panel signed and dated upper right; with dedication [“To my darling Winnie with love, K”] inscribed in pencil on reverse 11.75 by 8.25in. (29.85 by 20.96cm)

Provenance lots 32-34: The collection of Winifred Gorry; Thence by descent to the present owner

Exhibited: possibly exhibited at ‘Exhibition of Painting and Sculpture (Radical Club Painters’ Group)’, Daniel Egan’s Salon, Dublin, 3-17 May 1926, catalogue no. 2 [as Head of the Artist’s Brother by Harry A. Kernoff]

It would appear that in 1925 the artist painted several works with his family as the subject. The Harry Kernoﬀ Memorial Exhibition at Dublin City Gallery, The Hugh Lane (14 December to 30 January 1977) included two works dating to 1925 both of which depicted the artist’s father in his workshop, one by day the other by night (catalogue nos. 51 and 52 respectively).

Miss Winifred Gorry was romantically linked to Harry Kernoff’s brother, Herman (affectionately known as “Hymie” or “K”). Lots 32 to 34 are testament to their relationship which was clearly one of great affection. Owing to their differing religious backgrounds marriage was never a possibility for the couple and like his brother Harry, who similarly never married, Herman’s relationship with Winifred was never legally bound. Miss Gorry was a lady of independent means and formed part of a strong fashion team with Arnotts department store in Dublin where she was responsible for buying hats and jewellery. She retired in 1975 and is remembered fondly in Arnotts 1843-1993 as “inventive, quiet and politely confident”, “[a] modest but extremely clever buyer with outstanding taste”.

€2,500-€3,500 (£2,100-£2,940 approx)

33 Ex 34 Ex 34 Harry Kernoff RHA (1900-1974) COLLECTION OF 9 WOODCUTS and A LIMITED EDITION BOOK limited edition book (no. 85 from an edition of 300, lacks 8 plates); (1); woodcuts; (framed); (1); (unframed); (8) variously signed, numbered, titled and dated; some with dedications [“To Winnie”] inscribed on reverse 7 by 6in. (17.78 by 15.24cm)

€600-€800 (£500-£670 approx) Ex 34

34 Harry Kernoff RHA (1900-1974) A COLLECTION OF KERNOFF EPHEMERA books; (6); photographs; (8); negative; (1); exhibition catalogues; (2); calendars; (4); miscellaneous; (6) variously signed, inscribed, annotated and dated; some of the texts with pencil sketches within Ex 35

€500-€700 (£420-£590 approx)

35 Harry Kernoff RHA (1900-1974) THIRTY-SIX WOODCUTS (1951) and STROLLING - PLAYER limited edition book; (1); woodcut; (1) book, signed and numbered [24] in red ink on title page; woodcut, signed in red ink lower centre; signed and titled in the plate lower right and lower left respectively 10.25 by 8in. (26.04 by 20.32cm)

€350-€450 (£290-£380 approx) 27 , WHYTE S S I N C E 1 7 8 3

36 William Conor OBE RHA RUA ROI (1881-1968) MOTHER AND CHILD oil on canvas laid on board signed lower left 30 by 25in. (76.20 by 63.50cm)

Provenance: with Ava Gallery, Co. Down; Private collection

€10,000-€15,000 (£8,400-£12,610 approx) 28 , WHYTE S S I N C E 1 7 8 3

37 William Conor OBE RHA RUA ROI (1881-1968) PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE oil on canvas 23.50 by 19.25in. (59.69 by 48.90cm)

Provenance: Collection of the artist, by whom bequeathed to the Linen Hall Library, Belfast; Sold on their behalf by the Bell Gallery, Belfast, to Mr. Courtenay Thompson, Belfast, prior to May 1978 (Certificate of Provenance from the Bell Gallery, dated 30 June 1989); Whyte’s, 21 September 2004, lot 56; Whence purchased by the present owner

Accompanied by a signed manuscript letter from the artist’s biographer, Judith C. Wilson, who researched the history of the painting on behalf of Mr. Courtenay Thompson, in January 1991. Also with numerous photocopied newspaper clippings and photographs.

The sitter in this portrait has been variously identified as ‘Red-Haired Kitty’, ‘Lily’, ‘Miss Y’, and ‘Mrs T. Walker’. It seems likely that she is actually all of the above. A photograph exists in Conor’s papers (now in the Ulster Folk and Transport Museum), that would appear to be the basis of the present portrait. It is squared up in preparation for transfer to a larger composition, and on the reverse is written: “To Billy with best love from Lily”. The same woman appears in a crayon drawing, in exact mirror image to the present work (see Young Woman in Yellow Dress, catalogue no. 78 in the Conor exhibition, ‘Children of Ulster’, held at the McClelland Galleries, Belfast, in 1969, illustrated on p.9 of the catalogue). Judith Wilson traced two further portraits of the same sitter. The first known, simply titled Kitty, was exhibited at the Royal Society of Portrait Painters in London, 1930, and was illustrated on the front cover of Colour magazine (Vol. III, No. 2, December 1930). This work is now in the collection of the Ulster Folk and Transport Museum. A second portrait of the same woman, this time leaning against a table, was painted circa 1930, and reproduced in The Daily Express, 10 December 1930, where it titled as Mrs T. Walker. It was used to illustrate an article by R. Stephen Williams, for part of a series by him on “Beauty in Ulster”. Conor was asked to select the representative beauties and paint their portraits, after which Williams interviewed them. The portrait was later exhibited as Red-Haired Kitty at the Royal Academy in London, 1931, and was illustrated in the accompanying catalogue. The following year it appeared on the front of G.F.S. Magazine, along with a short ‘puff’ by journalist May Cunningham, eulogising the sitter’s “charming and racy” looks. Conor evidently liked the work too, for he showed it again, this time in Dublin at the 1936 RHA, where it was enigmatically titled “Miss Y” and illustrated in a review of the exhibition. The present work was presumably a favourite of the artist’s, as gallery owner Nelson Bell recollects that it formerly hung over the fireplace in Conor’s dining room in his home on Salisbury Avenue, Belfast.

€4,000-€5,000 (£3,360-£4,200 approx)

38 William Conor OBE RHA RUA ROI (1881-1968) MOLLY, c.1925 pencil and conté on paper signed lower right; with inscribed John Magee label on reverse; also with contemporary newspaper clipping affixed on reverse 11.25 by 9in. (28.58 by 22.86cm)

Provenance: John Magee, Belfast; Private collection

€800-€1,200 (£670-£1,010 approx)

39 Hans Iten RHA (1874-1930) STILL LIFE WITH CHRYSANTHEMUMS IN SILVER JUG oil on canvas board signed lower left; with small hand-written label on reverse detailing artist’s name and dates 20 by 16in. (50.80 by 40.64cm)

€1,500-€2,000 (£1,260-£1,680 approx) 29 , WHYTE S S I N C E 1 7 8 3

40 George Russell “Æ” (1867-1935) THREE GIRLS PLAYING IN THE SAND DUNES oil on canvas signed in monogram lower left 21 by 32in. (53.34 by 81.28cm)

€4,000-€6,000 (£3,360-£5,040 approx)

41 Grace Henry HRHA (1868-1953) COMING HOME, ACHILL ISLAND [THE WATER IS CALLED THE SOUND], c.1915 oil on canvas signed lower right; with title inscribed on original label on reverse; also with faint inscriptions detailing price [£7-7-0] and framing instructions visible in pencil on the stretcher on reverse 16 by 14in. (40.64 by 35.56cm)

Contained in its original frame as instructed by the artist.

€2,500-€3,500 (£2,100-£2,940 approx) 30 , WHYTE S S I N C E 1 7 8 3

42 Sarah Henrietta Purser HRHA (1848-1943) WOMAN WITH FAN oil on canvas 33.50 by 26in. (85.09 by 66.04cm)

Provenance: The collection of the Artist; Her Estate Sale, Mespil House, Dublin, 1943; Private collection; ‘The Sarah Purser Sale’, Adams, 12 December 2006, lot 9; Where purchased by the present owner

Exhibited: thought to have been exhibited at ‘Pictures Old and New by Sarah Purser ARHA’, Engineers Hall, Dawson Street, Dublin, 1923, catalogue no. 80 [price £50-0-0]

€8,000-€10,000 (£6,720-£8,400 approx)

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43 Charles Edward Perugini (1839-1918) LOVERS IN A GARDEN oil on canvas laid on board signed in monogram lower right 45.75 by 55.50in. (116.21 by 140.97cm)

Provenance: Private collection, New York; Private collection, Westport , Co. Mayo

“Elegance, purity, and correctness of draughtsmanship, perfect reﬁnement and dignity, grace and charm, delicacy in colour, and the tenderness of harmonious line - these are the qualities of his academic art which are now, it must be recognised outside, the sweep of the modern movement, but which has delighted two generations of picture-lovers who look for sound scholarship severely disciplined and veiled by melodious sweetness and distinction.”

From Perugini’s obituary recorded in The Times on 23 December 1918.

Although Charles Edward Perugini was a boy when the Pre-Raphaelite movement began in 1848, its eﬀects had far-reaching consequences and were felt late into the 1890s with the beginning of the Arts and Crafts movement; a development which had its roots in England but which spread rapidly throughout Ireland and the British isles. The Pre-Raphaelite Brotherhood was a secret society formed by artist’s who had found themselves disenchanted by the Royal Academy and who, in their disillusionment, turned to the art of the early Renaissance and late Medieval Age,, ﬁnding solace in its moral message, truthful depictions of nature and minute attention to detail all of which were in stark contrast to the mass industrialisation of their own era.

Perugini, born “Carlo” in Naples relocated with his family to London at an early age but he returned to his native Italy and later Paris to begin his artistic training. While on the Continent he met Lord Frederick Leighton, an associate of the Brotherhood, to whom he would become protégé. Under Leighton’s tutorage from the 1850s Perugini submitted to the RA, garnered numerous commissions and gained ﬁnancial success. In 1873 Perugini married Charles Dickens’ daughter, Kate, an artist and muse to members of the Brotherhood including John Everett Milliais (1829-1896) and widow of Charles Allston Collins, also a Pre-Raphaelite. An accomplished portrait and genre painter, Perugini, was her second husband who she both posed for and collaborated with on artistic projects during their marriage. It is possible that the lovers depicted here are an idealised portrayal of husband and wife, the ﬁgure of the man with his distinctly Italianate colouring and aquiline nose point to a possible self-portrait while images of Kate are comparable to the present “child-bride”.

Lovers in a Garden may date to the late 1880s or early 1890s. The classical setting and abundance of delicate foliage complement the tender romantic scene between the man and his young love and are comparable with the setting for The Green Lizard 1902 which he exhibited in the RA that year. The subject and sitters’ dress echo literary inspirations of the time and while not as overt in their aﬀections as depicted by his Irish counterpart, Sir Frederic William Burton in The Meeting on the Turret Stairs, 1864 (National Gallery of Ireland) for example, theirs is a shared sentiment.

€50,000-€70,000 (£42,020-£58,820 approx)

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44 Erskine Nicol RSA ARA (1825-1904) COUPLE RESTING BY A GRASSEY KNOLL, 1852 oil on board signed and dated lower right; with framer’s details stamped on reverse 9.50 by 14.75in. (24.13 by 37.47cm)

This work was executed the same year as a comparable work in oil now in the collection of the Tate entitled Wayside Prayer, 1852, Presented by Sir Henry Tate in 1894 (Tate reference, N01537). The female character wears the same dress and headscarf in both works and the setting, gravely path and rickety fence all bear a striking resemblance to the Tate’s example. It is possible that the woman in this work is also praying, having perhaps had some sustenance from the jug in the left foreground. However, the animated face of the man, his gaze directed towards her, suggests a more light-hearted ﬂirtatious ambience. His left hand appears to be touching the ring ﬁnger of his right, indicating perhaps their relationship either present or anticipated.

€4,000-€5,000 (£3,360-£4,200 approx)

45 Lady Blanche Lindsay (née Fitzroy) (c.1844-1912) PORTRAIT OF A YOUNG GIRL oil on board with faintly inscribed label on reverse detailing artist’s name, address [41 Hans P., Chelsea] and price [ten?] 4 by 4in. (10.16 by 10.16cm)

Caroline Blanche Elizabeth (née FitzRoy), Lady Lindsay daughter of Hon. Henry Fitzroy (the son of Lord Southhampton) and Hannah Mayer de Rothschild was an amateur painter, poetess, musician and wife of Sir Coutts Lindsay whom she married in1864. Together they founded the Grosvenor Gallery in 1877 which was heralded at the time as a favourable alternative to the Royal Academy and a chief artistic and social venue for second-generation pre-Raphaelites among other artists of the day. Although only thirteen years in operation the Lindsays’ innovations in terms of their exhibiton practices had far reaching eﬀects. The couple later separated but Lady Lindsay continued to play a vital role in the arts community, hosting gatherings which included Mary Shelley, Browning, Eliot and Tennyson among others at her home in 41 Hans Place, Chelsea. A portrait minature of Lady Lindsay was painted by Dickens’ daughter Kate Perugini (see lot 43).

€500-€700 (£420-£590 approx)

46 Edith Œnone Somerville (1858-1949) MY FRIEND SLIPPER (SOME EXPERIENCES OF AN IRISH R.M.), c.1899 watercolour and pencil on paper signed lower left; inscribed with title, medium and signed again on original Arthur Ackerman & Son Ltd label on reverse; with remains of old typed label on reverse detailing title 9 by 6in. (22.86 by 15.24cm)

Provenance: Arthur Ackerman & Son Ltd, New York; Private collection

Exhibited: Arthur Ackerman & Son Ltd, New York, c.1899

€2,000-€3,000 (£1,680-£2,520 approx)

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47 Thomas Snagg (1746-1812) The right half of the picture gives a break in the foliage to reveal a splendid vista of VIEW OF CLONTARF CASTLE, 1805 Dublin Bay, reaching as far as the two Sugarloaves - Dunleary (afterwards, oil on canvas Kingstown and later Dún Laoghaire) before its harbour was built. A notable feature signed and dated lower right is the South Wall, ﬁnished in 1786, and extending from Ringsend (out of sight) 24 by 36in. (60.96 by 91.44cm) past the Pidgeon House out to the old Poolbeg Lighthouse which helped guide shipping up the River to the Custom House, completed only fourteen years before Provenance: Snagg’s panorama was created. A most unexpected, and rather fanciful, feature of Stackallan House Co. Meath Sale, Christie’s, 20 October, 1992, lot 197; the picture is the series of houses and other buildings presented at such a scale as Private collection to be almost Lilliputian, and placed along the shore where there were probably slobs at the time, a plan to reclaim which was prepared in the year of the painting, This rare Thomas Snagg oil painting places its main feature- Clontarf Castle - on 1805. the left-hand side of the picture, a characteristic also found in the works of his exact contemporary William Ashford who had dominated Irish landscape painting Snagg, thrice married, was born in London and became a successful actor, for a quarter of a century before Snagg put brush to canvas here in 1805. The performing with David Garrick at Drury Lane. He took up painting around the mid- castle stands on the site of the Norman fortress built around 1200 by the Knights 1770s and travelled as far as St. Petersburg, where he painted Empress Catherine Templar and the tower at the right-hand end of the building may be part of a later the Great. On his return journey, Robespierre arrested him and his family in medieval commandery of the Knights Hospitallers to whom the property was northern France, where he was held captive for more than a year - an ordeal he transferred in the 14th century. The remainder of the castle seen in Snagg’s canvas recorded in a print in the British Museum. is probably a creation of the later18th century; one of the earliest examples of the Neo-Gothic style in Ireland, and the predecessor of the present Tudor-Revival In 1804, twelve months before he painted Clontarf, Snagg exhibited four structure designed by William Vitruvius Morrison in 1836. A closer view of 1772 by landscapes at Allen’s in Dame Street, one of which may have been the view of Gabriel Beranger, of which there is a watercolour copy in the National Library, Dublin Bay seen from the University Rowing Club in Ringsend now in the National shows out the Gothic fenestration more clearly. In 1998, Sotheby’s auctioned for Gallery of Ireland, and which - like the Clontarf picture - has the main building on £40,000 a sketch of the castle of around 1817, allegedly by the famous English the left-hand side of the painting. painter J.M.W. Turner, which was apparently copied from an original by Maria Sophie Vernon. She was a member of the family which had been in residence Dr. Peter Harbison since the mid-17th century - the builders of the structure painted by Snagg - and Honorary Academic Editor, Royal Irish Academy whose name is still attached to the various roads in the vicinity. It is doubtless they February, 2012 or their guests feature in the charming vignette in the bottom of the picture, seen on the horse-drawn carriage at the top of the road leading down to the sea. €5,000-€7,000 (£4,200-£5,880 approx)

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48 48 Alfred Augustus Glendening Junior (1862-1907) A SURREY LANE oil on board with artist’s name and dates on plaque affixed to frame lower centre; with indistinct location inscribed on stretcher on reverse; also with Mandell’s Gallery [Norfolk] label on reverse 20 by 32in. (50.80 by 81.28cm)

€3,000-€4,000 (£2,520-£3,360 approx)

48A John Mac Whirter RA HRSA RI (Scottish, 1839-1911) GLEN SANNOX, ARRAN (LOOKING IN THE SEA) oil on canvas signed lower left; inscribed with title and artist’s name on stretcher on reverse 20 by 30in. (50.80 by 76.20cm)

John MacWhirter exhibited in Ireland at the RHA 48A between 1861 and 1908 from addresses in Edinburgh and later London. Landscapes dominated in the examples shown.

€1,200-€1,500 (£1,010-£1,260 approx)

49 Sidney Pike (1846-1907) ORCHARD MORNING, 1893 oil on canvas signed and dated lower left 19.75 by 30in. (50.17 by 76.20cm)

€600-€800 (£500-£670 approx)

50 Edwards James Rogers (1872-1938) ROCHES POINT FROM GLENBROOK, CORK, c.1929-1932 oil on canvas board signed lower right; signed again and with title and price on original label on reverse; also with 49 John Gilbert, Print Seller & Framer label [120 Patrick Street, Cork] on reverse 11.50 by 19.50in. (29.21 by 49.53cm)

Son of a Dublin-born architect, E. J. Rogers exhibited regularly at the RHA from several Dublin addresses including Rathgar, Terenure, Dún Laoghaire among others and, between 1929 and 1932, from Bellevue, Glenbrook, Cork, where this painting is set. Snoddy notes that he attended the Crawford School of Art in 1893. Two of his etchings are in the National Library of Ireland (For further reading see Snoddy, pp.573-4) Contained in its original frame.

€300-€400 (£250-£340 approx)

51 Douglas Alexander (1871-1945) AT BALLINAHINCH, CONNEMARA watercolour signed lower left; with location on reverse 10 by 14in. (25.40 by 35.56cm)

€300-€400 (£250-£340 approx)

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52 Thomas James Mulvany RHA (1779-1845) COAST SCENE - NOON: PEASANTS WINNOWING CORN - FROM A SKETCH BY CAPTAIN CHIDLEY COOTE, 1838 oil on canvas with artist’s name on plaque affixed to frame lower centre; with artist’s name and title on typed label on reverse; also with RHA exhibition details on reverse 12 by 18in. (30.48 by 45.72cm)

Provenance: RHA, Dublin; Private collection; Christies, London, 6 May 1996, lot 8; Where purchased by the present owner

Exhibited: RHA, Dublin, 1838, catalogue no. 27

Mulvany exhibited at the RHA from 1826 (the inaugural exhibition) until 1844 (bar one year, 1839) showing close to eighty works during this period. Born in Dublin, he was one of the instrumental ﬁgures in the founding of the RHA, one of the fourteen original members and appointed Keeper.

Mulvany died at his home in Booterstown, Dublin in 1845.

The neighbouring Wicklow landscape was a recurring theme in his oeuvre and the mountain in the background of this scene is likely to be the Sugarloaf. For further reading see Strickland, p.156-157.

€2,500-€3,500 (£2,100-£2,940 approx)

52A John Faulkner RHA RI (1835-1888) A MOOR NEAR BIRMINGHAM watercolour signed and inscribed with title lower left, bearing label of Tom James Gallery [New Jersey] on reverse 17 by 29in. (43.18 by 73.66cm)

Exhibited: Tom James Gallery, New Jersey, USA

€1,500-€2,000 (£1,260-£1,680 approx)

53 Attributed to Cornelius Pearson (1805-1891) A VIEW OF WATERFORD watercolour with artist’s biography affixed on reverse 12 by 17.50in. (30.48 by 44.45cm)

€800-€1,000 (£670-£840 approx)

54 William Widgery (1822-1893) HARBOUR SCENE, 1865 watercolour and gouache on buff-coloured paper signed and dated lower right on a barrel within the image 23.50 by 47.50in. (59.69 by 120.65cm)

Provenance: Mealy’s, Castlecomer, 22 November 2005, lot 412

€1,500-€2,000 (£1,260-£1,680 approx) 37 , WHYTE S S I N C E 1 7 8 3

55 William Percy French (1854-1920) TWELVE BENS, CONNEMARA, 1911 watercolour signed and dated lower right 14 by 21in. (35.56 by 53.34cm)

€5,000-€7,000 (£4,200-£5,880 approx)

56 William Percy French (1854-1920) PEAT STACKS ON THE BOG watercolour signed twice lower right; with original Warings Picture Galleries label [164-180, Oxford St., London W.] on reverse 6.50 by 8.75in. (16.51 by 22.23cm)

Provenance: Acquired directly from the artist by the previous owner; deVere’s, 3 October 2006, lot 71; Private collection

€2,500-€3,500 (£2,100-£2,940 approx)

38 , WHYTE S S I N C E 1 7 8 3

57 William Percy French (1854-1920) STREAM THROUGH BOG LANDSCAPE watercolour signed lower right; with Bell Gallery, Belfast and partial Vicars Brothers [12 Old Bond St., London W] label on reverse 6.50 by 9.50in. (16.51 by 24.13cm)

€1,500-€2,000 (£1,260-£1,680 approx)

57A William Percy French (1854-1920) MORNING LIGHT OVER THE RUSHES, 1899 watercolour signed and dated lower right 7 by 13.25in. (17.78 by 33.66cm)

Provenance: Purchased from the artist by the previous owner’s grandparents; Christie’s, Irish Sale Part II, 10 May 2007, lot 248; Private collection

€2,500-€3,500 (£2,100-£2,940 approx)

58 William Percy French (1854-1920) LAKE VIEW watercolour signed lower left 5.75 by 9.75in. (14.61 by 24.77cm)

Provenance: possibly sold through Sotheby’s, 2 June 1995, lot 290; Private collection

€1,500-€2,000 (£1,260-£1,680 approx)

59 William Percy French (1854-1920) FIGURES IN A BOAT ON ALPINE LAKE watercolour signed lower left 6 by 8.75in. (15.24 by 22.23cm)

€800-€1,000 (£670-£840 approx) 39 , WHYTE S S I N C E 1 7 8 3

60 Joseph William Carey RUA (1859-1937) BARNESMORE GAP, DONEGAL, 1928 watercolour over pencil signed, titled and dated lower left 10.50 by 21.50in. (26.67 by 54.61cm)

€300-€500 (£250-£420 approx)

61 Frank Egginton RCA (1908-1990) CORN STOOKS watercolour signed lower left 14.25 by 20.25in. (36.20 by 51.44cm)

€600-€800 (£500-£670 approx)

62 Lady Evelyn Guinness (1883-1939) CODDEN, SUSSEX, 1917 watercolour heightened with white signed, titled and dated lower right 6.75 by 9.75in. (17.15 by 24.77cm)

Also with this lot, a photograph of the artist aged 28 years (8 by 6ins) dated 14 December 1911.

€500-€700 (£420-£590 approx)

63 Claude Hayes RI ROI (1852-1922) CATTLE BY A STREAM watercolour signed lower right 9 by 13.25in. (22.86 by 33.66cm)

€300-€400 (£250-£340 approx)

40 , WHYTE S S I N C E 1 7 8 3

64 64 Edwin Hayes RHA RI ROI (1819-1904) HULKS IN PORTSMOUTH HARBOUR watercolour over pencil with typed Fine Art Society, London label on reverse 10 by 13.75in. (25.40 by 34.93cm)

Exhibited: Fine Art Society, London, March 1973 [reference no. 9792]

€1,500-€2,000 (£1,260-£1,680 approx)

65 Joseph William Carey RUA (1859-1937) RMS CAMPANIA pen and ink with watercolour and gouache heightened with white signed lower right; variously inscribed in the lower margin 6.25 by 11.50in. (15.88 by 29.21cm) 65 Inscriptions in the margin read (left to right): “Columbus’ three ships (additional faint inscription indecipherable), Santa Maria 300tons, La Pinta 100tons, Campania 12500tons, Nina 30tons.”

€300-€500 (£250-£420 approx)

65A Mary Georgina Barton RWS (1861-1949) SLIGO CANAL watercolour over pencil signed lower right 13.50 by 20.50in. (34.29 by 52.07cm)

€1,000-€1,500 (£840-£1,260 approx) 65A

66 Miss Mary Jane Grattan Guinness, (later Mrs Pitcairn) (1805-1870) CLIFFS NEAR DINGLE and VENTRY (A PAIR) watercolour heightened with white on buff-coloured paper each inscribed with title lower centre 8.50 by 13.25in. (21.59 by 33.66cm)

Provenance: The Collection of Sir Benjamin Lee Guinness; Thence to his nephew, Baron Plunket, Archbishop of Dublin; With a private collector Dublin, 1990s; Royal Dublin Society, Antique’s Fair; Where purchased by the present owner

Exhibited: 66 ‘Nineteenth Century Irish Topographical Watercolours’, Neptune Gallery, Dublin, circa 1990

€600-€800 (£500-£670 approx)

67 Samuel C. Taylor (1870-1944) HARBOUR SCENE, BRITTANY chalk pastel on buff-coloured paper with typed Jorgensen Fine Art label on reverse 6.25 by 8.25in. (15.88 by 20.96cm)

€150-€200 (£130-£170 approx)

41 , WHYTE S HG Gandy S I N C E 1 7 8 3

Lots 68-83 by HENRY GEORGE GANDY DSO OBE (1879-1950) Provenance collection: Family of the artist between 1924 and 1928 during which time Gandy was serving as a Henry George Gandy was born in 1879, in Northumberland, England, Lieutenant Colonel with the Royal Engineers in Colombo, Ceylon (now the son of a British Army officer. After being educated locally he Sri Lanka). The popularity and quality of his artwork was demonstrated followed the career path of his father and received a commission in the by the fact that his scenes of Hong Kong, China and Singapore were Royal Engineers in 1899 after which he saw service in South Africa reproduced in books and also on postcards by the famous publishers during the Anglo-Boer War. His interest in art flourished during his army Raphael Tuck. His work serves as a record of cultures and ways of life career which allowed him to visit many parts of the world and paint which have now changed almost beyond recognition in many of the scenes still considered exotic to most Europeans at this time. In countries that he visited. H. G. Gandy retired from the army in 1932 after between the Boer and First World Wars Gandy served in Somaliland, an illustrious career, during which he was awarded the Distinguished Egypt and the Sudan where he became well known for his sketches Service Order, Order of the British Empire, and Turkish Order of the and caricatures. The following paintings were mostly completed Mejidie. He died at Hampshire, England in 1950 at the age of 70.

68 THE FORBIDDEN CITY, PEKING (BEIJING), FROM COAL HILL watercolour over pencil signed lower right; with title and inscription on reverse 9.50 by 16.25in. (24.13 by 41.28cm) 70 A JUNK WITH THREE CREW IN HONG KONG HARBOUR Inscribed by artist on reverse: “Lady Norah Jellicoe, 7 Cadogan Square, SW1 & Phillips signed lower right Oppenheim”. watercolour over pencil 12 by 10in. (30.48 by 25.40cm) €800-€1,200 (£670-£1,010 approx) €500-€700 (£420-£590 approx)

69 71 A JUNK IN HONG KONG HARBOUR JUNKS AND STEAMBOAT IN HONG KONG HARBOUR signed lower right signed lower right watercolour over pencil pencil and wash 9.50 by 13.50in. (24.13 by 34.29cm) 13 by 9.50in. (33.02 by 24.13cm)

€600-€800 (£500-£670 approx) €500-€700 (£420-£590 approx) 42 , HG Gandy WHYTE S S I N C E 1 7 8 3

74 JUNK ON THE RIVER IRAWADDY, BURMA signed lower right watercolour; (unframed) 7.50 by 14in. (19.05 by 35.56cm)

Inscribed on reverse “Miss Howard, Clapham Park, Bedford”.

€400-€600 (£340-£500 approx)

72 BURMESE RICE BOAT ON RIVER IRAWADDY signed lower right; inscribed with title on reverse watercolour 16.75 by 10in. (42.55 by 25.40cm)

€500-€700 (£420-£590 approx)

73 75 COAST SCENE CEYLON (SRI LANKA) EARLY MORNING ON IRAWADDY ABOVE signed lower right; inscribed with title on reverse MANDALAY, BURMA watercolour over pencil; (unframed) signed lower left; inscribed with title on reverse 9.25 by 14in. (23.50 by 35.56cm) watercolour; (unframed) 14 by 10in. (35.56 by 25.40cm) €400-€600 (£340-£500 approx) €400-€600 (£340-£500 approx)

43 , WHYTE S HG Gandy S I N C E 1 7 8 3

78 76 TEMPLE OF THE TOOTH, KANDY, FROM A ROOM WINDOW GORGE ON RIVER IRAWADDY NORTH OF MANDALAY, BURMA IN QUEEN’S HOTEL (SRI LANKA) 1925 signed lower right; inscribed with title on reverse signed and dated lower right; inscribed with title on reverse watercolour; (unframed) watercolour over pencil; (unframed) 13.50 by 8.50in. (34.29 by 21.59cm) 10 by 7in. (25.40 by 17.78cm)

€400-€600 (£340-£500 approx) €300-€500 (£250-£420 approx)

77 79 COAST NEAR AMBALONGODA, CEYLON (SRI LANKA) THE LADIES OF MINICOY signed lower right signed lower right; inscribed in margin with title watercolour over pencil; (unframed) watercolour over pencil; (unframed) 16.50 by 9.50in. (41.91 by 24.13cm) 10 by 6in. (25.40 by 15.24cm)

€300-€500 (£250-£420 approx) Inscribed by artist “Between Maldive-Laccadive” Islands”.

€300-€500 (£250-£420 approx) 44 , HG Gandy WHYTE S S I N C E 1 7 8 3

80 82 ADAM’S PEAK CEYLON (SRI LANKA) FROM YARTMORE ESTATE VIEW OF SHIVE DAGOR PAGODA FROM POINT signed lower right; inscribed with title on reverse NEAR THE BOAT CLUB, BURMA watercolour over pencil; (unframed) signed lower left 17 by 10in. (43.18 by 25.40cm) watercolour; (unframed) 14 by 10in. (35.56 by 25.40cm) Inscribed on reverse “F E Jolliﬀ Exhib. 1926 (of his background) Mr L Waldock (for Miss W. Home); March 1928 Mr Greenshields.” €300-€400 (£250-£340 approx)

€300-€400 (£250-£340 approx)

81 83 SIGIRI FROM REST HOUSE, CEYLON (SRI LANKA) COASTAL SCENE, CEYLON (SRI LANKA) signed lower right signed lower right; inscribed with title on reverse watercolour; (unframed) watercolour; (unframed) 14 by 10in. (35.56 by 25.40cm) 7.50 by 13in. (19.05 by 33.02cm)

Inscribed by the artist: “Mr Bagdlo, Exhibition 1927”. €300-€400 (£250-£340 approx)

€300-€400 (£250-£340 approx) 45 , WHYTE S Ernest Columba Hayes S I N C E 1 7 8 3

Lots 84-114 by ERNEST COLUMBA HAYES RHA (1914-1978) period he relocated to London an in 1958 he completed a large portrait of the unless otherwise stated Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Collection provenance: Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob Estate of Hildegard Hayes, the artist’s wife in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany . A year after his A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in death the RHA commemorated Hayes in a memorial section. Thirteen years later, in the years 1931 to 1934, where he studied under Seán Keating and had his ﬁrst 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern painting accepted by the Royal Hibernian Academy while still a student there. He Art some examples from this exhibition are included in this collection. Hayes made his went on to regularly show at the RHA for the rest of his life. He joined the Dublin home in County Wicklow from the mid-1960s. Sketching Club in 1935 later becoming the clubs secretary. He had his ﬁrst one-man Anne Crookshank highlighted his love of the land in the exhibition catalogue for show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely Associte of the RHA and three years later in 1945 became a full member. That same East coast as well as of the West which so many of his contemporaries preferred. He is year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in a painter of everyday people and everyday places but he see them and makes us see London. From 1946 to 1956 he was President of the Dublin Sketching Club after this them as poetry.”

Photographs, courtesy of the 84 Estate, are not included in the sale. SELF PORTRAIT, 1940 watercolour over pencil signed, inscribed and dated on reverse; also with catalogue number [107] on reverse 16 by 12in. (40.64 by 30.48cm)

€800-€1,200 (£670-£1,010 approx) Hayes with ﬁrst wife, Irma and Ms Dorothy Day viewing a portrait of Mrs Arthur Staﬀord, RHA, April 1952.

85 SELF PORTRAIT, 1937 pencil signed and dated [July] Hayes painting en plein air, c.1950s lower right 17.50 by 13.50in. (44.45 by 34.29cm)

€500-€600 William Conor received by Hayes, Leo Whelan (£420-£500 approx) and Letitia Hamilton, RHA, May 1950.

87 Eithne McNally (fl. 1930s-1940s) PORTRAIT OF ERNEST COLUMBA HAYES, c.1940 86 oil on canvas; (unstretched) THE ARTIST’S FATHER signed upper right; inscribed pencil “Myself by Eithne” in the tacky with title on reverse margin lower left 6.50 by 5.50in. (16.51 by 22 by 17.50in. (55.88 by 44.45cm) 13.97cm) Eithne McNally appears to have been a Exhibited: friend of Ernest Hayes. She is recorded as ‘Ernest Hayes 1914-1978’, having a solo show in the Dublin Hugh Lane Gallery, Dublin, Painter’s Gallery. In 1942 she submitted a 27 November to 24 January, still life to the Dublin Sketching Club and 1993, exhibition no. 18 the RHA records two works from an (illustrated p.53 of exhibition address in Raheny, Dublin in 1941 and catalogue) 1942. In 1940 Hayes exhibited at the Dublin Sketching Club a portrait of the artist’s sister, Dr. Nora McNally. The following year a portrait of Eithne by Hayes was painted, sketches This work dates to pre-1960. of which are contained in lot 111. In 1982 the ﬁnished oil of Dr. McNally and Eithne were recorded as in the collection of Miss McNally, Achill, Co. Mayo. €200-€300 (£170-£250 approx) €1,000-€1,500 (£1,190-£1,790 approx) 46 , Ernest Columba Hayes WHYTE S S I N C E 1 7 8 3

88 91 PORTRAIT OF THE SEPTEMBER WIND, ARTIST’S WIFE, 1950s HILDEGARD HAYES oil on canvas oil on canvas signed and signed upper right indistinctly dated 24 by 20in. (60.96 lower left; with by 50.80cm) title and catalogue no. [288] on €800-€1,200 reverse; also with (£670-£1,010 typed exhibition approx) label preserved on reverse 30 by 24in. (76.20 by 60.96cm)

€800-€1,200 (£670-£1,010 approx)

89 STUDIES FOR PORTRAITS OF THE ARTIST’S WIFE, HILDEGARD oil on board; (1); pencil; (2) 91 variously inscribed in pencil; one with a portrait of another lady SEPTEMBER WIND, 1950s (squared for transfer) on reverse oil on canvas 18 by 14in. (45.72 by 35.56cm) signed and indistinctly dated lower left; with title and catalogue no. [288] on reverse; also with typed exhibition label preserved on reverse Dimensions of works on paper, 11 by 9.5in and 25.5 by 19.5in. 30 by 24in. (76.20 by 60.96cm)

€300-€500 (£250-£420 approx €800-€1,200 (£670-£1,010 approx)

90 92 FIGURE OF A LADY IN A LANDSCAPE YOUNG TREE, 1977 oil on canvas oil on canvas 24 by 18in. (60.96 by 45.72cm) signed and dated lower right; with title on reverse; with typed exhibition labels also on reverse €1,000-€1,500 (£840-£1,260 approx) 14 by 11in. (35.56 by 27.94cm)

€600-€800 (£500-£670 approx) 47 , WHYTE S Ernest Columba Hayes S I N C E 1 7 8 3

The Blue Window

93 96 GARDEN, 1963 STUDY FOR “THE BLUE WINDOW”, 1961 oil on canvas board oil on board signed and dated lower left signed lower right; with sketch of cottages on reverse 19 by 16in. (48.26 by 40.64cm) 8.25 by 6in. (20.96 by 15.24cm)

€400-€600 (£340-£500 approx) The ﬁnished oil for this study was exhibited in the Dublin Sketching Club, 1961, no. 106, at the RHA in 1979, Memorial Panel, no. 103 and at the Hugh Lane exhibition in 1992 (illustrated p. 58 of catalogue).

94 €300-€400 (£250-£340 approx) LANDSCAPE WITH PINK FLOWERS, 1964 oil on canvas board signed and dated lower right; with another work on reverse 9 by 12in. (22.86 by 30.48cm) 97 PARKGATE, CHESHIRE €300-€400 (£250-£340 approx) oil on board with title on reverse; also with catalogue no. [261] on reverse 10 by 14in. (25.40 by 35.56cm)

€200-€300 (£170-£250 approx)

98 LANDSCAPE WITH HAYSTACKS oil on canvas signed lower right 10 by 14in. (25.40 by 35.56cm)

€200-€300 (£170-£250 approx)

99 NORMA, ITALY, 1969 watercolour signed and dated lower right; with inscribed and typed exhibition labels on reverse; catalogue no. 403 95 9.25 by 12.75in. (23.50 by 32.39cm) STILL LIFE, 1960 oil on board Exhibited: signed and dated [26 October] lower right; with sketch and Combridges Fine Art, Dublin, c.1960; inscriptions on reverse exhibited in May 1978 (5 months before the artist’s death); 9.50 by 13.50in. (24.13 by 34.29cm) (catalogue untraced)

€400-€600 (£340-£500 approx) €200-€400 (£170-£340 approx) 48 , Ernest Columba Hayes WHYTE S S I N C E 1 7 8 3

100 Ex 102 STANDING WOMAN IN RED SHAWL AND TWO OTHER FIGURE STUDIES IN OIL oil on canvas; (unstretched) the first indistinctly inscribed in the margin upper right 23 by 12in. (58.42 by 30.48cm)

Dimensions of other ﬁgure studies, 9.5 by 9in. approx. (3 works total).

€200-€300 (£170-£250 approx) 102 STILL LIFE WITH JAMESON BOTTLE and A COLLECTION OF SKETCHES oil on canvas; (unstretched); (1); oil on board; (4); pencil on board; (1) variously inscribed on reverse 17 by 17.75in. (43.18 by 45.09cm)

Sketches include, landscapes one of which is a sketch for The Windmill 1962. Work in pencil depicts the artist’s wife (squared up for transfer), another inscribed “Sketch by George Wycliﬀe Yeats (Dentist) Brilliant Amateur. After 1930 I think”.

€300-€400 (£250-£340 approx)

103 STUDY FOR “DEEP SOUTH”, 1970 pencil inscribed right of image; with various notes on reverse 10.75 by 6.75in. (27.31 by 17.15cm)

The oil created from this sketch was variously exhibited, including in the European Fine Arts Gallery, 1981 at this time the ﬁnished work was in the collection of F. Brandt in West Germany.

€300-€500 (£250-£420 approx)

104 GARDEN CORNER, ARTIST’S HOME, 1975 pencil on tinted paper signed and dated lower right; titled lower left; inscribed on reverse 101 11.25 by 8in. (28.58 by 20.32cm) NUDE, 1938 oil on canvas; (unstretched) Literature: signed and dated lower left Ernest Hayes the Wild Garden, Paintings and Drawings from a 22 by 20in. (55.88 by 50.80cm) Mountain Field in Ireland, Privately published, Ormond Printing, Dublin, 1984 (illustrated) €600-€800 (£500-£670 approx) €200-€300 (£170-£250 approx)

105 LA MODER (FISHERMAN ON A RIVER), 1975 and STUDY FOR “FRINGE OF THE MEADOW”, 1976 (A PAIR) pencil; (2) both signed, titled and dated in the lower margin; both with inscriptions on reverse 4.75 by 6.75in. (12.07 by 17.15cm)

Another view of La Moder was shown at ‘Ernest Hayes 1914-1978’, Hugh Lane Gallery, Dublin, 27 November to 24 January, 1993, exhibition no. 85 (illustrated p.87 of exhibition catalogue).

Ex 105 €300-€400 (£250-£340 approx) 49 , WHYTE S Ernest Columba Hayes S I N C E 1 7 8 3

106 Ex 110 STUDY FOR “TOWER LEMBECK”, GERMANY, 1971 biro signed and dated upper right; inscribed on reverse 11.25 by 8.50in. (28.58 by 21.59cm)

€100-€200 (£80-£170 approx)

107 STUDY FOR “THE EVENING HOUR”, 1975 pencil variously inscribed in the margin; 9.25 by 12.50in. (23.50 by 31.75cm)

Literature: Ernest Hayes the Wild Garden, Paintings and Drawings from a Mountain Field in Ireland, Privately published, Ormond Printing, Dublin, 1984 (illustrated)

With a copy of folios from the publication aﬃxed on reverse

€100-€200 (£80-£170 approx)

108 ROOFS, VERONA, 1968 biro signed and with location lower right; inscribed and dated on reverse; with inscribed exhibition label on reverse and price [£10-10-0] The Coliseum, 1939 to 1940 exhibited at the RA, London 6.75 by 9.75in. (17.15 by 24.77cm) Photograph, courtesy of the Estate, is not included with this lot.

Inscription on reverse reads, “7 November 1968. First drawing after death of Irma, Ernest’s first wife, from our room in the Hotel Coloumba d’Oro in 110 Verona”. PAIR OF STUDIES FOR “BEFORE THE GAME” (or “THE COLISEUM”), 1938 €100-€200 (£80-£170 approx) conté with pencil; (2) signed and dated; one with copy of Irish Times [5 April 1938] on reverse 18.50 by 14.50in. (46.99 by 36.83cm) 109 STUDY FOR “SLAVES IN THE FORUM”, c.1940 and A COLLECTION Dimensions of second title, 14.5 by 14in. OF EARLY FIGURE DRAWINGS Irish Times verso shows a picture of the artist with his submission to the RHA that watercolour; (1); pencil and chalk on tinted paper; (10); (some year. Article reads, “Preparations for the Annual RHA Exhibition... Mr E.C. Hayes double-sided); (all unframed) putting finishing touches to his accepted canvas, Before the Game . Other artists variously inscribed mentioned and shown in the clipping include, Maurice MacGonigal, George 8 by 12in. (20.32 by 30.48cm) Collie and Harry Kernoff. It is recorded that Hayes made several trips to the Dublin Zoo to sketch the lions there in preparation for this work. Hayes had a keen interest in classical subject matter evidenced in several canvases exhibited circa 1940 including, The Coliseum and Slaves in the Forum €600-€800 (£500-£670 approx) (both 1940) the latter shown at the Royal Academy Winter Exhibition at Burlington House, London.

€200-€300 (£170-£250 approx) 50 , Ernest Columba Hayes WHYTE S S I N C E 1 7 8 3

Ex 109 Ex 113

111 113 COLLECTION OF PORTRAIT SKETCHES COLLECTION OF LANDSCAPE, MARINE & STILL LIFE SKETCHES pencil; (7); (all unframed) oil on canvas (unstretched); (3); watercolour; (4) variously signed, inscribed and dated variously signed, inscribed and dated 16 by 12in. (40.64 by 30.48cm) 14 by 16in. (35.56 by 40.64cm)

Two of the portraits in the collection are dated March and November 1937 and Among the sketches include early pastoral landscapes (1935-36), a still life one 1936. All but one depict female sitters, one of which is Hildegard Hayes, the sketch from the artist’s studio, a maritime sketch of a tall ship (1935), and a artist’s wife, inscribed [5 May ‘60 Connemara] on reverse. A sketch of Eithne “rough sketch only (for professional ref.)” dated 20 December 1946, also Murphy is also included and possibly a Miss Elizabeth Hayes. Average size of includes notes on reverse relating to wind and sun direction at 1.30pm on the portraits given. day of execution.

€200-€300 (£170-£250 approx) €200-€300 (£170-£250 approx)

Ex 112 Ex 112

112 COLLECTION OF 54 SKETCHES FROM LATE 1940s - LATE 1960s watercolour; (5); pencil; (31); biro; (14); charcoal (4); (all unframed, contained in sketching folder) 114 variously signed, inscribed, titled and dated THE ARTIST’S LAST DRAWING, 1978 17.25 by 13.25in. (43.82 by 33.66cm) oil on panel; (unfinished; unframed) inscribed by the artist’s wife in pencil upper right An eclectic collection of sketches from the late 1940s-1960s. Themes include, 14 by 11in. (35.56 by 27.94cm) landscapes [Ireland and Italy], still life studies, a portrait of the artist’s ﬁrst wife [Irma], animal and ﬁgure studies in an array of medium. All contained in the artist’s wife €100-€200 (£80-£170 approx) [Hildegard’s] portfolio case.

€300-€400 (£250-£340 approx)

51 , WHYTE S S I N C E 1 7 8 3

115 Frank McKelvey RHA RUA (1895-1974) STRANGFORD LOUGH, COUNTY DOWN oil on canvas signed lower left; with original inscribed label preserved on reverse 21.25 by 26.25in. (53.98 by 66.68cm)

Provenance: Whyte’s, 22 February 2005, lot 28; Private collection

€6,000-€8,000 (£5,040-£6,720 approx)

116 James Humbert Craig RHA RUA (1877-1944) OWEN CARA, COUNTY DONEGAL, c.1926 oil on canvas board signed lower right; with title on reverse 12 by 17in. (30.48 by 43.18cm)

Provenance: Whyte’s, 10 October 2000, lot 45; Private collection

Exhibited: possibly exhibited as The Owencarra, County Donegal, RHA, Dublin, 1926, exhibition no. 119 [£100-0-0]

Presented in a hand-carved Waddington-style frame.

€3,000-€4,000 (£2,520-£3,360 approx)

52 , WHYTE S S I N C E 1 7 8 3

117 James Humbert Craig RHA RUA (1877-1944) CUTTING TURF oil on canvas signed lower right 16 by 20in. (40.64 by 50.80cm)

€6,000-€8,000 (£5,040-£6,720 approx)

118 Frank McKelvey RHA RUA (1895-1974) GREEN GYPSY CARAVAN IN A LANDSCAPE oil on canvas signed lower left; with John Magee Gallery label on reverse 10 by 14in. (25.40 by 35.56cm)

Provenance: John Magee, Belfast; Private collection

€3,000-€5,000 (£2,520-£4,200 approx)

53 , WHYTE S S I N C E 1 7 8 3

119 119 Maurice Canning Wilks RUA ARHA (1910-1984) COTTAGES NEAR CLIFDEN, CONNEMARA oil on canvas signed lower right; with title inscribed on reverse 16 by 20in. (40.64 by 50.80cm)

€1,000-€1,500 (£840-£1,260 approx)

120 Maurice Canning Wilks RUA ARHA (1910-1984) ANTRIM COAST AT DRUMNAGREAGH oil on canvas signed lower right; with location in pencil on reverse; also with original price [£14-14-0] on reverse; with inscribed Leinster Gallery label on reverse detailing previous exhibition dates 16 by 20in. (40.64 by 50.80cm) 120 Provenance: Pyms Gallery, London, 1993; With Leinster Gallery, Dublin; Private collection

Exhibited: ‘An Ireland Imagined’, Pyms Gallery, London, 27 October to 26 November, 1993, catalogue no. 45

€1,000-€1,500 (£840-£1,260 approx)

121 Maurice Canning Wilks RUA ARHA (1910-1984) CONNEMARA BOG PATH oil on canvas signed lower right; with Davis & Sons [Belfast] framing label on reverse 121 18 by 24in. (45.72 by 60.96cm)

€1,500-€2,000 (£1,260-£1,680 approx)

122 Maurice Canning Wilks RUA ARHA (1910-1984) CLAGGAN BAY, COUNTY DONEGAL watercolour over pencil signed lower right 10 by 12.75in. (25.40 by 32.39cm)

€400-€500 (£340-£420 approx)

54 , WHYTE S S I N C E 1 7 8 3

123 123 Maurice Canning Wilks RUA ARHA (1910-1984) EARLY AUTUMN, GLENDUN, COUNTY ANTRIM oil on canvas laid on board signed lower left; inscribed with title on reverse 14 by 20in. (35.56 by 50.80cm)

Provenance: Oriel Gallery, Dublin, circa 1983; Private collection

€1,500-€1,800 (£1,260-£1,510 approx)

124 George K. Gillespie RUA (1924-1995) AMONG THE TWELVE PINS 124 oil on canvas signed lower right; with title inscribed on label on reverse 16 by 20in. (40.64 by 50.80cm)

€1,500-€2,000 (£1,260-£1,680 approx)

125 George K. Gillespie RUA (1924-1995) NEAR LETTERGESH, CONNEMARA, COUNTY GALWAY oil on board signed lower right; with inscribed label detailing title on reverse 12.50 by 16.50in. (31.75 by 41.91cm)

€600-€800 (£500-£670 approx) 125

126 Anne Primrose Jury RUA (1907-1995) PATHWAY NEAR DUNFANAGHY, COUNTY DONEGAL oil on canvas board signed lower left; with title and provenance details on reverse 13.25 by 17.25in. (33.66 by 43.82cm)

Provenance: Studio Sale of A.P. Jury, Ross’s, Belfast, October, 1995, lot 23; Private collection

A.P. Jury exhibited with the Belfast Art Society 1926-1929 and the Ulster Academy of Arts (which eventually became the RUA) from 1931-1979.

€700-€900 (£590-£760 approx)

55 , WHYTE S S I N C E 1 7 8 3

127 129 Charles Vincent Lamb RHA RUA (1893-1964) Robert Taylor Carson HRUA (1919-2008) SKETCH IN THE WEST, 1923 LANDSCAPE WITH COTTAGES oil on board oil on canvas signed lower right; inscribed with title, original price and signed lower right provenance on reverse 20 by 25in. (50.80 by 63.50cm) 11.50 by 15.50in. (29.21 by 39.37cm) €600-€800 (£500-£670 approx) Provenance: RHA, Dublin, 1923; Private collection

Exhibited: RHA, Dublin, 1923, catalogue no. 88 [£7-0-0]

€1,800-€2,200 (£1,510-£1,850 approx)

128 130 Charles Vincent Lamb RHA RUA (1893-1964) Robert Taylor Carson HRUA (1919-2008) VIEW OF THE MOURNE MOUNTAINS, COUNTY DOWN HARBOUR WITH FISHERMEN AND BOAT, COUNTY KERRY oil on board oil on canvas signed lower right; with title inscribed in another hand on signed lower left; with indistinct inscription on reverse; John Magee Gallery framing label on reverse with Combridge Gallery framing label on reverse 9.25 by 12.25in. (23.50 by 31.12cm) 20 by 24in. (50.80 by 60.96cm)

€2,000-€3,000 (£1,680-£2,520 approx) €800-€1,000 (£670-£840 approx)

56 , WHYTE S S I N C E 1 7 8 3

131 133 Thomas Ryan PPRHA (b.1929) Thomas Ryan PPRHA (b.1929) ABOVE DUBLIN FROM THE PINE FOREST, NOVEMBER 1968 SNOW AT HOME, 1979 oil on canvas oil on board signed, dated and partially titled lower right; signed, dated and signed lower left; signed again, title and dated inscribed with full title on reverse [January] on reverse 20 by 25in. (50.80 by 63.50cm) 20 by 16in. (50.80 by 40.64cm)

€3,000-€4,000 (£2,520-£3,360 approx) In 1979 the artist exhibited a work entitled, Snowy Road Home, catalogue no. 142 [£380-0-0] at the RHA, Dublin.

€1,500-€2,000 (£1,260-£1,680 approx)

132 Norman J. McCaig (1929-2001) HARBOUR SCENE WITH FISHING BOATS oil on canvas 134 singed lower left Norman J. McCaig (1929-2001) 12 by 16in. (30.48 by 40.64cm) TRAWLERS, CLOGHERHEAD, COUNTY LOUTH oil on canvas board €1,500-€2,000 (£1,260-£1,680 approx) signed lower left; with title inscribed on label on reverse 14 by 18in. (35.56 by 45.72cm)

Provenance: Purchased directly from the artist by the present owner

€800-€1,200 (£670-£1,010 approx) 57 , WHYTE S S I N C E 1 7 8 3

135 Patrick Hennessy RHA (1915-1980) THE FLEDGLING oil on canvas signed lower left; bearing Guildhall Galleries Ltd, Chicago label on reverse; also with the framing label of The House of Heydenryk, New York on reverse 14 by 11in. (35.56 by 27.94cm)

Provenance: Guildhall Galleries Ltd, Chicago; Private collection

Exhibited: Guildhall Galleries Ltd, Chicago, c.1960s, catalogue no. PH-203 (year not stated on exhibition catalogue)

€2,500-€3,500 (£2,100-£2,940 approx)

136 Patrick Hennessy RHA (1915-1980) EBB TIDE oil on canvas; bearing framing label of The House of Heydenryk, New York, on reverse signed lower left 16 by 24in. (40.64 by 60.96cm)

Provenance: David Hendriks Gallery, Dublin; Private collection

Exhibited: ‘Patrick Hennessy’, David Hendriks Gallery, Dublin, 9 November to 2 December, 1972, catalogue no. 11 (£300-00)

€3,000-€4,000 (£2,520-£3,360 approx)

137 John Skelton (1923-2009) HORSE AND COTTAGES IN A WEST OF IRELAND LANDSCAPE oil on board signed lower right 18 by 24in. (45.72 by 60.96cm)

€1,800-€2,200 (£1,510-£1,850 approx)

58 , WHYTE S S I N C E 1 7 8 3

138 James le Jeune RHA (1910-1983) HAPPY DAYS oil on canvas signed lower left; with inscribed label detailing title on reverse; also with typed Pyms Gallery exhibition label on reverse 20 by 24in. (50.80 by 60.96cm)

Provenance: Pyms Gallery, London; Private collection

€5,000-€7,000 (£4,200-£5,880 approx)

139 Patrick Hennessy RHA (1915-1980) “WINDY BROW”, LISBURN oil on canvas signed lower left; with location on plaque affixed to frame lower centre; with Ritchie Hendriks framing label on reverse 40 by 50in. (101.60 by 127cm)

“Windy Brow” is thought to have been the home of members of the Barbour family of Barbour Threadmill, Lisburn founded in 1898.

€2,000-€3,000 (£1,680-£2,520 approx)

59 , WHYTE S S I N C E 1 7 8 3

140 Michael Hanrahan (b.1951) THE QUEEN LAYING A WREATH AT THE ISLANDBRIDGE MEMORIAL GARDEN, DUBLIN acrylic on board signed lower left 24 by 16in. (60.96 by 40.64cm)

May 2011 marked the start of the historic Royal State visit to Ireland of Queen Elizabeth II and Prince Philip, the Duke of Edinburgh. This was the ﬁrst visit by the British monarch to the 26 southern counties of Ireland since independence in 1922 and was recorded on canvas by Clare artist Michael Hanrahan, the only artist oﬃcially accredited to the momentous visit.

In addition to the Royal Collection, Hanrahan’s work can be found in numerous private collections throughout Ireland including that of former President Mary McAleese and abroad in the Kennedy Collection, Boston. He has garnered other distinguished commissions to date including oﬃcial artist for the All-Ireland Hurling Final in Croke Park in September 2010 and Russia versus Ireland in the European Football Championship at the Aviva Stadium in 2010.

€1,800-€2,200 (£1,510-£1,850 approx)

141 Michael Hanrahan (b.1951) THE QUEEN AT THE ROCK OF CASHEL, COUNTY TIPPERARY acrylic on board signed lower right 15 by 19in. (38.10 by 48.26cm)

€1,500-€1,800 (£1,260-£1,510 approx)

60 , WHYTE S S I N C E 1 7 8 3

142 Ivan Sutton (b.1944) GOING TO MASS, ROUNDSTONE, COUNTY GALWAY oil on canvas board signed lower right; with title inscribed on artist’s label on reverse 20 by 30in. (50.80 by 76.20cm)

€1,800-€2,200 (£1,510-£1,850 approx)

143 Ivan Sutton (b.1944) GALWAY HOOKERS BERTHED AT LETTERFRACK HARBOUR, CONNEMARA, COUNTY GALWAY oil on canvas board signed lower right; with title inscribed on artist’s label on reverse 20 by 30in. (50.80 by 76.20cm)

€1,800-€2,200 (£1,510-£1,850 approx)

61 , WHYTE S S I N C E 1 7 8 3

144 146 Maeve Taylor Elizabeth Brophy SUMMER, GOAT ISLAND, CORK A SANDY BEACH oil on canvas board oil on board signed lower right; with inscribed studio label detailing title signed lower right; with title inscribed on label on reverse and exhibition number [7] on reverse 14 by 18in. (35.56 by 45.72cm) 15 by 22in. (38.10 by 55.88cm) €1,000-€1,200 (£840-£1,010 approx) €300-€500 (£250-£420 approx)

Ex 145

145 147 Patrick Leonard HRHA (1918-2005) Peter Pearson (b.1955) WOMEN ON DOLLYMOUNT STRAND, 1958, and COUPLE START OF THE GALWAY HOOKERS RACE, KILRONAN PIER, LOOKING OUT OVER WATER AT WEXFORD, 1953 (A PAIR) 1991 watercolour over pencil; (2) oil on canvas each signed, titled and dated lower right signed and dated lower right 10.50 by 14.25in. (26.67 by 36.20cm) 23 by 29in. (58.42 by 73.66cm)

Provenance: This work was painted en plein air at Kilronan. With thanks to the artist Purchased from the artist in the 1960s and 1970s by George for his assistance in cataloguing this work. McClelland; From whom acquired by the previous owner; €600-€800 (£500-£670 approx) ‘Patrick Leonard Studio Sale’, Whyte’s, 21 February 2006, lot 81; Private collection

Framed and mounted uniformly.

€400-€600 (£340-£500 approx)

62 , WHYTE S S I N C E 1 7 8 3

148 148 Gladys Maccabe HRUA ROI FRSA (b.1918) PUNCH AND JUDY IN THE PARK oil on board signed lower right 9.50 by 13.50in. (24.13 by 34.29cm)

€1,500-€2,000 (£1,260-£1,680 approx)

149

149 Gladys Maccabe HRUA ROI FRSA (b.1918) OLD TOWN oil on board signed lower right 19.50 by 15.50in. (49.53 by 39.37cm)

€1,800-€2,200 (£1,510-£1,850 approx)

150 Gladys Maccabe HRUA ROI FRSA (b.1918) SKATING IN THE PARK oil on board signed lower right 16 by 24in. (40.64 by 60.96cm)

€1,800-€2,200 (£1,510-£1,850 approx)

150

151 Patric Stevenson RUA (1909-1983) BLUNDELL RUINS, DUNDRUM CASTLE, COUNTY DOWN, c.1966 acrylic on board signed lower right; with typed and inscribed exhibition labels on reverse 19 by 24in. (48.26 by 60.96cm)

Exhibited: RUA Annual exhibition, Belfast and Londonderry, October - December, 1966, no. 955

€150-€200 (£130-£170 approx)

63 , WHYTE S S I N C E 1 7 8 3

152 Graham Knuttel (b.1954) SHOAL OF FISH oil on canvas signed lower right; with gallery stamp on stretcher on reverse 24 by 47.50in. (60.96 by 120.65cm)

Provenance: Apollo Gallery, Dublin; Where purchased by the present owner

€2,000-€3,000 (£1,680-£2,520 approx)

153 Graham Knuttel (b.1954) RED CAT AGAINST BLUE pastel signed lower left 20 by 27.75in. (50.80 by 70.49cm)

€900-€1,000 (£760-£840 approx)

154 Graham Knuttel (b.1954) TWO SHEEP oil on canvas signed lower left 8 by 8in. (20.32 by 20.32cm)

€700-€900 (£590-£760 approx)

155 Patsy Dan Rodgers (King of Tory Island) (b.1945) WEST TOWN TORY AT SUNSET oil on canvas board signed lower right; signed again (in Irish and English) and with title on reverse 12 by 16in. (30.48 by 40.64cm)

€500-€600 (£420-£500 approx)

64 , WHYTE S S I N C E 1 7 8 3

156 158 Graham Knuttel (b.1954) Robert Ryan MR. PUNCH THE ALPHABET, 2002 pastel oil on board signed lower right signed, titled and dated upper right 27.75 by 19.75in. (70.49 by 50.17cm) 20 by 16in. (50.80 by 40.64cm)

€900-€1,000 (£760-£840 approx) €300-€500 (£250-£420 approx)

157 159 Graham Knuttel (b.1954) Robert Ryan SELF PORTRAIT BY A WINDOW PLANES HAVE WINGS oil on canvas oil on board signed lower right signed upper right; variously inscribed across the work 16 by 16in. (40.64 by 40.64cm) 20 by 16in. (50.80 by 40.64cm)

€600-€800 (£500-£670 approx) €300-€500 (£250-£420 approx) 65 , WHYTE S S I N C E 1 7 8 3

160 Markey Robinson (1918-1999) MARKEY FISHING oil on board signed lower left; with Oriel Gallery label on reverse; numbered [61] on reverse 19.75 by 31.50in. (50.17 by 80.01cm)

Provenance: Oriel Gallery, Dublin; Private collection

Exhibited: ‘The Oriel 21st Anniversary Exhibition’, from 1 May 1990, Oriel Gallery, Dublin, catalogue no. 61, listed p.43 of exhibition catalogue

We are grateful to the Oriel Gallery for their assistance in cataloguing this lot.

€3,000-€4,000 (£2,520-£3,360 approx)

161 Markey Robinson (1918-1999) GATEWAYS OF THE DAY oil on board signed lower left; with title and numbered [29] on reverse; with Oriel Gallery reference number on reverse 10 by 30in. (25.40 by 76.20cm)

Provenance: Oriel Gallery, Dublin; Where purchased by the previous owner

Exhibited: ‘Exhibition of Paintings by Markey’, Oriel II (51 Dawson Street), Dublin, December 1980, catalogue no. 29

Contained in its original frame and hessian mount.

€1,800-€2,200 (£1,510-£1,850 approx)

162 Markey Robinson (1918-1999) THE HAVEN (LISTENING TO THE OCEAN) oil on board signed lower right; titled twice on reverse and numbered [26] on reverse; also with Oriel Gallery label on reverse 7 by 14in. (17.78 by 35.56cm)

Provenance: Oriel Gallery, Dublin; Private collection

€800-€1,000 (£670-£840 approx)

162A Markey Robinson (1918-1999) COTTAGE WITH TWO SHAWLIES, GRENOBLE, FRANCE gouache on board signed lower left; inscribed lower right 6.50 by 11.25in. (16.51 by 28.58cm)

€500-€700 (£420-£590 approx)

66 , WHYTE S S I N C E 1 7 8 3

163 Markey Robinson (1918-1999) MAKING MUSIC, 1988 gouache on board signed lower right; signed again and titled in pencil on reverse 29 by 19.50in. (73.66 by 49.53cm)

Provenance: Lincoln Gallery, Dublin; Private collection

Exhibited: Lincoln Gallery, Dublin, 1988

Literature: Stairs, Susan, Markey Robinson, A Life in Retrospective, Shortall-Stairs Publications, Dublin, 1998, p.26 (illustrated); Stairs, Susan,The Irish Figurists and Figurative Painting in Irish Art, George Gallery, Dublin, 1990, p. 176 (illustrated); Mulready, Michael, Markey Robinson: Maverick Spirit, Ben Madigan Publications, Belfast, 2003 (illustrated)

“Among the most penetrating, insightful and accomplished things in Markey’s oeuvre are his clowns. They contain aspects of portraiture but are really a protracted study of the human presence - more usually sad, heavy or bewildered than happy, whimsical or carefree. The eyes vary… dreamy, melancholy, averted, direct, vulnerable, deﬁant. At one extreme we meet a blank dislocated gaze, at the other a ﬁxed stare. These are infectiously appealing works characterised by honesty of enquiry, directness of statement and humanity.” Michael Mulready, Maverick Spirit

€1,500-€1,800 (£1,260-£1,510 approx)

164 165 165 Markey Robinson (1918-1999) THE GREEN DOOR, CONNEMARA oil on board signed lower right; titled on reverse 6 by 9.50in. (15.24 by 24.13cm)

€500-€700 (£420-£590 approx)

166

164 Markey Robinson (1918-1999) 166 CUBIST STILL LIFE: BLUE Markey Robinson oil on board (1918-1999) signed lower right; numbered [13] on reverse; with MUSICA Oriel Gallery label also on reverse oil on board 16 by 13.25in. (40.64 by 33.66cm) signed lower left; with title and numbered [55 and 75] on reverse; Provenance: also with Oriel Gallery label on Oriel Gallery, Dublin; reverse Private collection 9.25 by 6.25in. (23.50 by 15.88cm)

Literature: Provenance: Kelly, Paul, Markey at The Oriel, The Oriel Gallery Ltd., Oriel Gallery, Dublin; Dublin, 2008, p.52 (listed) p.53 (full page illustration) Private collection

€800-€1,200 (£670-£1,010 approx) €600-€800 (£500-£670 approx) 67 , WHYTE S S I N C E 1 7 8 3

167 169 Seán McSweeney HRHA (b.1935) Stephen Cullen (b.1959) LANDSCAPE, WICKLOW, 1967 FOREST SCENE, 1990 oil on canvas oil on canvas signed and dated lower left; signed and with title on reverse; with signed and dated lower right inscribed Dawson Gallery label and their framing label on reverse 24 by 30in. (60.96 by 76.20cm) 14 by 18in. (35.56 by 45.72cm) €500-€700 (£420-£590 approx) Provenance: Dawson Gallery, Dublin; Private collection

€1,500-€2,000 (£1,260-£1,680 approx)

168 170 Stephen Cullen (b.1959) Michael Gemmell (b.1950) DÚN LAOGHAIRE HARBOUR BURREN LANDSCAPE, 1994 oil on canvas oil on canvas 21 by 28in. (53.34 by 71.12cm) signed and dated lower right 36 by 30in. (91.44 by 76.20cm) €600-€800 (£500-£670 approx) €1,500-€1,800 (£1,260-£1,510 approx) 68 , WHYTE S S I N C E 1 7 8 3

171 Joseph Hanly (b.1952) THE DISTANT PRESENT I, 1991 acrylic on canvas signed, numbered [2] and dated on reverse 36 by 72in. (91.44 by 182.88cm)

Exhibited: ‘Here and Now’, RHA, 1991, catalogue no. 2 (illustrated on cover of exhibition catalogue)

The original exhibition catalogue accompanies this lot.

€800-€1,200 (£670-£1,010 approx)

172 Brian Maguire (b.1951) FIGURE - LOOKING FOR LOVE oil and watercolour over pencil with collage element on paper indistinctly signed in pencil in lower margin right of centre; signed and with title on reverse 21.75 by 29.25in. (55.25 by 74.30cm)

€1,500-€1,800 (£1,260-£1,510 approx)

173 Charles Harper RHA (b.1943) RED QUEEN, 1956 watercolour with pen and ink signed and dated lower right; titled lower left 29 by 43in. (73.66 by 109.22cm)

€800-€1,000 (£670-£840 approx)

174 Maurice Cockrill RA (b.1936) UNTITLED oil on panel signed on reverse; with gallery label on reverse 6.50 by 8.50in. (16.51 by 21.59cm)

Provenance: Louise Kosman, Modern British Art, Edinburgh; Private collection

€500-€700 (£420-£590 approx) 69 , WHYTE S S I N C E 1 7 8 3

175 177 Neil Shawcross RHA (b.1940) Pam Harris (b.1944) STILL LIFE OF APPLES, 1998 UNION PAINTING #45, 2006 oil on paper oil on canvas incorporating lead and signed and dated lower right wood 22.50 by 29in. (57.15 by 73.66cm) signed on stretcher on reverse; with inscribed Hillsboro Fine Art exhibition €1,800-€2,200 (£1,510-£1,850 approx) label on reverse 20 by 12.50in. (50.80 by 31.75cm)

Provenance: Hillsboro Fine Art, Dublin; Private collection

Exhibited: ‘Annual Summer Exhibition of Gallery and Invited Artists’, Hillsboro Fine Art, Dublin, 7 June to 6 July, 2007

€600-€800 (£500-£670 approx)

176 178 Michael Cullen RHA (1946) Tony O’Malley HRHA (1913-2003) N.Y. - N.Y. I, 1993 GOUACHE AND INK NO. 3, 1972 gouache with oil on paper gouache and ink on paper signed and dated in pencil lower right; with signed with initials lower left; with title on reverse inscribed label detailing title on reverse 12.75 by 9.75in. (32.39 by 24.77cm) 6.50 by 8in. (16.51 by 20.32cm)

€600-€800 (£500-£670 approx) €800-€1,000 (£670-£840 approx) 70 , WHYTE S S I N C E 1 7 8 3

179 181 William Crozier HRHA (1930-2011) William Crozier HRHA (1930-2011) STILL LIFE WITH VASE AND PAINTING, WICKHAM, 2003 LABYRINTH, 2007 oil on tin metal tray aquatint; (no. 60 from an edition of 80) signed, dated and with location on reverse signed and dated lower right; titled centre; 12.50 by 17.25in. (31.75 by 43.82cm) numbered lower left 18.50 by 23in. (46.99 by 58.42cm) Throughot his artistic career, William Crozier frequently painted on metal trays as a diversion from his usual work. He painted over 50 trays with €800-€1,000 (£670-£840 approx) various subject matters.

€2,000-€3,000 (£1,680-£2,520 approx)

182 Makiko Nakamura (b.1951) LOVE / RED II, 2009 180 oil and gesso on paper William Crozier HRHA (1930-2011) signed, titled and dated on reverse; with artist and gallery VERONA GARDEN, 2007 stamps on reverse aquatint; (no. 78 from an edition of 80) 5.75 by 7.50in. (14.61 by 19.05cm) signed and dated in the margin lower right; titled centre; numbered lower left Provenance: 18.50 by 23in. (46.99 by 58.42cm) Fenderesky Gallery, Belfast; Private collection €800-€1,000 (£670-£840 approx) Exhibited: Fenderesky Gallery, Belfast, 2009

€500-€600 (£420-£500 approx) 71 , WHYTE S S I N C E 1 7 8 3

183 185 Evie Hone HRHA (1894-1955) Mainie Jellett (1897-1944) STUDY FOR STAINED-GLASS HEAD COMPOSITION gouache pencil on transparent paper bearing inscribed note on reverse with artist’s name and dates printed in the mount 9.50 by 8.50in. (24.13 by 21.59cm) lower centre; with Frederick Gallery exhibition label on reverse Provenance: 8 by 6in. (20.32 by 15.24cm) purchased through the Watercolour Society of Ireland, 1987 [£337.50] Provenance: Frederick Gallery, Dublin; Exhibited: Where purchased by the present owner possibly shown at ‘Evie Hone 1894-1955’, The Great Hall, University College Dublin, 29 July - Exhibited: 5 September, 1958 [gouaches] ‘Drawings, Etchings & Engravings’, Frederick Gallery, Dublin, 7-20 November 1998, exhibition no. 288 €500-€700 (£420-£590 approx) €500-€700 (£420-£590 approx)

184 186 Patrick Pye RHA (b.1929) Seán Keating PRHA HRA HRSA THE ENTOMBMENT, 1980 (1889-1977) etching laid on mdf; (artist’s proof) STUDY OF MALE HEAD AND HANDS inscribed [working proof] and signed lower left; charcoal with title and date on typed label on reverse signed lower right; inscribed upper left 13.75 by 11.50in. (34.93 by 29.21cm) 14 by 11.50in. (35.56 by 29.21cm)

€600-€800 (£500-£670 approx) €800-€1,000 (£670-£840 approx) 72 , WHYTE S S I N C E 1 7 8 3

187 188 Edward Delaney RHA (1930-2009) Ana Duncan PEACE PEOPLE ROUGH SURF II bronze on marble base bronze on black marble base; (no. 2 from an edition of 8) 10 by 4in. (25.40 by 10.16cm) signed and numbered at the base 9.75 by 11 by 12in. (24.77 by 27.94 by 30.48cm) The title of this sculpture derives from the organisation Peace People founded in 1976 by Betty Williams, Provenance: Mairead Corrigan and Ciaran McKeown in response to Eakin Gallery, Belfast; tragic events witnessed by Williams in Northern Ireland Private collection that year. Subsequent to their ﬁght for peace and the public’s overwhelming response to their eﬀorts, Williams €1,200-€1,500 (£1,010-£1,260 approx) and Corrigan became the joint recipients of the Nobel Peace Prize in 1977 (the prize for 1976).

€5,000-€6,000 (£4,200-£5,040 approx)

73 , WHYTE S S I N C E 1 7 8 3

189 189 Ciarán Lennon (b.1947) SINGLE COLOUR COLLECTION, 2004 gouache and charcoal on paper with mixed media element signed, inscribed and dated in the lower margin and on reverse; with provenance details also on reverse 10 by 7in. (25.40 by 17.78cm)

Provenance: Fenderesky Gallery, Belfast; Private collection

Exhibited: Fenderesky Gallery, Belfast, 2005

Dimensions of sheet size: 30 by 22.5in.

€2,000-€3,000 (£1,680-£2,520 approx)

190

191

190 Ciarán Lennon (b.1947) GREEN GREY, 2000 oil on paper signed, titled, dated and with medium and dimensions in the lower margin 16 by 14.25in. (40.64 by 36.20cm)

Sheet size 30 by 22.5ins.

€1,800-€2,000 (£1,510-£1,680 approx)

191 Alan Graham (b.1939) BARCELONA SERIES, 2007 oil with mixed media on perspex laid on paper signed and dated lower right; titled lower left 11 by 8in. (27.94 by 20.32cm)

€600-€800 (£500-£670 approx)

74 , WHYTE S S I N C E 1 7 8 3

192 194 Louis le Brocquy HRHA (b.1916) Gerald Davis (1938-2005) STUDY TOWARDS AN IMAGE OF W. B. YEATS - OUT OF DUSK, 1974 HOMMAGE AUX PRIX NOBEL, 1975 oil on board aquatint on Arches paper; (hors du commerce) signed and dated lower left; with title and signed and inscribed [“HC/D”] in the margin lower left price inscribed on reverse 19.50 by 17.50in. (49.53 by 44.45cm) 20 by 15in. (50.80 by 38.10cm) € € Sheet size, 28.5 by 22in. 600- 800 (£500-£670 approx)

€800-€1,200 (£670-£1,010 approx)

193 195 Gerald Davis (1938-2005) Louis le Brocquy HRHA (b.1916) TWO FIGURES, 1969 LOUIS LE BROCQUY BY DOROTHY WALKER oil with mixed media on board limited edition book; (first ed. 1981) signed and dated lower left; titled on 11.25 by 8.50in. (28.58 by 21.59cm) original label on reverse; also with Ritchie Hendriks gallery framing label on reverse With limited edition print, Samuel Beckett (no. 35 from an edition of 125); 20 by 15.50in. (50.80 by 39.37cm) signed, dated and numbered lower right, laid in. First edition, River Ward Press, Dublin, 1981, hardback. In linen boards with leather and gilt at €600-€800 (£500-£670 approx) spine. Contained in black clamshell presentation case.

€800-€1,200 (£670-£1,010 approx) 75 , WHYTE S S I N C E 1 7 8 3

196 198 Felim Egan (b.1952) Tony O’Malley HRHA (1913-2003) BLACK PAINTING, 1983 PANEX MUSHROOMS, 1973 acrylic on canvas watercolour over pencil on paper with typed Oliver Dowling exhibition label on reverse signed with initials, titled and dated [August] lower centre 47.50 by 47.50in. (120.65 by 120.65cm) 8 by 9.50in. (20.32 by 24.13cm)

Provenance: €800-€1,000 (£670-£840 approx) Oliver Dowling Gallery, Dublin; Private collection; de Vere’s, 21 November 2000, lot 345; Private collection

Exhibited: ‘One man exhibition’, Oliver Dowling Gallery, Dublin, 27 May to 11 June, 1983, exhibition no. 1

€1,500-€2,000 (£1,260-£1,680 approx)

199 Gilbert Swimberghe (Belgian, b.1927) UNTITLED, 1987 oil on canvas signed and dated in pencil lower left; with inscribed Oliver Dowling Gallery exhibition label on reverse 12 by 12in. (30.48 by 30.48cm)

197 Provenance: Tony O’Malley HRHA (1913-2003) Oliver Dowling Gallery, Dublin; UNTITLED, 1973 Where purchased by the current owner gouache with oil on paper signed with initials in the margin lower left; dated [May] Exhibited: lower right ‘Gilbert Swimberghe’, Oliver Dowling Gallery, Dublin, 6.25 by 8in. (15.88 by 20.32cm) 6-21 November 1987, exhibition no. 7

€600-€800 (£500-£670 approx) €500-€700 (£420-£590 approx)

76 , WHYTE S S I N C E 1 7 8 3

200 202 Neil Shawcross RHA RUA (b.1940) Jack Pakenham RUA (b.1938) STILL LIFE WITH ORANGES, 1987 CLOWN’S ENCOUNTER, MENORCA watercolour oil on board signed and dated lower right; with typed Gordon Gallery label on signed lower right; inscribed with title on reverse reverse 23.50 by 17.50in. (59.69 by 44.45cm) 18 by 21.25in. (45.72 by 53.98cm) €400-€500 (£340-£420 approx) Provenance: Gordon Gallery, Londonderry; Private collection

Exhibited: Gordon Gallery, Londonderry, October 1987 (exhibition number untraced)

€1,500-€2,000 (£1,260-£1,680 approx)

203 Elizabeth Cope (b.1952) 201 STILL LIFE WITH VASE OF FLOWERS Alan Graham (b.1939) oil on board POLAR BEAR IN THE ARCTIC, 2009 signed lower right; numbered [8] on oil on canvas with collage element reverse signed, titled and dated on reverse 48 by 6in. (121.92 by 15.24cm) 12 by 16in. (30.48 by 40.64cm) €800-€1,000 €600-€800 (£500-£670 approx) (£670-£840 approx) 77 , WHYTE S S I N C E 1 7 8 3

204 206 George Dunne George Dunne FIGURE DINING AT A CAFÉ COUPLES DINING AT A CAFÉ oil on canvas oil on canvas signed lower right; with gallery label on reverse signed lower left 16 by 18in. (40.64 by 45.72cm) 16 by 18in. (40.64 by 45.72cm)

Provenance: €300-€500 (£250-£420 approx) Apollo Gallery, Dublin; Private collection

€300-€500 (£250-£420 approx)

207 David Murphy (aka Cypher) SELF PORTRAIT IN BLUE (SCREAMING), 1990 oil on canvas signed and dated lower left; with inscribed 205 Oisín Gallery label on reverse Brian Ballard RUA (b.1943) 28.50 by 19.25in. (72.39 by 48.90cm) IRISES, 1989 oil on canvas Provenance: signed and dated lower left; with title on Oisín Gallery, Dublin; reverse Where purchased by the present owner 10 by 8.25in. (25.40 by 20.96cm) Exhibited: € € 500- 700 (£420-£590 approx) ‘Twenty Years of Panic Art - Panic Diaries by Cypher’, Oisín Gallery, Dublin, October 2000

€1,500-€1,800 (£1,260-£1,510 approx) 78 , WHYTE S S I N C E 1 7 8 3

208 210 John Morris (b.1958) Markey Robinson (1918-1999) SAN MARCO, VENICE SAILBOATS oil on board gouache on board signed lower left; signed, titled and dated on reverse signed lower right 28 by 28in. (71.12 by 71.12cm) 4 by 13.25in. (10.16 by 33.66cm)

€1,200-€1,500 (£1,010-£1,260 approx) €700-€900 (£590-£760 approx)

209 211 Peter Pearson (b.1955) Markey Robinson (1918-1999) THE ANNUAL RACE OF THE HOOKERS, ARAN ISLANDS, SUNSET WITH TREES GALWAY, 1991 oil on board oil on canvas signed lower right; with partial label on reverse signed and dated lower right 7.50 by 13.50in. (19.05 by 34.29cm) 22 by 27in. (55.88 by 68.58cm) €600-€800 (£500-£670 approx) This work was painted en plein air on the Aran Islands. With thanks to the artist for his assistance in cataloguing this work.

€600-€800 (£500-£670 approx)

79 , WHYTE S S I N C E 1 7 8 3

212 214 Cecil Maguire RHA RUA (b.1930) Paul Guilfoyle (b.1950) DUNLUCE CASTLE, COUNTY ANTRIM NEAR KILLARNEY oil on board oil on canvas signed lower right; with title and artist’s [Roundstone] address signed lower right inscribed on reverse 20 by 30in. (50.80 by 76.20cm) 24 by 30in. (60.96 by 76.20cm) €800-€1,000 (£670-£840 approx) €3,000-€4,000 (£2,520-£3,360 approx)

213 Guy Hanscomb (b.1968) HORN HEAD, DONEGAL, 2004 oil on canvas signed with initials lower right; with Frederick Gallery exhibition label on reverse 16 by 36in. (40.64 by 91.44cm) 215 Provenance: Brian McCarthy (b.1960) Frederick Gallery, Dublin; RESURGENT ISLE, 2011 Private collection oil on canvas signed lower left; signed again, titled and dated Exhibited: [11/2011] on reverse ‘Guy Hanscomb’, Frederick Gallery, Dublin, 2004, catalogue no. 35 19.75 by 19.75in. (50.17 by 50.17cm)

€800-€1,000 (£670-£840 approx) €1,000-€1,500 (£840-£1,260 approx)

80 , WHYTE S S I N C E 1 7 8 3

216 218 Peter Collis RHA (b.1929) Leo Toye (b.1940) FARM BUILDINGS AND ROAD LANEWAY, 2011 oil on canvas acrylic on canvas signed lower left; inscribed with title on artist’s label on reverse signed and dated lower left; with title inscribed 26 by 30in. (66.04 by 76.20cm) on reverse 18 by 14in. (45.72 by 35.56cm) Provenance: New Apollo Gallery, Dublin; €500-€700 (£420-£590 approx) Private collection

€3,000-€4,000 (£2,520-£3,360 approx)

217 219 Mark O’Neill (b.1963) James Bingham (1925-2009) A CALL BEFORE LUNCH, 2005 DONEGAL COTTAGES AND FIGURE oil on board oil on board signed and dated lower left signed lower right 22 by 18in. (55.88 by 45.72cm) 18 by 20in. (45.72 by 50.80cm)

€2,000-€3,000 (£1,680-£2,520 approx) €500-€700 (£420-£590 approx) 81 , WHYTE S S I N C E 1 7 8 3

220 222 Ken Hamilton (b.1956) Maura Taylor-Buckley (b.1930) STILL LIFE WITH BREAD, WINE AND STRAWBERRIES ORANGES AND COPPER POTS, 2009 oil on board oil on canvas board signed lower left signed lower right; signed and dated on reverse 18 by 24in. (45.72 by 60.96cm) 7.75 by 9.75in. (19.69 by 24.77cm)

€1,800-€2,200 (£1,510-£1,850 approx) €600-€800 (£500-£670 approx)

221 223 Hugh J. Masterson Thomas Ryan PPRHA (b.1929) STILL LIFE WITH CHARDONNAY AND ORANGES STILL LIFE WITH TWO FISH oil on canvas oil on board signed lower right; with Combridge Fine Art label on reverse signed upper right; with gallery label on reverse 24 by 18in. (60.96 by 45.72cm) 8 by 9.75in. (20.32 by 24.77cm)

Provenance: Provenance: Combridge Fine Art, Dublin; Apollo Gallery, Dublin; Where purchased by the present owner Private collection

€800-€1,000 (£670-£840 approx) €500-€700 (£420-£590 approx) 82 , WHYTE S S I N C E 1 7 8 3

226 Moyra Barry (1885-1960) SUMMER FLOWERS oil on canvas signed lower right; with typed label detailing title on reverse 13 by 16in. (33.02 by 40.64cm)

224 Provenance: Liam Treacy (1934-2004) de Vere’s, 22 April 1998, lot 36; Private collection MOORE STREET, DUBLIN oil on canvas signed lower right Summer Flowers was a title used several times by the artist for her 20 by 24in. (50.80 by 60.96cm) depictions of colourful still lifes. Between 1939 and 1952 seven works of this name were exhibition with the Victor Waddington €1,800-€2,200 (£1,510-£1,850 approx) Gallery, Dublin and one example in the Goodwin Gallery in Limerick. Six of these were selected by papers of the day as particularly noteworthy examples from her exhibitions. One such report said, “When she gives us seasonal studies... one is in the presence not only of a bouquet of delightful ﬂowers , but the summer... day of which they are apart seems to come out and envelope one...” (Dublin Evening Mail, 24 May 1946).

€400-€500 (£340-£420 approx)

225 227 Kenneth Webb RWA FRSA RUA (b.1927) William Mason (1906-2002) GRAFTON STREET, DUBLIN COUPLE IN A PUB watercolour with pen and ink heightened with oil on board white bears inscription upper right; with partial inscription signed lower right [“pub”] on reverse 22 by 30in. (55.88 by 76.20cm) 9 by 11in. (22.86 by 27.94cm)

€1,500-€2,000 (£1,260-£1,680 approx) €300-€400 (£250-£340 approx)

83 , WHYTE S S I N C E 1 7 8 3

228 230 Maeve Taylor Susan Mary Webb (b.1962) BRIDGE AT SKIBBEREEN, COUNTY CORK NICE SNUG oil on canvas oil on canvas signed lower right signed lower left; with title on reverse 19.50 by 15.50in. (49.53 by 39.37cm) 24 by 16in. (60.96 by 40.64cm)

€300-€400 (£250-£340 approx) €800-€1,200 (£670-£1,010 approx)

231 Nicola Lynch Morrin YELLOW IRIS oil on board signed lower right; with title on reverse 12 by 9in. (30.48 by 22.86cm)

Nicola Lynch Morrin graduated from the National College of Art and Design in 1987 and has since exhibited in several solo and group exhibitions including the RHA, Oireachtas and Éigse 229 among others. She has been awarded the RDS Dr Muriel Gahan Scholarship Award among Anthony Robert Klitz other accolades and in 2005 was selected to participate in The Spring Grasses Project, Kentucky, (1917-2000) USA - a cross cultural collaboration of professional artists and art administrators. Lynch Morrin’s CITY SCENE work is represented in many private and public collections including AIB, the OPW, Irish Life, oil on canvas PriceWaterhouseCoopers, IAWS Group Plc and The Mater Private Hospital. She is a member of signed lower right the Graphic Studio Dublin and The Watercolour Society of Ireland. In 2011 she earned the Dart 20 by 12in. (50.80 by 30.48cm) Award for work of Distinction in The Water Colour Society of Ireland 157th Exhibition.

€300-€400 (£250-£340 approx) €300-€400 (£250-£340 approx) 84 , WHYTE S S I N C E 1 7 8 3

232 234 Brett McEntagart RHA (b.1939) Sam Stephenson CANAL AT BAGGOT STREET BRIDGE, AUTUMN NATIONAL MATERNITY HOSPITAL, HOLLES STREET, oil on panel DUBLIN, 1999 signed lower right; inscribed with title on label on reverse watercolour over pencil 16 by 24in. (40.64 by 60.96cm) signed and dated lower right 11 by 15.75in. (27.94 by 40.01cm) €1,500-€1,800 (£1,260-£1,510 approx) €800-€1,200 (£670-£1,010 approx)

Ex 235

233 235 Liam Treacy (b.1934) Nicholas Hely Hutchinson (b.1955) BY THE DODDER, 1998 SEA BREEZE and MOROCCAN STILL LIFE (A PAIR) oil on canvas limited edition prints; (the first, no. 164 of 195, the second, signed lower right; with location on reverse; no. 83 of 195); inscribed [summer] and dated on stretcher on each signed and numbered in pencil in the margin, lower reverse right and lower left respectively; 14 by 18in. (35.56 by 45.72cm) 18 by 26in. (45.72 by 66.04cm)

€1,500-€1,800 (£1,260-£1,510 approx) Frame and mounted uniformly. Sheet size of each, 19.5 by 26.75in.

€400-€600 (£340-£500 approx)

85 , WHYTE S S I N C E 1 7 8 3

238 John A. Blakey (b.1952) ÁM CUIN, TEACH ÓSTÁN, SMITHS / QUIET MOMENTS, SMITH’S PUB, 2009 watercolour signed and dated lower right; with title on reverse 19 by 9.50in. (48.26 by 24.13cm)

€600-€800 (£500-£670 approx)

236 Brian McCarthy (b.1960) HEARTBREAK BOULEVARD, 2010 oil on canvas signed lower right; signed, titled and dated on reverse 30 by 20in. (76.20 by 50.80cm)

€1,000-€1,500 (£840-£1,260 approx)

237 239 Flemming Christoffersen Noel Murphy (b.1970) YOUNG WOMAN PLAYING A BANJO STORM EXILES, 2002 oil on canvas oil on board signed lower right signed with initials lower right; inscribed with artist’s 24 by 19.50in. (60.96 by 49.53cm) name and date on backing board. 49 by 37in. (124.46 by 93.98cm) Born in Copenhagen, Christoﬀersen has been living and working as a professional in the art world in Ireland since 1968. In his native Denmark Provenance: he studied Graphic Design and Illustration at the Copenhagen Institute of Gorry Gallery, Dublin; Art. After he arrived in Dublin he worked as an Art Director for several Private collection advertising agencies but since the late 1980s has focused on his painting whilst working freelance as an illustrator. He has exhibited with the Oisín Exhibited: Gallery in Dublin since 2003 and has featured regularly in their shows as ‘Noel Murphy - Exiles’, Gorry Gallery, Dublin, 19-27 well as with other prominent galleries in Ireland for a number of years. September 2002, catalogue no. 3 (illustrated p.7 of catalogue) €800-€1,000 (£670-£840 approx) €2,500-€3,500 (£2,100-£2,940 approx) 86 , WHYTE S S I N C E 1 7 8 3

240 Noel Murphy (b.1970) THE CHESSPLAYERS, 1996 oil on canvas signed with initials and dated lower right; inscribed with artist’s name, title and date on reverse 59.50 by 48in. (151.13 by 121.92cm)

€3,000-€5,000 (£2,520-£4,200 approx)

241 Noel Murphy (b.1970) BOY AND UMBRELLA IN A LANDSCAPE, 1995 oil on board signed with initials and dated lower right 11.75 by 24in. (29.85 by 60.96cm)

€800-€1,000 (£670-£840 approx)

87 , WHYTE S S I N C E 1 7 8 3

242 244 Peter Curling (b.1955) Jonathan Barry DOWN TO THE LAST [PULLED UP, LISGOOLE] CASPIAN’S FLIGHT watercolour with ink and pencil oil on canvas signed and titled lower left; with title and signed lower left; signed and titled on reverse artist’s name on reverse 18 by 14in. (45.72 by 35.56cm) 14.75 by 18.25in. (37.47 by 46.36cm) Provenance: €800-€1,200 (£670-£1,010 approx) Sotheby’s, 7 December 2006, lot 261; Private collection

€400-€600 (£340-£500 approx)

243 June Brilly (b.1956) BRING IN THE GREY oil on board signed lower left 245 9.50 by 13.50in. (24.13 by 34.29cm) Vittorio Cirefice ALL IRELAND FOOTBALL FINAL [KERRY], 2007 € € 600- 800 (£500-£670 approx) pastel on tinted paper signed lower right 19 by 13in. (48.26 by 33.02cm)

€150-€250 (£130-£210 approx) 88 , WHYTE S S I N C E 1 7 8 3

246 Vittorio Cirefice ANTRIM, JUNE 2006 oil on canvas signed and dated lower right; inscribed with title on Emer Gallery label on reverse 20 by 40in. (50.80 by 101.60cm)

Exhibited: Emer Gallery, Belfast

€600-€800 (£500-£670 approx)

247 Vittorio Cirefice OFFALY VERSUS DOWN, 2005 oil on canvas signed and dated lower right; inscribed with title on Emer Gallery label on reverse 20 by 40in. (50.80 by 101.60cm)

Exhibited: Emer Gallery, Belfast

€600-€800 (£500-£670 approx)

248 Vittorio Cirefice EDDIE BRENNAN [KILKENNY], ALL IRELAND HURLING FINAL, 2006 oil on canvas signed and dated lower right; with hurler’s name on reverse 18 by 36in. (45.72 by 91.44cm)

€400-€600 (£340-£500 approx)

249 Vittorio Cirefice STEPHEN CLARKE AND JIM McKERNAN, 2006 oil on canvas signed and dated lower right; inscribed with title on Emer Gallery label on reverse 18 by 23in. (45.72 by 58.42cm)

Exhibited: Emer Gallery, Belfast

€300-€400 (£250-£340 approx)

89 , WHYTE S S I N C E 1 7 8 3

LOTS 250-261 BY FREDERICK HENRY STONHAM FRSA (1923-2004)

250 252 254 MRS JUNE STONHAM (THE ARTIST’S WIFE), SEATED GIRL IN ORANGE THREE KNITTERS, STUDY, 1957 oil on board CASTELNAU-DE-GUERS, FRANCE oil on canvas laid on board with artist’s studio label and reference oil on board signed and dated lower right; with inscribed number on reverse with title inscribed on label on reverse exhibition labels on reverse detailing artist’s 36 by 48in. (91.44 by 121.92cm) 37 by 48in. (93.98 by 121.92cm) address [Quarr, Ashmore Green, NR Newbury, Berkshire]; with artist’s studio label €500-€600 (£420-£500 approx) €500-€600 (£420-£500 approx) also on reverse 60 by 36in. (152.40 by 91.44cm)

Provenance: Christies, 11 January 2006, lot 869; Private collection

Exhibited: The Royal Society of Portrait Printers, c. 1957

€600-€800 (£500-£670 approx)

253 255 PUPILS AT ERITH SCHOOL, KENT, 1962 PORTRAIT OF REVEREND A. HALLINSON oil on canvas laid on board [SIC], 1962 signed and dated lower left; with title oil on canvas laid on board inscribed on label on reverse; also with signed and dated lower right; with studio label on reverse inscribed Royal Society of Portrait 52.50 by 35.50in. (133.35 by 90.17cm) Painters on reverse detailing artist’s address and title; also with studio label €500-€600 (£420-£500 approx) on reverse 51.50 by 33.50in. (130.81 by 85.09cm) 251 INTERIOR VIEW, LADY BY KITCHEN DOOR, 1955 €300-€400 (£250-£340 approx) oil on canvas signed and dated lower right; with studio label on reverse; also with continental landscape scene on reverse 29.50 by 19.50in. (74.93 by 49.53cm)

€300-€500 (£250-£420 approx) 90 , WHYTE S S I N C E 1 7 8 3

256 258 260 STILL LIFE WITH ARTIST’S MATERIALS, 1962 BLUE TOWEL (ERITH, KENT), 1966 PONT DE DIABLE, FRANCE oil on canvas oil on board oil on board signed and dated lower right signed and dated lower right; inscribed signed lower right with title inscribed on label 27 by 35in. (68.58 by 88.90cm) with title on reverse on reverse; with studio label on reverse 36 by 28in. (91.44 by 71.12cm) 29 by 35.50in. (73.66 by 90.17cm) €300-€400 (£250-£340 approx) €300-€400 (£250-£340 approx) €300-€400 (£250-£340 approx)

257 259 MACHINE, NO. 2, 1966 VILLAGE SCENE WITH CHURCH SPIRE oil on board oil on board signed and dated lower right; with inscribed with studio label on reverse Royal Society of British Artists label on reverse 23.25 by 47.50in. (59.06 by 120.65cm) 25 by 30in. (63.50 by 76.20cm) €300-€400 (£250-£340 approx) €300-€400 (£250-£340 approx)

261 EMMA IN CASTELNAU-DE-GUERS, FRANCE oil on board with title inscribed on label on reverse 48 by 32.50in. (121.92 by 82.55cm)

€300-€500 (£250-£420 approx) 91 , WHYTE S S I N C E 1 7 8 3

LITERATURE AND PRINTS

262 264 A DICTIONARY OF IRISH ARTISTS, VOLS. I & II Walter G. Strickland (1850-1928) first edition, 1913 10.25 by 7.25in. (26.04 by 18.42cm)

Maunsel & Company Limited, Dublin & London, 1913, pp.598 and 728 respectively. Includes several hundred plates across the two volumes. Both in original boards with titled spines. An invaluable resource for any art historian or enthusiast.

€300-€500 (£250-£420 approx)

263

In 1903 Hazel was 23 years old and studying art in France. It was at this time she ﬁrst encountered Sir John Lavery at the artist colony of Beg-Meil in Brittany. Later that year she married Edward Livingston Trudeau and the following year a daughter, Alice, was born. She would marry her second husband, Sir John Lavery in 1909.

€600-€800 (£500-£670 approx)

265 Jack Butler Yeats RHA (1871-1957) THE TURFCUTTER’S DONKEY by PATRICIA LYNCH first edition, clothbound 7.75 by 6in. (19.69 by 15.24cm)

263 J.M. Dent and Sons Ltd., London. First published in 1934, p.p. 237. With Erskine Nicol ARA RSA (1825-1904) illustrations by Jack Butler Yeats, ﬁve in colour and eight in black and white. In BOTH PUZZLED, 1897 original illustrated cream-coloured boards with paper wrapper covering for engraving protection. with artist’s name printed in the margin lower left; engraver’s name € € [W.H. Simmons] lower right; publisher’s details and full title lower 400- 600 (£340-£500 approx) centre 27.50 by 18.50in. (69.85 by 46.99cm) 266 Printed and published by the National Arts Society, London, 1 September 1897. Jack Butler Yeats RHA (1871-1957) Full title lower centre reads, Both Puzzled. “But, Sir, if wanst nought be nothing, then LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK. B. twice nought must be somthin. For it’s double what wanst nought is. YEATS This engraving is based on an oil by the artist from 1868 which sold at auction in New edition, Maunsel & Company Ltd., Dublin & London, 1915; clothbound 2008. with dedication to previous owner from Lily Yeats inside cover; also with a Christmas card from Aileen and Thomas Bodkin [with print of their picture by €200-€300 (£170-£250 approx) Yeats] laid in 9.75 by 7.25in. (24.77 by 18.42cm)

264 New edition, Maunsel & Company Ltd., Dublin and London, 1915. In original Lady Hazel Lavery (née Martyn) (1880-1935) fawn-coloured paper boards titled on upper and spine. Contains eight colour MOTHER AND CHILD, 1903 plates, thirty-two line drawings and sixteen reproductions from paintings. print Protected with a glassine sleeve. Essential for any Yeats aﬁcionado. signed in the plate lower right; with publisher’s details lower left € € 20 by 14in. (50.80 by 35.56cm) 700- 900 (£590-£760 approx)

Dry-point etching was the medium of choice for Hazel Martyn, who studied the technique in Paris in 1902 and again in 1903 with the Parisian etcher Edgar 267 Chahine (1874-1947). In the spring of 1903 an exhibition of Martyn’s European Jack Butler Yeats RHA (1871-1957) work was held in Chicago and the Chicago Daily News reported: “Men who know GEORGE A. BIRMINGHAM - IRISHMEN ALL and THE BIG TREE OF pictures are enthusiastic about her work”. This same year Sketches by Hazel BUNCLODY, STORIES OF MY OWN COUNTRYSIDE BY PADRAIC Martyn was published by A. C. McClurg, Chicago, on behalf of the Arts Collector’s COLUM Club. This work pertains to this publication which featured etchings of society the first with dedication to A.W. Knapp by Mrs B. Cadbury dated ladies and included a self-portrait. 22 July, 1914 8.50 by 6in. (21.59 by 15.24cm)

92 , WHYTE S S I N C E 1 7 8 3

T. N. Foulis, London and Edinburgh, 1913. With twelve colour plates by Jack Yeats Ex 270 tipped in. First edition. Crown octavo, original gilt-lettered green cloth, top edge gilt. Previous owner of the text was the chemist for Cadbury’s Chocolates in Birmingham. Further details on previous owners laid in. The Big Tree of Bunclody, The Macmillan Company, 1933, New York. With illustrations by Yeats throughout. In original green linen boards with titled upper and spine. A very ﬁne pair.

€300-€500 (£250-£420 approx)

Ex 268

270 Jack Butler Yeats RHA (1871-1957) THE POST CAR and THE VILLAGE (A PAIR) hand-coloured Cuala Press prints; (2) the first, signed in the plate lower left, titled lower right; the second, signed on the plate lower right 8.50 by 12in. (21.59 by 30.48cm)

Exhibited: ‘Arts & Crafts Society of Ireland’, Cuala Industries, 1910, 268 no. 222 (The Village, another copy) Jack Butler Yeats RHA (1871-1957) LETTER TO RICHARD PEARSALL ESQ., 1947 Literature: ink; on Yeats’ headed paper [18 Fitzwilliam Square, Dublin]; letter (1); Pyle, Hilary, The Different Worlds of Jack B. Yeats: His Cartoons and envelope; (1); (framed as one) Illustrations, Irish Academic Press, Dublin, 1994, p.284-285 [nos. 2017 signed, inscribed and dated and 2023] 7.50 by 9.50in. (19.05 by 24.13cm) Dimensions of second work: 3.5 by 13.5in. Touching letter from the artist to a friend [Richard Pearsall Esq.] telling him of his The Village, sheet size: 4.5 by 14ins. The original of this print was executed in pen, wife’s [Cottie] passing four months previously. Poignant words from the private ink and watercolour c.1906. It was later reproduced as a Dún Emer print (listed in artist during a sad time in his personal life. He writes, “I thought I would die ﬁrst, Dún Emer Catalogue, October 1907 and Prospectus, May 1908) and as a Cuala print but I know now its better as it is...I have painting to occupy my spirit with for a (5). while...” Both works framed and mounted uniformly.

€300-€400 (£250-£340 approx) €300-€400 (£250-£340 approx)

Ex 271

Ex 269

271 Jack Butler Yeats RHA (1871-1957) 269 A COLLECTION OF 7 HAND-COLOURED CUALA PRESS PRINTS, c.1970s Jack Butler Yeats RHA (1871-1957) variously signed in the plate; some with details printed in the mount LETTER BY JACK B. YEATS TO MR McLOUGHLIN, 1933 pencil; (on Yeats’ [18 Fitzwilliam Square, Dublin] headed paper) Collection includes; The Strand Races (Pair), The Village, The Post Car, Evening, The signed, inscribed and dated by the artist; with sketch of a woman Shanachie and Across The Door (with poem by Padraic Colum beneath). wearing a hat in another hand on reverse Dimensions from 7 by 5in (smallest) to 8.5 by 12in (largest). A desirable collection 7.75 by 9.75in. (19.69 by 24.77cm) of late prints by the Cuala Press all framed and mounted uniformly.

Letter dated 31 January 1933 from the artist to a Patron [Mr McLoughlin] regarding €600-€800 (£500-£670 approx) the title of a drawing he purchased, the illustration to Dark Eye’d Gypsy O. Some provenance to the acquisition of the drawing noted also.

€300-€400 (£250-£340 approx) END OF SALE

HISTORY LITERATURE & COLLECTIBLES Saturday 21 April 2012

RMS Titanic oil painting by James Morton

An eclectic collection including, on the centenary of its sinking, memorabilia of the Titanic, also rare James Joyce first editions, medieval statues, 1970s Ulster paramilitary archive, and much much more – a real treasure trove for collectors and historians.

AUCTION: Saturday 21 April at 1pm VIEWING at our galleries 18-20 April 10am-6pm CATALOGUE: www.whytes.ie or €5 by post ENQUIRIES: Conor Dodd [email protected]

, WHYTE S S I N C E 1 7 8 3 WHERE IRISH HISTORY IS TRULY VALUED 38 Molesworth Street Dublin 2 Ireland 01 676 2888 www.whytes.ie.

WINNING RESULTS

Demand for works of outstanding quality and rarity is still high among Whyte’s clients – as shown by recent results. In challenging times Whyte’s auctions are the most successful way to buy and sell art.

NOW ACCEPTING ENTRIES for our Important Irish Art Sale at the RDS on 21 May next. With some very impressive collections already consigned this will be an ideal opportunity to offer works of quality and value to our discerning international clientele.

For expert and confidential advice contact SEÁN KEATING ILLUSTRATION FOR THE PLAYBOY Ian Whyte, Sarah Gates or Adelle Hughes at OF THE WESTERN WORLD - FRONTISPIECE 01 676 2888 or [email protected] €41,000, May 31

GERARD DILLON YOUNG COUPLE IN A LANDSCAPE €30,000, March 14.

JACK B YEATS THE RESCUE MEN €110,000, October 10

, WHYTE S S I N C E 1 7 8 3 WHERE IRISH HISTORY IS TRULY VALUED PAUL HENRY WEST OF IRELAND LANDSCAPE, 1925-1935 €106,000, May 31 38 Molesworth Street Dublin 2 Ireland 01 676 2888 www.whytes.ie.

, PLEASE DO NOT WRITE WHYTE S IN THIS SPACE S I N C E 1 7 8 3

FINE ART AUCTIONEERS & VALUERS 38 MOLESWORTH STREET DUBLIN 2 IRELAND T: (+3531) 676 2888 F: 676 2880 [email protected]

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ABBREVIATIONS

Note: the following prefixes are widely used with the initials of academies PS Pastel Society, London and institutions: RA Royal Academy, London A Associate RBA Royal Society of British Artists F Fellow RBS Royal Society of British Sculptors H Honorary academician or member or council member RCA Royal College of Art P President or past president RE Royal Society of Painter-Etchers and Engravers RDS Royal Dublin Society b. born RHA Royal Hibernian Academy, Dublin BWS British Watercolour Society RI Royal Institute of Painters in Watercolours CH Companion of Honour RIA Royal Irish Academy cm. centimetre or centimetres ROI Royal Institute of Oil Painters d. died RP Royal Society of Portrait Painters exh. exhibited RSA Royal Scottish Academy FBA Federation of British Artists RSMA Royal Society of Marine Artists fl. flourished RSW Royal Scottish Society of Painters in Watercolour FRIBA Fellow Royal Institute of British Architects RUA Royal Ulster Academy of Arts ICA Institute of Contemporary Arts RWA Royal West of England Academy, Bristol IELA Irish Exhibition of Living Art RWS Royal Society of Painters in Watercolour IMMA Irish Museum of Modern Art SWA Society of Women Artists in. inch or inches WCSI Watercolour Society of Ireland MBE Member of the Most Excellent Order of the British Empire NA National Academy, New York NCA National College of Art, Dublin NCAD National College of Art & Design, Dublin References: NEAC New English Art Club Snoddy Theo Snoddy, Dictionary of Irish Artists 20th NGI National Gallery of Ireland Century, 2nd edition, Dublin, 2002 OBE Officer of the Most Excellent Order of the British Empire Strickland Walter G. Strickland, A Dictionary of Irish Artists OM Order of Merit Dublin, 1913 OWS Old Watercolour Society, London

TOPOGRAPHICAL AND GENERAL INDEX

For an index of artists see inside back cover

Antrim: 9, 120, 123, 212 France: 8, 67, 105, 162A, 254, 260, 261 Philately: 13 Belfast: 9 GAA: 245 - 249 Scotland: 48A Belgium: 199 Galway: 20, 21, 51, 55, 119, 121, 124, 125, 127, 137, Sligo: 65A Burma: 72, 74 - 76 142, 143, 147, 209 Spain: 191, 202 Canada: 30 Germany: 106 Sport: 245 - 249 Cheshire: 97 Hurling: 246 - 249 Sri Lanka: 73, 77, 78, 81, 83 China: 68-71 Italy: 99, 108, 208 Surrey: 48 Circus: 16, 202 Kent: 253, 258, 259 Sussex: 62 Clare: 170 Kerry: 45, 66, 130, 214, 245 Switzerland: 59 Cork: 10, 11, 46, 50, 144 Kilkenny: 248 Tipperary: 141 Donegal: 28, 60, 116, 122, 126, 155, 213, 219 Louth: 134 USA: 176 Down: 115, 128, 151, 247 Maritime: 65, 67, 69-71, 113, 130, 143, 147, 209 Warwickshire: 52A Dublin: 22, 33, 34, 47, 52, 131, 140, 145, 168, 224, Meath: 133 Waterford: 7, 53 225, 232 - 234, 269 Monaghan: 238 Wexford: 145 Equestrian: 6, 7, 46, 137, 242 – 244 Offaly: 247 Wicklow: 52, 93, 104, 167 Football: 245 Ornithology: 135 AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

For topographical and general index see page 96

Alexander, D: 51 Hanscomb, G: 213 Murphy, N: 239-241 Armstrong, A: 21, 27 Harper, C: 173 Nakamura, M: 182 Ballagh, R: 12, 13 Harris, P: 177 Nicol, E: 44, 263 Ballard, B: 205 Hayes, C: 63 O'Malley, T: 178, 197, 198 Barry, M: 226 Hayes, E: 64 O'Neill, D: 24, 2628 Barton, M. G: 65A Hayes, E. C: 84- 86, 88- 114 O'Neill, L: 6 Bingham, J: 219 Hely Hutchinson, N: 235 O'Neill, M: 217 Blakey, J.A: 238 Hennessy, P: 135, 136, 139 Pakenham, J: 202 Brilly, J: 243 Henry, G: 25, 41 Pearson, C: 53 Brophy, E: 146 Hone, E: 183 Pearson, P: 147, 209 Carey, J.W: 60, 65 Iten, H: 39 Perugini, C. E: 43 Castle, B: 14 Jellett, M: 185 Pike, S: 49 Childley Coote: 52 Jury, A. P: 126 Pitcairn, M. J: 66 Christoffersen, F: 237 Keating, S: 186 Purser, S. H: 42 Cirefice, V: 245-249 Kernoff, H: 19, 30- 35 Pye, P: 184 Cockrill, M: 174 King, C: 15 Robinson, M: 160-166, 210, 211 Collis, P: 216 Kingerlee, J: 11 Rodgers, P. D: 155 Conor, W: 36- 38 Klitz, A. R: 229 Rogers, E. J: 50 Cope, E: 203 Knuttel, G: 152-154, 156, 157 Russell, G. [AE}: 40 Craig, J. H: 116, 117 Lamb, C. V: 127, 128 Ryan, R: 158, 159 Crozier, W: 179- 181 Lavery (née Martyn), H: 264 Ryan, T: 131, 133, 223 Cullen, M: 176 le Brocquy, L: 192, 195 Shawcross, N: 175, 200 Cullen, S: 168, 169 le Jeune, J: 138 Shinnors, J: 16 Curling, P: 242 Lennon, C: 189, 190 Skelton, J: 137 Cypher: 207 Leonard, P: 145 Snagg, T: 47 Davis, G: 193, 194 Lindsay, B: 45 Somerville, E. O: 46 Delaney, E: 187 Lynch Morrin, N: 231 Stephenson, S: 234 Dillon, G: 18 Maccabe, G: 148-150 Stevenson, P: 151 Duncan, A: 188 MacWhirter, J: 48A Stonham, F. H: 250-261 Dunne, G: 204, 206 Maderson, A. K: 7, 8 Strickland, W. G: 262 Egan, F: 196 Maguire, B: 172 Sutton, I: 142, 143 Egginton, F: 61 Maguire, C: 20, 212 Swimberghe, G: 199 Farrell, M: 17 Martyn, H: 264 Taylor Carson, R: 129, 130 Faulkner, J: 52A Mason, W: 227 Taylor Buckley, M: 222 French, W. P: 55-59 Masterson, H. J: 221 Taylor, M: 144, 228 Gandy, H. G: 68- 83 McCaig, N .J: 132, 134 Taylor, S. C: 67 Gemmell, M: 170 McCarthy, B: 215, 236 Teskey, D: 10 Gillespie, G.K: 124, 125 McEntagart, B: 232 Toye, L: 218 Glendening Jnr., A. A: 48 McGuinness, N: 22 Treacy, L: 224,233 Graham, A: 191, 201 McKelvey, F: 115, 118 Webb, K: 1-5, 9, 225 Grattan Guinness, M.J: 66 McNally, E: 87 Webb, S. M: 230 Guilfoyle, P: 214 McSweeney, S: 167 Widgery, W: 54 Guinness, E: 62 Middleton, C: 23 Wilks, M. C: 119-123 Hamilton, K: 220 Morris, J: 208 Yeats, J. B: 29, 265- 271 Hanly, J: 171 Mulvany, T. J: 52 Yeats, W. B: 192 Hanrahan, M: 140, 141 Murphy, D: 207 , WHY TE S SINCE 1783

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