Whyte S Since 1783

Home , Beatrice Elvery, Jack Butler Yeats, Mainie Jellett, Oriel Gallery, Taylor Galleries

, WHYTE S SINCE 1783

IMPORTANT IRISH ART 26 NOVEMBER 2012

IMPORTANT IRISH ART MONDAY 26 NOVEMBER 2012

VIEWING

Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 23 November, preview with wine and gallery talks 6pm to 8pm Saturday 24 November 10am to 6pm (Gallery Talk 3pm) Sunday 25 November 10am to 6pm (Gallery Talk 3pm) Monday 26 November 10am to 6pm

AUCTION

Monday 26 November 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 44, Jack Butler Yeats, Against The Stream, 1945 (detail) Inside front cover: lot 10, Hughie O’Donoghue, A Long Time Gone, 2005 (detail) Page 2: lot 13, William Crozier, Entrance To The Strand (detail) Page 4: lot 49, Lilian Lucy Davidson, Bringing Home The Turf (detail) Page 6: lot 68, Attributed to Daniel MacDonald (or McDaniel), Tasting The Poitín In Ireland (detail) Page 8, 9: lot 33, Louis le Brocquy, Adam And Eve In The Garden, 1950-1952 (detail) Back cover: lot 55, William Conor, Homewards

CONTENTS

Important Notes 5

Ian Whyte Whyte's Guarantee of Authenticity 5 Managing Director Glossary of Terms 5

Whyte's Terms & Conditions 7

IMPORTANT IRISH ART 10

Abbreviations 126

Sarah Gates BA Topographical and General Index 126 Director Index of Artists inside back

This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte, Marianne Newman Director Sarah Gates and contributions from Bruce Arnold, Dr. Nicola Gordon-Bowe, Dr. Róisín Kennedy, Dr. S. B. Kennedy, Dr. Claudia Kinmonth, Prof. Kenneth McConkey, Dr. Éimear O’Connor and Dr. Yvonne Scott.

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 this catalogue.

ENQUIRIES CONTACTS

This catalogue: E-mail Sarah Gates and [email protected]

Aaron Lowry BA Adelle Hughes Curator Telephone Accounts: 01 676 2888 (+3531 676 2888 from UK and elsewhere) Seán Kelly Fax General Enquiries & 01 676 2880 (+3531 676 2880 from UK and elsewhere) Collection of Lots: Postal address Aaron Lowry 38 Molesworth Street, Dublin 2, Ireland

Subscriptions: Websites Seán Kelly Accounts Samantha Woolley whytes.ie whytes.com whytes.net

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

, WHYTE S IMPORTANT NOTES S I N C E 1 7 8 3 ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 7

BUYERS’ COMMISSION PRICES REALISED 18% (excluding VAT) is added to the hammer price of all lots. A complete list of prices realised and unsold lots will be posted to our Internet website (www.whytes.ie) on the day after the sale. ROOM BIDDERS 1. Room bidders must register and obtain a bidding number on SPECIAL NOTICES CONCERNING THIS AUCTION arrival. Proof of identity is required from clients new to us. VENUE FOR AUCTION NIGHT 2. If successful in obtaining a lot please ensure you display your number clearly to the auctioneer and that it is your number that The venue for the auction is Clyde Hall, Royal Dublin Society, is called out. If there is any doubt about the hammer price or Anglesea Road, Ballsbridge, Dublin 4 and the sale starts at 6pm. buyer, please draw this to the attention of the auctioneer Bidder registration will take place here from 5pm on Monday 26 immediately. November and the sale starts at 6pm. Complimentary tea and 3. Payment may be made by cash, bank draft, cleared cheque, or coffee will be served in the café. credit card – we accept Mastercard or Visa (a charge of 2% is made on credit card transactions). We also accept Laser, Delta, COLLECTION OF LOTS Debit and Maestro Cash Cards (maximum of €1,500) free of Collection of purchases at this sale may be effected 10am to 3pm charges. on Tuesday 27 November from Clyde Hall. After that date lots may be collected from our Molesworth Street premises. ABSENTEE BIDDING Purchasers must pay for and collect all lots within 7 days of the 1. If you are unable to attend you may bid before the sale, using date of sale. Note: each lot is at the buyer’s risk from the fall of the the form provided. Enter the maximum you are prepared to hammer. Storage charges will apply after 7 days. offer for each lot and the auctioneer will represent you as if you MORE INFORMATION ON OUR WEBSITE are personally attending the sale. Lots are knocked down at one step above the next highest bid, and not necessarily at your whytes.ie or whytes.com highest bid. Example: your bid is €1,000 and next highest bid is Here you will find much useful information pertaining to lots in this €800 – the hammer price is €850. auction, including biographies and previous results for many of the 2. LIMIT BIDDING: Absentee bidders may limit their total purchases artists featured in this sale. to a set amount by entering their limit on the bidding form. This is especially useful for bidders wishing to cover as many lots as possible while setting a maximum amount to spend. WHYTE’S GUARANTEE OF AUTHENTICITY 3. “OR” BIDDING: Absentee bidders who wish to bid on two or Whyte’s takes especial care to ensure that all works offered in this more lots, but only wish to purchase one, may do so by entering catalogue are as described and are the work of the artists they are “OR” between the bids – the lots will be bid on in catalogue attributed to. In the event of any work sold from this catalogue to be order. subsequently proved to be a “deliberate forgery”, subject to our terms and 4. EQUAL BIDS: In the event of equal bids being received for the conditions of sale (especially Clause 5c) as printed elsewhere in this same lot the first received will be given preference. If the 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 instruction “break ties” is entered on the bid form the auctioneer original sale. This guarantee is provided for a period of seven (7) years after will increase the bid by one step in the event of equal bids being the date of the relevant auction, and may be extended at Whyte’s received or in the event of a tie with a room bidder. discretion. 5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy at Best” shall be taken to indicate bids of up to three times the stated higher estimate in the catalogue. GLOSSARY OF TERMS 6. LIVE INTERNET BIDDING: You may watch and/or bid live The following are examples of the terminology used in this catalogue. with video and audio link to the saleroom on our website 1 Sir John Lavery www.whytes.ie in our opinion a work by the artist. 7. LIVE TELEPHONE BIDDING may be arranged on request, subject 2 Attributed to Sir John Lavery In our opinion probably a work by the artist but less certainty as to to availability and given at least 24 hours notice. This facility is only authorship is expressed than in the preceding paragraph. available on lots estimated at €2,000 or more, and a minimum bid may be requested. 3 After Sir John Lavery In our opinion a copy of a known work by the artist. We also use this 8. INVOICING AND PAYMENT: Successful absentee bidders will be term for prints of works by the artist. sent a pro forma invoice immediately after the sale with details 4 The term signed and/or dated and/or inscribed means that in our of payment methods. All invoices must be paid within 7 days of opinion the signature and/or date and/or inscription are from the hand the date of the sale or the lot(s) may be deemed in default and of the artist. any subsequent losses incurred on resale become the 5 The term bears a signature and/or initials and/or date and/or responsibility of the bidder. The Auctioneers and House Agents inscription means that in our opinion the signature and/or date and/or Act, under which we are licensed to hold public auctions, only inscription has been added by another hand. allows for lots to be handed over to purchasers when paid for in full.

, 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 18% (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 WHYTE & SONS AUCTIONEERS LIMITED any part of the purchase price or the cost of any repairs to the lot or lots 38 Molesworth Street, Dublin 2 reported on.

IMPORTANT IRISH ART Monday 26 November 2012 at 6pm Lots 1-218 , WHYTE S S I N C E 1 7 8 3

1 John Shinnors (b.1950) THE GYPSY, c.1987 oil with oil pastel on card signed lower right 8.75 by 6.50in. (22.23 by 16.51cm)

€3,000-€4,000 (£2,500-£3,200 approx)

2 Seán McSweeney HRHA (b.1935) SPRING POOL, 2000 oil on canvas signed and dated lower left; signed, titled, dated and with archival number [01.67] on reverse 14 by 18in. (35.56 by 45.72cm)

€2,500-€3,500 (£2,000-£2,800 approx)

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

3 Donald Teskey RHA (b.1956) BISHOP STREET, 2000 oil on canvas signed, titled and dated on reverse; with inscribed Rubicon Gallery label also on reverse 30 by 39.50in. (76.20 by 100.33cm)

Provenance: Rubicon Gallery, Dublin; Private collection

Bishop Street, Dublin is best known as the location of Jacob’s Biscuit Factory, one of the buildings held by the Irish Volunteers during the 1916 Rising. Today it is the address of The National Archives.

€6,000-€8,000 (£5,000-£6,400 approx)

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

4 James Hanley RHA (b.1965) DOGFIGHT, 2002 oil on gessoed paper initialled and dated lower right; inscribed with title and signed again on reverse; with typed RHA label and Solomon Fine Art label on reverse 21.50 by 12in. (54.61 by 30.48cm)

Provenance: RHA, Dublin; Private collection; de Vere’s, 29 November 2006, lot 121; Private collection

Exhibited: RHA Annual Exhibition, Dublin, 21 May - 29 June 2002, catalogue no. 180

€1,500-€2,000 (£1,250-£1,600 approx).

5 James Hanley RHA (b.1965) FROM THE WORLD TRADE CENTRE oil on linen signed with initials lower right; inscribed with title and dated [2004] on reverse; also with Solomon Fine Art label on reverse 16 by 20in. (40.64 by 50.80cm)

Exhibited ‘Souvenir‘, Solomon Gallery, Dublin, 2-19 November 2004

Provenance: Solomon Fine Art, Dublin; Private collection

€1,500-€2,000 (£1,250-£1,600 approx)

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

6 Martin Gale RHA (b.1949) CONES, 2008 oil on canvas signed lower left 15.75 by 19.75in. (40.01 by 50.17cm)

Provenance: RHA, Dublin; Private collection

Exhibited: RHA, July, 2008; ‘Important Irish & British Art and Master Prints’, Merrion Hotel, Dublin, 14-16 November 2008

€3,000-€4,000 (£2,500-£3,200 approx)

7 Provenance Colin Martin ARHA (b.1973) RHA, Dublin; HOUSE BOAT LANDING Private collection oil on canvas 31.50 by 47.25in. (80.01 by 120.02cm) Colin Martin was the recipient of the prestigious Hennessy Craig Scholarship at the RHA in 2005. Exhibited RHA Dublin, December 2008 €3,000-€5,000 (£2,500-£4,000 approx) 13 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

Whyte’s are pleased to present a further selection of works from the renowned collection of contemporary Irish art formed by the late Jim O’Driscoll SC.

8 John Doherty (b.1949) LOITERING WITH INTENT, 1995 acrylic on board signed, titled and dated in the lower margin; with typed Louis K. Meisel Gallery [New York] label on reverse 11.75 by 17in. (29.85 by 43.18cm)

Provenance: Louis K. Meisel Gallery, New York

€3,000-€5,000 (£2,500-£4,000 approx)

9 Charles Tyrrell (b.1950) XIV, [ALLIHIES, WEST CORK] 1995 oil on canvas over timber signed, numbered [XIV], titled and dated on reverse 35 by 35in. (88.90 by 88.90cm)

Provenance: Taylor Galleries, Dublin

Exhibited: ‘Charles Tyrrell 1995’, Taylor Galleries, Dublin, 24 November - 10 December 1995, as 1995 XIV (illustrated in exhibition catalogue) ’An Advocate for Art: A Tribute To Jim O’Driscoll SC’, Irish Museum of Modern Art, Dublin, 6 July to 15 August 2010

€3,000-€5,000 (£2,500-£4,000 approx) 14 , The Collection of Jim O’Driscoll SC WHYTE S S I N C E 1 7 8 3

10 Hughie O’Donoghue (b.1953) A LONG TIME GONE, 2005 oil on panel incorporating transparent photographic component signed, titled and dated on reverse; with Fenton Gallery label also on reverse 23 by 35in. (58.42 by 88.90cm)

Provenance: Fenton Gallery, Cork

€6,000-€8,000 (£5,000-£6,400 approx)

15 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

11 William Crozier HRHA (1930-2011) GOOSEWING AT SUNSET, 1990 watercolour signed and dated in pencil lower left; signed again, titled and dated on reverse; with Taylor Galleries exhibition label also on reverse 11 by 15in. (27.94 by 38.10cm)

Provenance: Taylor Galleries, Dublin

Exhibited: ‘William Crozier’, Taylor Galleries, Dublin, February, 1991, catalogue no. 31

Goosewing beach is in Massachusetts, USA.

€1,500-€2,000 (£1,250-£1,600 approx)

12 Seán McSweeney HRHA (b.1935) SHORELINE FIELDS, 1996 oil on board signed and dated lower left; signed again, titled and with artist’s archival number [96.73] on reverse 24 by 32in. (60.96 by 81.28cm)

€5,000-€7,000 (£4,000-£5,600 approx) 16 , The Collection of Jim O’Driscoll SC WHYTE S S I N C E 1 7 8 3

William Crozier HRHA (1930-2011) Entrance to the Strand is a striking example of Crozier’s ability to extract ENTRANCE TO THE STRAND the maximum vibrancy from nature. It uses a complex and highly oil on canvas expressive combination of flattened space and strong colour to convey signed lower right; signed again and titled on reverse the opulence of the landscape and of the process of painting. Painted 51.50 by 46.50in. (130.81 by 118.11cm) near Kilcoe, with a view of Roaring Water Bay in the distance, the work builds up a powerful juxtaposition of the elements of the landscape - Provenance: trees, fields, sea and distant islands. The pathway, river and expanse of Purchased directly from the artist green in the foreground and middle distance act as obstacles to the coastline at the top of the composition, drawing the viewer into an engagement with the work. Vibrant pinks and reds connect the sky to In 1983 the Scottish born artist, William Crozier bought a cottage at the trees and pathway, where these tones evoke the vividly coloured Kilcoe, near Skibbereen, Co. Cork where the surrounding landscape had fuschia of the region. The combination of strong hues of green, blue a profound effect on his work. A well-established artist with an and pink makes the view appear like that of an exotic oasis, into which international reputation, he felt that he was painting nature for the first the viewer, like an explorer, is brought into direct contemplation. In this time. There is a sense of a newly discovered terrain in the way in which painting nature has been re-invented and supplanted by the Entrance to the Strand is constructed, making the countryside appear imagination of the artist and the process of painting. strange and exhilarating. Described as if ‘lit from within’, a painting like Entrance to the Strand evokes a strong sense of the exotic colours and Dr. Róisín Kennedy dramatic vistas of West Cork. Crozier brought his vast experience and October 2012 knowledge of modernist European traditions to bear on the work. In particular one can see the sensuous colour and intense forms of the Fauves and the Scottish Colourists in the painting. €18,000-€22,000 (£15,000-£17,600 approx)

17 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

14 15 John Shinnors (b.1950) Tony O’Malley HRHA (1913-2003) THE SPEAKER UNTITLED, 1975 pastel oil on paper signed and titled on original label on reverse signed with initials lower left; dated lower right; with 9.50 by 7.75in. (24.13 by 19.69cm) Taylor Galleries exhibition label on reverse; artist’s archival number [2096] also on reverse €1,500-€2,000 (£1,250-£1,600 approx) 10 by 7in. (25.40 by 17.78cm)

Provenance: Taylor Galleries, Dublin

€800-€1,200 (£640-£1,000 approx)

18 , The Collection of Jim O’Driscoll SC WHYTE S S I N C E 1 7 8 3

16 Provenance: Tony O’Malley HRHA (1913-2003) Taylor Galleries, Dublin THE BURREN, 1993 acrylic and collage on paper Exhibited: signed with initials and dated lower left; titled, dated and ‘Tony O’Malley, 50 Years, A Selective Retrospective of Works with artist’s archival number [6110] on reverse; with Taylor on Paper’, Taylor Galleries, Dublin, November 2002, Galleries exhibition label on reverse catalogue no. 160 20 by 30in. (50.80 by 76.20cm) €3,000-€4,000 (£2,500-£3,200 approx)

17 Charles Brady HRHA (1926-1997) TURKISH DELIGHT - STRAWBERRY, 1997 oil on linen signed lower right; with Taylor Gallery label on reverse 10 by 13in. (25.40 by 33.02cm)

Provenance: Taylor Galleries, Dublin

€2,000-€3,000 (£1,600-£2,500 approx) 19 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

18 19 Tony O’Malley HRHA (1913-2003) Tony O’Malley HRHA (1913-2003) WINTER AND SUN / AN GEIMHREADH AGUS AN GHRIAN, IN THE COUNTRY [PHYSICIANSTOWN, CALLAN] 1985 1998 oil on paper oil on canvas signed with initials and titled lower left; signed again upper signed, titled (in Irish and English), dated and with artist‘s right; dated [13/8/85] lower right; signed, titled and dated archival number [6246] inscribed on reverse; also with again on reverse; also with artist’s archival number [924] on Taylor Galleries exhibition label on reverse reverse; with inscribed Taylor Galleries label on reverse 20 by 25in. (50.80 by 63.50cm) 25 by 20.25in. (63.50 by 51.44cm)

Provenance: Provenance: Taylor Galleries, Dublin Taylor Galleries, Dublin

Exhibited: The artist notes on reverse that a postcard was printed from this ‘Tony O’Malley, Recent Work’, Taylor Galleries, Dublin, painting [by St. Ives Printing and Publishing Company, Cornwall]. 8-24 April, 1999, catalogue no. 35 €4,000-€6,000 (£3,200-£5,000 approx) €4,000-€6,000 (£3,200-£5,000 approx)

20 , The Collection of Jim O’Driscoll SC WHYTE S S I N C E 1 7 8 3

20 Louis le Brocquy HRHA (1916-2012) STUDY OF JAMES JOYCE, 1983 watercolour signed and dated lower right; titled on reverse 23.75 by 17.75in. (60.33 by 45.09cm)

€18,000-€22,000 (£15,000-£17,600 approx) 21 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

21 Brian Bourke HRHA (b.1936) RECLINING FIGURE, 1989 mixed media with gouache on paper signed, titled and dated lower right 42 by 29in. (106.68 by 73.66cm)

€1,500-€1,800 (£1,250-£1,500 approx)

22 Brian Bourke HRHA (b.1936) DUBLIN, 1969 mixed media with gouache and pastel on paper signed, titled and dated lower right; with inscribed Dawson Gallery label on reverse 23 by 16in. (58.42 by 40.64cm)

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

Exhibited: ‘Brian Bourke New Paintings and Drawings’, Dawson Gallery, Dublin, 5-21 June, 1969, catalogue nos. 29-31 (all titled Dublin Landscape)

€800-€1,000 (£640-£800 approx)

22 , The Collection of Jim O’Driscoll SC WHYTE S S I N C E 1 7 8 3

23 24 Nano Reid (1900-1981) Nano Reid (1900-1981) FAIRY THORN AT WELL, 1976 TINKERS AND PONY, 1969 oil on board oil on board signed lower right; titled and signed again on original label on reverse; signed lower left; with title and number [6] also with inscribed Dawson Gallery exhibition label on reverse inscribed on label on reverse; with both Dawson 24 by 18in. (60.96 by 45.72cm) Gallery exhibition and framing labels on reverse 29 by 15.25in. (73.66 by 38.74cm) Provenance: Dawson Gallery, Dublin Provenance: Dawson Gallery, Dublin Exhibited: ‘Nano Reid’, Dawson Gallery, Dublin, 20 October to 2 November, 1976, Exhibited: catalogue no. 1 ‘Nano Reid’, Dawson Gallery, Dublin, 11-26 April, 1969, catalogue no. 10 [65gns] €3,000-€5,000 (£2,500-£4,000 approx) In original frame of the Dawson Gallery, Dublin.

€3,000-€5,000 (£2,400-£4,000 approx)

23 , WHYTE S The Collection of Jim O’Driscoll SC S I N C E 1 7 8 3

25 26 Evie Hone HRHA (1894-1955) Gerard Dillon (1916-1971) ABSTRACT COMPOSITION UNTITLED [SAND PAINTING] gouache oil and sand on board 19 by 12.25in. (48.26 by 31.12cm) 25 by 30in. (63.50 by 76.20cm)

€1,500-€2,000 (£1,250-£1,600 approx) €2,000-€3,000 (£1,600-£2,500 approx)

27 Gerard Dillon (1916-1971) GIRL AT WELL etching with artist’s name, title and medium in the lower margin; with inscribed Taylor Galleries label on reverse 10 by 13.25in. (25.40 by 33.66cm)

Provenance: Taylor Galleries, Dublin

€500-€700 (£400-£560 approx)

For other lots from this collection see: 208, 209 and 211.

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

28 Daniel O’Neill (1920-1974) AFTER THE HARVEST, LOUGH SWILLY, COUNTY DONEGAL, c. early 1950s oil on board with location on reverse; with David Hendriks Gallery label also on reverse 16 by 21.50in. (40.64 by 54.61cm)

Provenance: Adam’s & Bonhams, 5 December 2006, lot 125; Whence purchased by the present owner

Another example from this period in O’Neill’s oeuvre, entitled, Knockalla Hills, Co. Donegal, 1951 can be found in the collection of The Ulster Museum, Belfast.

€6,000-€8,000 (£5,000-£6,400 approx)

29 Daniel O’Neill (1920-1974) CLOUGHANEELY, COUNTY DONEGAL oil on board signed lower left; with inscribed label on reverse detailing title 20 by 24in. (50.80 by 60.96cm)

Contained in its original Victor Waddington frame. Cloughaneely or Cloch Cheann Fhaola meaning “the Stone of Faoil’s Head” is a Gaeltacht area in west Donegal which, along with the Rosses and Gweedore; are known locally as “the three parishes”.

€5,000-€7,000 (£4,000-£5,600 approx)

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30 Mary Swanzy HRHA (1882-1978) THE YELLOW POOL oil on board 7 by 9in. (17.78 by 22.86cm)

Provenance: The Artist’s Estate; with Pyms Gallery, London; Whyte’s, 26 April 2005, lot 17; Private collection; Whyte’s, 28 April 2008, lot 78; Whence purchased by the present owner

€3,000-€4,000 (£2,500-£3,200 approx)

31 Harry Epworth Allen RBA (1894-1958) BALLINDOOLY, COUNTY GALWAY tempera on card signed lower left; with title and artist’s name in the mount, lower left and lower right respectively; with Magee Gallery, Belfast label on reverse 8.50 by 10.25in. (21.59 by 26.04cm)

Provenance: Cheffin’s Grain and Comins, Cambridge, 26 March 1998; James Adam & Bonham’s, Dublin, 26 May 1999, lot 8a; Whence purchased by the previous owner; Whyte’s, 28 April 2008, lot 156; Whence purchased by the present owner

Literature: Basford, John, Harry Epworth Allen (1894- 1958): Catalogue of his Works, Rowsley, Derbyshire, 2007, p.203

In original John Magee frame.

€2,000-€3,000 (£1,600-£2,500 approx)

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31A 32 Daniel O’Neill (1920-1974) Daniel O'Neill (1920-1974) HEAD GIRL WITH FLOWERS oil on board oil on board signed lower right signed lower left; original exhibition labels on reverse 18 by 14in. (45.5 by 35.5cm) 20 by 16in. (50.8 by 40.64cm)

Provenance: Provenance: Dawson Gallery, Dublin; George Waddington Galleries, Montreal; Where purchased by F. O’Neill Esq.; Collection of J. G. McConnell Jnr, Montreal; Thence by descent to the previous owner; Theo Waddington, London; Sotheby’s, 9 May 2007, lot 104; Private collection; Private collection Whyte’s, 26 April 2005, lot 16; Whence purchased by the present owner €20,000-€30,000 (£16,000-£24,000 approx) €12,000-€15,000 (£10,000-£12,500 approx)

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33 The genesis of le Brocquy’s colour-inverted tapestries pivots on his meeting with designer Jean Lurçat in the summer of 1952 in London Louis le Brocquy HRHA (1916-2012) where le Brocquy had established his studio, in Battersea, in spring ADAM AND EVE IN THE GARDEN, 1950-1952 colour-inverted Aubusson tapestry, Atelier René Duché; (no. 4 that year. The innovations in the weaving industry coupled with his from an edition of 9) own earlier interest in the emotional effect of colour led him to signed [leB] and dated [‘52] lower left; signed by maître-lissier, explore the medium through the adaptation of early small-scale flat René Duché, with initials and numbered in the weave on (gouache) cartoons. Between 1948 and 1952 these were translated reverse lower right; with Certificate of Authenticity sewn on into woven images facilitated by Tabard Frères et Soeurs, Aubusson and included Travellers, Garlanded Goat and the Eden series. reverse, signed, numbered, titled and dated by le Brocquy and Duché In the artist’s notes in the catalogue for ‘Louis le Brocquy, Aubusson 55 by 108in. (139.70 by 274.32cm) Tapestries’, 3-29 May 2001 with Agnew’s, he describes the process thus: Provenance: ”These tapestries were designed by means of a technique I learned Acquired directly from the artist by the present owner directly from the master in this medium, Jean Lurçat. No colour sketch is involved. Instead a purely linear cartoon defines areas within which a range of coloured wools are indicated by numbers.

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But, further to these first cartoons, my excitement regarding the drama of colour-inversion encouraged me to make at the time second versions of these linear cartoons, inverted both in colour and tone.” 1

It would be fifty years before the artist could realise these second, colour-inverted, versions. The present tapestry was woven at Aubusson by celebrated Lissier René Duché in collaboration with the artist’s son, Pierre. They have been described as linking “… the refined simplicity of medieval weaving with the mastery of Cubist drawings” and by le Brocquy, as an “… inverted transformation of mood, ‘as contrary as night from day’”.2

1 Exhibition catalogue for ‘Louis le Brocquy, Aubusson Tapestries’, Agnew’s, London, 3-29 May 2001 (Artist’s notes; unpaginated). 2 Ibid.

€40,000-€60,000 (£32,000-£50,000 approx)

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34 George Campbell RHA (1917-1979) DOGS BAY, ROUNDSTONE oil on board signed lower right 36 by 30in. (91.44 by 76.20cm)

Exhibited: possibly exhibited at ‘George Campbell / Gerard Dillon’, Piccadilly Gallery, London, June 1955, no. 32 as Dogs Bay, Connemara

€5,000-€7,000 (£4,000-£5,600 approx)

35 George Campbell RHA (1917-1979) NIGHT SHAPES oil on board signed lower right 30 by 25in. (76.20 by 63.50cm)

Exhibited: ‘Paintings 1959-1962 by George Campbell’, Ritchie Hendriks Gallery, Dublin, no. 8 [70gns.]

€5,000-€7,000 (£4,000-£5,600 approx)

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36 Louis le Brocquy HRHA (1916-2012) GOAT IN THE SNOW, 1950 black ink and wash over pencil with gouache on tinted paper signed and dated lower right; numbered [668] and with “Gimpel Fils” inscribed on reverse; also with James Bourlet & Sons, Ltd. label on reverse; with original price [30gns] inscribed on reverse 22 by 16in. (55.88 by 40.64cm)

Provenance: Victor Waddington Galleries, Dublin; Private collection

Exhibited: ‘Louis le Brocquy’, Victor Waddington Galleries, Dublin, 6-17 December, 1951, catalogue no. 19 Goat in Snow [30gns] Aubusson tapestry, The The tapestry Garlanded Goat (limited ed.) woven by Tabard, Frères et Soeurs, Aubusson, France was also Garlanded Goat, 1950 by exhibited at the Waddington show as catalogue no. 13. The exhibition comprised 12 works in oil, 3 in Louis le Brocquy tapestry, 16 in watercolour, 6 in pastel and 3 lithographs.

€12,000-€15,000 (£10,000-£12,500 approx) 31 , WHYTE S S I N C E 1 7 8 3

37 Basil Ivan Rákóczi (1908-1979) LES ÉCHECS, 1952 oil on canvas signed lower right; signed, inscribed [1749 Les echecs] and dated on reverse; with another painting also on reverse 18 by 24in. (45.72 by 60.96cm)

Provenance (for this and lots 38 and 39): Acquired directly from the artist by the present owner’s parents; Thence by descent

This work was painted in Paris and uses Rákóczi’s familiar “wook” figures.

€2,500-€3,500 (£2,000-£2,800 approx)

38 Basil Ivan Rákóczi (1908-1979) UNTITLED, c. 1950s monoprint signed in pencil lower left 9.25 by 14.50in. (23.50 by 36.83cm)

€800-€1,000 (£640-£800 approx)

39 Basil Ivan Rákóczi (1908-1979) SKETCH FOR THE DROWNED SAILOR, ACHILL ink on paper signed lower right; titled lower left; inscribed letter from the artist to the present owner’s parents on reverse 10 by 14in. (25.40 by 35.56cm)

Note on reverse is directed to the present owner’s father and thanks him for his support for the controversial Drowned Sailor (1948) painting which he showed in his house. The artist notes, “...No one else would have been brave enough to do so at that time I am sure.” He continues, “It’s now in the possession of Dr Herbrand Ingouville-Williams, 40 Fitzwilliam Sq., Dublin.”

We are grateful to the artist’s grandson Chris Rákóczi for his assistance with these lots.

€500-€700 (£400-£560 approx) 32 , WHYTE S S I N C E 1 7 8 3

39A Colin Middleton MBE RHA (1910-1983) CALINE: BRUGGE c.1968 oil on masonite board signed in monogram lower left; signed in monogram and titled on reverse; dated [2 July 1968] and with address [Upper Ballinderry / Lisburn] inscribed on reverse 36 by 36in. (91.44 by 91.44cm)

Provenance: Ritchie Hendriks Gallery, Dublin; Private collection

Exhibited: ’Colin Middleton’, Ritchie Hendriks Gallery, Dublin, until 23 December 1965, catalogue no. 35 [125gns]

Works relating to Bruges (Belgium) were shown in the artist’s major retrospective exhibition in 1976 in the Ulster Museum, Belfast and the Municipal Gallery of Modern Art, Hugh Lane, Dublin. The artist travelled with his father to Belgium on a business trip in 1931 where he was exposed to Flemish painters, such as Rogier van der Weyden. He retuned to Belguim between 1961 and 1972 where he painted a series of works based on the city of Bruges. The Hendriks Gallery show in 1965 comprised 35 works in oil several of which referenced Bruges including the present example.

€6,000-€8,000 (£5,000-£6,400 approx)

40 Colin Middleton MBE RHA (1910-1983) BARCELONA CROCKERY, 1975 pencil on graph paper inscribed with date [27 April] lower centre 4 by 3.75in. (10.16 by 9.53cm)

Provenance: Christie’s, 12 May 2006, lot 230; Private collection

€500-€700 (£400-£560 approx) 33 , WHYTE S S I N C E 1 7 8 3

40A Cecil ffrench Salkeld ARHA (1904-1969) MOTHER AND CHILD oil on canvas laid on board signed lower right 17 by 14.25in. (43.18 by 36.20cm)

Provenance (lots 40A and 41): Collection of Lady Nelson; Collection of Cyril McKeown; Private collection

As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld’s mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters’ Group among others. Both lots in this sale are painted in the artist’s usual austere manner and demonstrate his unique style and smooth handling of paint. While lot 40A demonstrates his fondness for feminine subject matter, the latter shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld’s “original, sombre palette, intellectually rather than emotionally conceived”. The artist’s best known work is his mural, a triptych completed in 1942, in Davy Byrne’s pub, Dublin. €2,500-€3,500 (£2,000-£2,800 approx)

41 Cecil ffrench Salkeld ARHA (1904-1969) THE AUDITION oil on canvas board signed lower left 17.25 by 21.25in. (43.82 by 53.98cm)

The location for the scene is thought to be the Abbey Theatre, Dublin.

€3,000-€5,000 (£2,500-£4,000 approx)

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42 Harry Kernoff RHA (1900-1974) BALLET GIRL or THE THEATRE ROYAL,1935 oil on board signed lower right; signed, titled, dated and with artist’s address [13 Stamer Street, Dublin] on reverse 15 by 20in. (38.10 by 50.80cm)

Provenance: Adams, 30 May, 2007 lot 159; Private collection

The Theatre Royal, Hawkins Street, Dublin opened on 23 September 1935. It was a large art deco building intended for use as both theatre and cinema. A very popular entertainment venue for many years, it closed in 1962.

€8,000-€10,000 (£6,400-£8,000 approx)

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43 Jack Butler Yeats RHA (1871-1957) THE COMFORTER, 1952 oil on board signed lower right; with exhibition label on reverse 14 by 18in. (36 by 46cm)

Provenance: Victor Waddington Galleries, Dublin; Mrs Jobling-Purser, Dublin; Thence by descent; Whyte’s, 29 November 2005, lot 84; Private collection

Exhibited: ’Jack B. Yeats: Oil Paintings’, Victor Waddington Galleries, Dublin, October 1953, catalogue no. 1; ’Jack B. Yeats, Loan Exhibition’, New Gallery, Belfast, 14-26 June 1965, catalogue no. 9; ’Irelandskt - Exhibition of Irish Paintings: From Yeats to Ballagh’, Lunds Kansthall, Lund, Sweden, April - May 1972 (organised by the Arts Council of Ireland / An Chomhairle Ealaíon), catalogue no. 57

Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. II, page 1026, catalogue no. 1125; also Vol. III (full page illustration, p.568)

Hilary Pyle has described this work as follows:

“A girl with a sallow complexion, wearing a black hat, has a numb absorbed expression. The face of the man who leans towards her, speaking gently, is brightened by the light of the sky seen above the landscape which opens beyond the wall before which their upper parts are seen. There is a sketch for this in pencil in the final workbook. Yeats painted many pictures of personalities in conflict or in accord, and was always interested in the psychological relationship of one person with another. At this late stage, he may also have been considering the theological implications of the title”. (Pyle, op. cit., Vol. II, page 1026).

Bruce Arnold, author of Jack Yeats (Yale University Press 1998) writes:

For a late work The Comforter has a powerful simplicity, rich colour and assured composition. The thought behind it, a narrative of kindness offered and comfort taken from it, binds the central figures together. Both of them, though particularly the woman, are given clear characterisation, not always so successfully done by Yeats, whose technique, so full of the flamboyant use of impasto, created at times a riot rather than a resolution of event. Here, the emphasis that he sought and has achieved is one of calmness and consideration. The full-face presentation of the woman is unequivocal, though whatever grief she is holding to her heart is under a measure of control that makes the comforter’s role that much more difficult. Yeats had three years to go, and some fabulous works to paint; yet few in the last cycle of his output have the determination of thought and intent, as well as the control, achieved here.

Bruce Arnold HRHA October, 2005

€150,000-€200,000 (£120,000-£160,000 approx.)

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44 Jack Butler Yeats RHA (1871-1957) AGAINST THE STREAM, 1945 oil on board signed lower left; inscribed with title on reverse; also with inscribed Dawson Gallery label on reverse and typed Waddington Galleries, London label on reverse 9 by 14in. (22.86 by 35.56cm)

Provenance: Dawson Gallery, Dublin; Where purchased by a Mr F.S. Hess; with Waddington Galleries, London; Where purchased by a Mr Daniel O’Keeffe; Private collection

A man walks briskly along a river bank pulling a small barge in the water along behind him. The dramatic contrast in scale between him and his passengers suggest that the latter is a toy or that some fantastic scene is before us. Yeats’ intricate handling of the paint conveys a breezy day with the trees on the bank blowing in the gentle wind. The bright blues of the sea and river compliment the dark greens and yellow tones of the surrounding vegetation and suggest the warmth of a summer’s day. The blue paint of the water has been scraped back in parts to reveal the white of the board underneath. This denotes the reflected light of the sky on the surface of the river, while drawing our attention to the physical construction of the painting. The pink shirt and grey trousers of the ferryman while contrasting in hue with that of its environs are blended into the composition through the way in which the artist has sculpted the form out of paint.

Rivers and ferrymen are a major theme in Yeats’ work. The ferryman, like the pilot man who guided the ships in and out of port, is symbolic of an innate wisdom and a keen understanding of the complexities of the sea and the tide. The title of this work Against the Stream indicates the skill of the man as he manoeuvres the boat upstream. Rivers are moving forces and as such they represent the unending progress of life and nature. The sense of journeying is keenly expressed in this work through the movement of trees, the water and above all by the striding figure and the boat. The wide spread of the composition takes in the breadth of the river and its opposing bank and thus sets the expedition of the man and the boat within the much greater context of natural forces. In a playful manner Yeats uses the work to pose quite profound questions about the purpose of an individual life set against the bigger forces of the natural world.

Dr. Róisín Kennedy November, 2012

€50,000-€70,000 (£40,000-£56,000 approx)

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45 Jack Butler Yeats RHA (1871-1957) THE LITTLE BOOK, 1906 watercolour signed lower right; with Waddington Galleries label on reverse 10 by 14in. (25.40 by 35.56cm)

Provenance: Waddington Galleries, London; Where purchased by the present owner

Exhibited: ‘Jack B. Yeats: Sketches of Life in the West of Ireland’, Leinster Hall, Dublin, 1-20 October 1906, catalogue no. 13; ‘Taispeántas Ealaíon’, An tOireachtas, Dublin, 1906

Literature: Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 607, p.150 (listed)

€10,000-€15,000 (£8,000-£12,500 approx)

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46 The Stolen Child Where the wandering water gushes Jack Butler Yeats RHA (1871-1957) From the hills above Glen-Car, GLENCAR, SLIGO, 1949 In pools among the rushes oil on panel That scarce would bathe a star ... signed lower left; inscribed on reverse; also with exhibition (W. B. Yeats, The Stolen Child, 1886) labels on reverse The waterfall became an important symbol of Jack’s youth and of the 9 by 14in. (22.86 by 35.56cm) beauty of the West in his oil paintings. Glencar Waterfall appears in a number of works, most famously as the backdrop to In Memory of Literature Boucicault and Bianconi, 1937 (National Gallery of Ireland). Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Glencar is known for its rich vegetation. According to Hilary Pyle’s Paintings II, London, 1992, p.876, no. 968 (illustrated) and III, description of the waterfall, it flows through fields of wild garlic and p.497 (illustrated) rhododendrons and tall trees surround it.1 Yeats’ painting, with its use of rich blues and greens, and its touches of yellow and deep red, recreates the sensuous experience of standing in such a place. The pale form of the water Provenance: contrasts with its verdant surroundings. Yeats uses a low viewpoint which Waddington Galleries, London; brings the viewer into the centre of the landscape. Rather than setting the Whence purchased by Capt. C. S. Collinson, Jan. 1950; waterfall in the middle of the composition, Yeats sets it to the left-hand side Harold Diamond, New York, 1958; and frames it with the surrounding shrubbery, as if one had suddenly come Joseph H. Hirschhorn, New York, 1958-66; across this wondrous sight. Hirschhorn Museum, Washington DC; In its evocation of the lushness of the Irish countryside the painting is Christies, London, 10 May 2007, lot 93; prophetic of the later treatment of the Irish landscape as an intimate and Whence purchased by present owner mysterious subject by such artists as Seán McSweeney and Barrie Cooke. Yeats’ treatment of the pigment in the painting is also interesting in terms of Glencar Waterfall is situated north of Sligo town and is made up of three later Irish landscape painting. He is very concerned with the handling of the falls, the highest of which is fifty feet. It flows into the lake of Glencar, inland paint surface. The waterfall is painted, at least partly, over the dark green from Drumcliffe, where Yeats’ grandfather was rector for many years and pigment of the foliage. It is a flat, opaque element in the composition which where his brother, William was buried. differentiates it from its surroundings. Yeats departs from all the usual landscape conventions and creates, instead, a remarkable painting in which Jack Yeats and his siblings visited Glencar as children when they were his complex treatment of the surface takes precedence over other pictorial staying with their mother’s family in Sligo. There are two crannógs in the concerns. nearby lake, adding to the sense of mystery evoked by the waterfall and the surrounding countryside. W. B. Yeats used the locality as a setting for his early Dr Róisín Kennedy poem, 1 Hilary Pyle, Jack B. Yeats. A Biography, 1970, p. 19.

€30,000-€40,000 (£25,000-£32,000 approx) 41 , WHYTE S S I N C E 1 7 8 3

47 Letitia Marion Hamilton RHA (1878-1964) SNOW SCENE; VIEW OF A RIVER BEND AND TREES oil on board signed with initials lower left 15 by 18in. (38.10 by 45.72cm)

Provenance: Family of the artist; Thence by descent to the previous owner; Whyte’s, 25 February 2008, lot 79; Whence purchased by the present owner

€6,000-€8,000 (£5,000-£6,400 approx)

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48 Charles Vincent Lamb RHA RUA (1893-1964) BRETON SCENE, c.1926-1929 oil on canvas signed lower left; with Hendriks framing label on reverse 12.50 by 16in. (31.75 by 40.64cm)

Provenance: Purchased directly from the artist’s widow by the present owner’s family; Thence by descent

A receipt of sale from the artist’s widow to the previous owner notes that the work was "painted 1926-27 in Brittany, probably Pont-Croix".

€2,500-€3,500 (£2,000-£2,800 approx)

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49 Lilian Lucy Davidson ARHA (1893-1954) BRINGING HOME THE TURF oil on canvas signed with initials lower left partially hidden by the slip; also inscribed [AA 239] on reverse 22.50 by 29in. (57.15 by 73.66cm)

Provenance: Purchased from an exhibition (date unknown) of Davidson’s work by the present owner’s parents; Thence by descent

Lilian Davidson came from humble beginnings in Bray, Co. Wicklow where she was educated privately before attending the Dublin Metropolitan School of Art. She was closely associated with the Watercolour Society of Ireland with whom she exhibited from 1912 until 1953 and with the RHA which exhibited 135 works by the artist over a forty year period from 1914. From an address in Rathmines Dublin, Davidson exhibited widely with the Dublin Painters’ exhibitions, the Oireachtas and in 1920 in a joint show with Mainie Jellett. She is also recorded as exhibiting abroad in the 1930s in London, Amsterdam, Chicago and at the Salon de la Société Nationale in Paris (1924 and 1930). A solo show in Dublin was held in 1936 which comprised 36 works in oil and watercolour, among them a portrait of George Russell (Æ). In 1940 she was made an Associate to the RHA. Davidson set up a studio and taught in Earlsfort Terrace, Dublin where she counted among her protégés; Bea Orpen, Kitty Wilmer O’Brien and Lillias Mitchell. She was closely associated with theatre in Dublin and she counted among her friends Hilton Edwards and Mícheál MacLíammóir. She designed sets, wrote plays and painted scenery for the Torch Theatre which she helped found in the 1930s.

The present work depicting rural life in Ireland and is comparable with the artist’s deeply empathetic works from the 1930s such as Cottages, Keel, Achill, 1938 (Private collection) shown at the RHA that year. The composition has a theatrical feel with its dynamic figures in the foreground and steep mountain range in the distance. The palette of mauve and earthy brown tones evoke the West in a deeply personal manner that is romantic and at the same time sympathetic. The influence of Jack B. Yeats can be seen in her choice of subject and although more sombre in palette, her use of mass and space are strongly influenced by him.1 Their relationship is recorded in canvas in her portrait of Yeats from 1938 which she bequeathed to the National Gallery in 1955 [NGI.1289] Although Davidson would have been exposed to more avant-garde trends during her lifetime her approach faithful to Naturalism and the influence of French Impressionism which she was exposed to while in France in the 1920s.2 In 2003 the National Gallery of Ireland acquired Fashions at the Fair, c.1940s [NGI.4719] underpinning her importance in the context of Irish art.

1 Cahill, Katherine, ’In the Mainstream of Irish Naturalism, The Art of Lilian Lucy Davidson, 1879-1954’, Irish Arts Review Yearbook, Vol. 15, 1999, p.36 2 Ibid., p.44

€18,000-€22,000 (£15,000-£17,600 approx)

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50 adventurer, RB Cunninghame Graham (fig 1). However in 1912, the Sir John Lavery RA, RSA, RHA (1856-1941) painter took up this 40 by 50 inch canvas to do full justice to the THE RISING MOON, TANGIER, 1912 spectacle. oil on canvas signed lower left; with title [THE RISING MOON/ TANGIER The idyllic world was nevertheless BAY/BY/JOHN LAVERY/ 5. CROMWELL PL:/ LONDON/1912] fraught with danger: several of (in a later hand) on reverse Lavery’s neighbours had been 40 by 49.5ins (101.6 by 125.7cm) kidnapped by local brigands and Hazel, fearful for her daughter’s Provenance: safety, accompanied her everywhere. The Sultan was weak, The artist; his police, ineffectual, and his local Thence by descent to Mrs J McEnery; administrators, corrupt. Such was Her sale, Adam’s, 11 December 1990, lot 93; the growing lawlessness in Private collection Morocco that in March 1912, the Christie’s 20 May 1999, lot 51; French army, stationed across the Private collection border in Algeria, invaded. Tangier Adam’s 25 May 2005, lot 81 was momentarily quiet, save for the social event of the season, the Literature: marriage of Eileen Lavery, the painter’s daughter, to James Mallie, Eamonn, ed, One Hundred Years of Irish Art, 2000, p.186 Dickinson, a Liverpool solicitor. 4 Fig 2 Miss Alice Trudeau, 1912, Following their marriage in July 1909, Lavery’s wife, Hazel and Planning for this event did not Private Collection stepdaughter, Alice, joined his entourage on regular winter sojourns in deter the painter as he embarked Tangier.1 Since 1891, the year of his first visit, Lavery had been on one of his most productive captivated by ‘the White City’ and in 1903 had secured a house on Tangier seasons. In the present canvas Alice, now aged eight, wearing Mount Washington overlooking the Straits of Gibraltar.2 Here the her favourite bandana (fig 2), takes centre stage. wealthy members of the international community had built themselves secluded villas at a discreet distance from the souk and A second figure, probably her mother, sits overlooking the scene. the kasbah. Whilst it was not palatial, Lavery’s retreat, Dar-el-Midfah, Lavery may have wished to include others in the composition but in ‘the House of Cannon’, had a sumptuous terraced garden where the end an empty chair and table were sufficient to indicate that at rambling bougainvillea led the visitor down the hillside towards the moonrise the guests have gone. 5 The last rays of the sun, sinking sea. This became his winter studio for the first four months of each behind the painter as his works, pick out tiny white buildings perched year, and the place where some of his most memorable canvases were on the edge of the citadel in the distance. The romance however was painted. not to last. After 1914 travel was restricted and only one further visit was made in 1920. Thereafter, attention shifted to the Riviera and the After 1910, Hazel House of the Cannon was sold in 1923. Ten years later, on a and Alice brought a Mediterranean cruise the Laverys passed the Pillars of Hercules new dimension to without disembarking and the painter looked out upon the White City the painter’s Tangier for the last time. ‘I feel quite sad remembering the past’ he wrote to studies. Mother and his old friend and fellow expatriate ‘Tangerine’, Cunninghame Graham. daughter were glimpsed on the Prof Kenneth McConkey beach, on the hilltop November, 2012 paths and entertaining at 1 Alice, later Mrs J McEnery, was Hazel Lavery’s daughter by her first marriage to alfresco breakfasts Dr Edward Livingston Trudeau Jnr. on the veranda and 2 Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), in the garden. Their pp. 54-6, 95-105. 3 presence on these Fig 1 Moonrise, Tangier, c. 1912, Private Collection HD Traill, ‘The Pillars of Hercules’ in The Picturesque Mediterranean, Its Cities, occasions was often Shores and Islands, n.d. [c.1890], (Cassell Publishing Company), pp. 2,6. a foil to the 4 McConkey 2010, p. 116 5 resplendent vistas provided by a series of headlands known as the Since the picture does not appear in the probate valuation of the contents of Lavery’s studio made shortly after his death, we may assume that it was Pillars of Hercules that, for the traveller, formed ‘the gateway of a world already assigned to Mrs McEnery, later Mrs Stephen Gwynn. This would be of wonder’. ‘Nothing in Tangier’ wrote HD Traill, ‘will compare logical since she is the child represented. Close examination of the paint with the approach to it by its incomparable bay’.3 Looking eastward, it surface indicates that since it left Mrs Gwynn’s possession in 1990 the picture is this sequence of inlets leading to the great sweeping bay that we has been re-stretched and re-lined to restore Lavery’s original composition. see in the present work. The city is tucked behind the hill on the right. This particular view was one that Lavery painted on many occasions in small 10 by 14 inch studies, one of which was presented to the Scots €80,000-€120,000 (£64,000-£96,000 approx.)

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51 Seán Keating PRHA HRA HRSA (1889-1977) LOADING AND UNLOADING TURF BOATS, CONNEMARA, c.1940s oil on board signed lower right; with Victor Waddington Galleries label on reverse 19 by 20.25in. (48.26 by 51.44cm)

Provenance: Private collection since early 1940s

This example of Seán Keating’s work, which is known as Loading and Unloading the Turf Boats, Connemara (c.1939-46) is one of a series of studies and paintings of the western seaboard of Ireland and the Aran Islands that the artist began in c.1939 and concluded in the late 1940s. There was no indigenous turf on the Aran Islands, so it was necessary to have the fuel brought over from the mainland on boats that looked like currachs, but were larger versions called bád iomartha. Keating’s image shows the boats being loaded with turf in Connemara. There are three bád iomartha in the little harbour; two masts are visible and one is anchored in view in the shallow waters. In the background, another bád iomartha is at full sail and headed west across the North Atlantic sea towards one of the Aran Islands. Two older men sit and watch as the others work hard to load the rest of the turf onto the boats before night falls, or the brooding storm, evident in the dark clouds beyond, intensifies enough to put a halt to the day’s work. In the background, the sun has parted the skies to illuminate the tiny whitewashed and thatched cottages that dotted the coastline between Spiddal and Carraroe.

The arrangement of the pictorial elements in this study is demonstrative of the artist’s concern with the use of photography and cine-film footage as a means to construct his compositions. Indeed, as a result of his interest in such technology Loading and Unloading the Turf Boats, Connemara has a lot in common in terms of composition with another example by the artist, Loading the Turf Cart, The Quay, Kilmurvey (c. 1940), which was sold in Dublin in 2006. The two men in the red cart drawn by a white horse in the background, and the bád iomartha anchored in the shallow harbour, make an appearance in both images. Such repetition was not unusual for Keating at that time. His paintings of the western seaboard and the Aran Islands were enduringly popular. The re-use of certain vignettes and compositional elements helped to create a readily recognisable body of work on the topic, while at the same time, his artistic familiarity with the material allowed the artist time to complete several studies and commissioned paintings featuring the traditional ways of life which were then still evident. Furthermore, Keating’s use of a camera and cine-camera to capture the habitual routines of the west of Ireland people, which he then transferred to canvas or paper, gave a sense of validity and authenticity to his work. As a result, images such as Loading and Unloading the Turf Boats, Connemara, although composed from individual vignettes, are studies of contemporary history, and as such, they are important visual documentary evidence of a traditional way of life now lost to modernity.

Keating exhibited with the Victor Waddington Gallery in Dublin, and he also had his work framed there throughout the 1940s. It is of significance to note that Loading and Unloading the Turf Boats, Connemara is still in its original Victor Waddington frame. An uncommon find, the original frame and Waddington label are important and integral components of the work. Significantly, the frame is a little more decorative than the artist could have afforded to use. Hence, it seems reasonable to assume that the artist either sold or, as seems more likely, gifted the work to the owner, who then brought it, on Keating’s advice, to Waddington to be suitably framed. The painting has remained in the same private collection since, a fact that explains the survival of the frame. The subject of Loading and Unloading the Turf Boats, Connemara seems to be related to a painting by the artist titled Turf Boats, Connemara (1946) which entered a private collection at that time and has not been seen in public since.

Dr Éimear O’Connor HRHA Author and Research Associate-TRIARC Irish Art Research Centre, TCD October 2012

€20,000-€30,000 (£16,000-£24,000 approx

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52 53 William Conor OBE RHA RUA ROI (1881-1968) Hans Iten RHA (1874-1930) CUNARD SAILOR, BELFAST, 1927 BELFAST DOCKS charcoal and coloured pencil on paper oil on board signed and dated upper right signed lower left 13.50 by 9.50in. (34.29 by 24.13cm) 10.25 by 8.50in. (26.04 by 21.59cm)

€800-€1,000 (£640-£800 approx) €800-€1,000 (£640-£800 approx)

54 William Conor OBE RHA RUA ROI (1881-1968) DOCKLAND SCENE WITH CRANES AND FIGURES pencil signed lower right 10 by 13in. (25.40 by 33.02cm)

€800-€1,000 (£640-£800 approx)

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55 Exhibited: William Conor OBE RHA RUA ROI ‘One Hundred Years of Irish Art’, Oriel Gallery, Dublin, (1881-1968) April 1994, (an exhibition to coincide with the launch of the book of the same name), illustrated on exhibition HOMEWARDS invitation wax crayon on card signed lower left; inscribed with title in another hand on Literature: reverse; with Oriel Gallery label also on reverse Nulty, Oliver (Ed.), 100 Years of Irish Art, The Oriel Gallery 18 by 14in. (45.72 by 35.56cm) Silver Jubilee (1968-1993), Nicholson & Bass, Dublin, 1993 (illustrated on dust jacket) Provenance: Oriel Gallery, Dublin; A copy of the exhibition invitation preserved on reverse. Private collection €12,000-€15,000 (£10,000-£12,500 approx) 51 , WHYTE S S I N C E 1 7 8 3

56 version (unsigned by O’Brien) illustrating the same lines from Yeats’ Susan Mary (‘Lily’) Yeats (1866-1949) and R. poem was dated by the artist to 1935 in the Hugh Lane exhibition Brigid Ganly HRHA (neé O’Brien) (1909-2002) catalogue (p.8). The Yeats’ were neighbours of the O’Briens, who lived in “THE PROUD AND CARELESS NOTES LIVE ON BUT BLESS OUR Fitzwilliam Square, and frequented the nearby United Arts Club, where HANDS THAT EBB AWAY” c.1919-1921 the paths of W.B.Yeats and Brigid O’Brien’s father, the painter Dermod, embroidered threads on green silk; (framed) often crossed. In 1929, W.B. Yeats had commissioned the young painter signed by Yeats within the design lower right; signed “B. O’Brien” to try and boost his sister Lily’s precarious income by designing Stations of the Cross for her to embroider on Irish silk poplin. lower left 11.50 by 14.50in. (29.21 by 36.83cm) What is unusual about this very beautifully worked panel is the delicate fineness of the pale green silk ground and the lively, evocative portrayal This extremely rare, well preserved embroidered panel illustrates the of each of the three figures depicted between the two scrolls bearing final refrain intoned by the Three Voices in unison at the end of W.B. the text they illustrate. There is much more attention to narrative detail Yeats’ poem entitled The Players ask for a Blessing on the Psalteries and and to the range and application of stitches carefully chosen than in any themselves from his collection of lyrical poems, In the Seven Woods: other Cuala embroidery of this late period. Not since the embroidered being Poems chiefly of the Irish Heroic Age, which his sister Elizabeth sodality banners of 1902-3 for Loughrea Cathedral had Lily Yeats had published as her first Dún Emer Press hand-printed volume in 1903. produced such successful and expressive figurative work. Although the scale is small, close attention reveals the variety of couched and In 1902, Elizabeth Yeats and her elder sister Lily had returned to Ireland stemmed stitches used to outline and fill in the costumes, hands and from London at the invitation of Evelyn Gleeson, to set up workshops in features (particularly expressive), hair and musical instruments of the the Arts and Crafts venture Gleeson was establishing at Dún Emer, a imaginatively dressed, lamenting musicians. The direction the stitches large house in Dundrum, south of Dublin. While Elizabeth Yeats set up a follow is an intrinsic part of the success of this panel’s design, as they handpress and began printing and binding books advised by her emphasize the volume of the surface they are describing, and draw the literary brother, William Butler Yeats, Lily Yeats, a skilled needlewoman viewer’s attention to the positions of the hands plucking the chords on (who had been trained by William Morris’ daughter, May), focussed on each musical instrument. Despite the obvious graphic influences of embroidery, often designed by their younger artistic brother, Jack Butler Beatrice Elvery, Mary Cottenham Yeats and Wilhelmina Geddes Yeats. By 1904, she had seven girls working with her. In 1908, the sisters (particularly the latter’s St. Brendan embroidered panel of 1924) and seceded from Dún Emer and set up their own Cuala Industries nearby, that of Jack Yeats in his early predilection for figures standing high where Lily Yeats continued to run her embroidery workshop, often above a low, recognizably Irish, horizon, this design is strikingly original. adapting the designs of other artists, and producing a wide range of The colours are distinctive with their soft pinks, turquoise, jade and gold, embroidered domestic and autonomous panels. After continual ill even though there may be some fading on the golden-haired girl health, she became so ill that production was considerably diminished player’s delicately worked spotted dress, flouncy petticoat and slippers. in the mid 1920s. The last sale of embroidery under her direction was The welcome appearance of this panel makes it all the more important held in 1931, under great financial duress, and in 1932 the Cuala that others, such as Tobias and the Angel, similarly designed by O’Brien embroidery department wound down in its Baggot Street home. and worked by Lily Yeats, be traced and documented.

This panel (described by Lily Yeats as one of her ‘needle pictures’) was Dr Nicola Gordon Bowe designed by Brigid O’Brien, daughter of the painter Dermod O’Brien, November 2012 who was trained at the Dublin Metropolitan School of Art, under Oliver Sheppard, Seán Keating, Patrick Tuohy and Oswald Reeves, and at the Literature: RHA Schools. In 1928, she was elected an ARHA. Barbara Dawson has R. Brigid Ganly, H.R.H.A.: born 1909: retrospective exhibition, Gorry noted her willingness to apply her training to various projects and Gallery, Dublin December 4th -17th 1987; media, including caricature and book illustration. Joseph McBrinn Maureen Murphy (ed.), I call to the Eye of the Mind: A Memoir by Sara records that she won the Taylor Scholarship in 1929 and in 1930 while Hyland (Dublin 1995); she was completing her first mural illustrating St. Patrick, for the Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Presentation Convent school on George’s Hill, Dublin. Her first major Movements in Dublin and Edinburgh 1885 – 19325 (Dublin 1998); commission, completed in 1930, was for a painted frieze over 120 feet Barbara Dawson in Christina Kennedy & Maime Winters (eds.), Brigid long illustrating James Stephens’ version of The Boyhood of Fionn Ganly retrospective: catalogue of an exhibition at the Hugh Lane (published with Arthur Rackham’s illustrations in 1924) for the Carnegie Municipal Gallery of Modern Art, Dublin 1998; Trust’s Child Welfare Centre on Cork Hill, Dublin. Although this major Joseph McBrinn, Mural Painting in Ireland 1855-1959, unpublished Ph.D. work is now no longer visible, having been vandalized by being over- thesis, Volume II, N.C.A.D. (N.U.I.), Dublin 2007 painted, it is directly analogous with this fine little tableau. A later, primitivistly stylised, predominantly black and white embroidered €2,500-€3,500 (£2,000-£2,800 approx)

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57 Sir William Orpen RA RI RHA (1878-1931) SELF PORTRAIT [AN ONLOOKER IN FRANCE 1917-1919] ink drawing within first edition book signed, inscribed, illustrated and dated [1921] on page before title page 10.50 by 8.50in. (26.67 by 21.59cm)

First edition, London, 1921. In original green boards with gilt titled spine.

€800-€1,000 (£640-£800 approx)

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58 Exhibited: Jack Butler Yeats RHA (1871-1957) ‘Drawings and Pictures of Life in the West of Ireland’, ILLUSTRATION TO “...AND SHE FOLLOWED THE DARK-EYED Stephen’s Green Gallery, Dublin, 19 February to 4 March, GYPSEY O”, 1903 1921, catalogue no. 33 Indian ink with watercolour signed lower left; with title printed in the mount Literature: 5 by 11in. (12.70 by 27.94cm) A Broad Sheet, No. 18 (June 1903); Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Provenance: Academic Press, 1994, p.239 (catalogue no. 1719), p.240 Sold to C.F. McLoughlin, United Arts Club, Dublin, 1933; (illustrated) Christie’s, 4 November 1983, lot 55; Private collection; Illustration for a ballad entitled Seven Gypsies. Christie’s, 9 June 1989, lot 329; € € Private collection; 8,000- 10,000 (£6,400-£8,000 approx) de Vere’s, 22 April 1998, lot 100; Private collection

59 Jack Butler Yeats RHA (1871-1957) LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK B. YEATS, 1912 first edition book 10 by 7.25in. (25.40 by 18.42cm)

First edition, Maunsel & Company Ltd., Dublin and London, 1912. In original navy blue boards with gilt titled upper and spine. Contains eight colour plates, thirty-two line drawings and sixteen reproductions from paintings.

€600-€800 (£500-£640 approx) 55 , WHYTE S S I N C E 1 7 8 3

60 William Percy French (1854-1920) LIGHT THROUGH BREAKING CLOUDS ON BOGLAND WITH MOUNTAINS IN THE DISTANCE watercolour 7 by 10in. (17.78 by 25.40cm)

€2,500-€3,500 (£2,000-£2,800 approx)

61 William Percy French (1854-1920) A BOG LAKE, ACHILL watercolour signed lower left; also inscribed [Dugort Achill] upside-down lower centre 7 by 9.75in. (17.78 by 24.77cm)

Provenance: Whyte’s, 28 April 2008, lot 123; Whence purchased by the present owner

€2,500-€3,500 (£2,000-£2,800 approx)

62 William Percy French (1854-1920) THE JUNGFRAU FROM WENGEN watercolour signed lower right; inscribed with title in another hand on reverse; with Oriel Gallery label on reverse 10 by 13.50in. (25.40 by 34.29cm)

Provenance: Oriel Gallery, Dublin; Private collection

The Jungfrau is one of the main summits in the Bernese Alps, situated between the cantons of Valais and Bern in Switzerland. It forms a massive wall overlooking the Bernese Oberland and is considered one of the most emblematic sights of the Swiss Alps.

€1,800-€2,200 (£1,500-£1,760 approx)

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63 William Percy French (1854-1920) WEST OF IRELAND LANDSCAPE watercolour signed lower right 13.25 by 22in. (33.66 by 55.88cm)

Provenance: Oriel Gallery, Dublin; Where purchased by the present owners c.1988

€8,000-€10,000 (£6,600-£8,300 approx)

64 William Percy French (1854-1920) SAILBOAT AT SUNSET [PAINTED PLATE], 1903 ceramic paint on china plate; varnished signed and dated at base of image 6 by 6in. (15.24 by 15.24cm)

Diameter of plate 9.75ins.

€800-€1,000 (£640-£800 approx)

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65 with some scratching out on the girl’s hair in the foreground. Related Francis William Topham RA OWS (1808-1877) titles exhibited by Topham include Gossips at a Well (London, Guildhall GOSSIPS AT THE HOLY WELL, 1874 Art Gallery), The Holy Well (Blackburn Museum and Art Gallery) and At watercolour the Holy Well (Glasgow Art Gallery)1. A father of twelve, he often signed and dated lower left; favoured scenes of women and children. His work was often engraved 11.75 by 17.75in. (29.85 by 45.09cm) for the Illustrated London News, and he was a member of The Artist’s Society in Clipstone Street, devoted to ‘The systematic study of Provenance veritable rustic figures from the life’ (rather than artists’ models dressed Gorry Gallery, Dublin; up). He also painted in Wales, Scotland and Spain, where he died in Where purchased by the present owner 1877. Dr Claudia Kinmonth Exhibited Author: Irish Rural Interiors in Art, Yale University Press, 2006 ‘An Exhibition of 17th – 20th Century Irish Paintings’, Gorry 1 C. Wright, with C. Gordon & M. Peskett Smith, British and Irish Paintings in Public Gallery, Dublin, 5-18 December 2010, catalogue no. 17 Collections, Yale University Press, 2006, p.772 Born in Leeds, this skilled watercolourist and genre painter visited We are grateful to the Gorry Gallery and the author for their kind permission to Ireland repeatedly from the 1840s onwards, focusing on the peasantry reproduce this note. in the Claddagh and around Connemara. Here he shows children gathering water at a well, and characteristically he uses body colour, €1,500-€2,000 (£1,250-£1,600 approx)

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66 John Faulkner RHA (1835-1894) THE MILL OF THE PLAINS watercolour heightened with white signed and inscribed lower right 17.25 by 29in. (43.82 by 73.66cm)

Provenance: Whyte’s, 17 September 2002, lot 124; Whence purchased by the present owner

€1,000-€1,500 (£800-£1,250 approx)

67 Andrew Nicholl RHA (1804-1886) SINKING SHIP IN ROUGH WATERS watercolour signed lower left 18 by 27in. (45.72 by 68.58cm)

Contained in what appears to be its original ornate gilt frame.

€1,200-€1,500 (£1,000-£1,250 approx)

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68 the more realistic, as his Attributed to Daniel MacDonald still is outside on a (or McDaniel) (1821-1853) mountainside, where TASTING THE POITÍN IN IRELAND smoke was oil on canvas inconspicuous, rather 14 by 18in. (35.56 by 45.72cm) than indoors. The inconspicuous makeshift thatch over MacDonald’s Daniel MacDonald showed promise as an artist from a very young age. hearth, propped between His father James, whose real name was MacDaniel, was an the hillside and a tree, accomplished artist and musician. Daniel was born in Cork where, like gives just enough shelter his father, he began to be noticed for sketches and caricatures of local to the fire that was people, which they both published in the same volume of prose. He essential to the Fig. 1 An Irish Peasant Family Discovering the Blight of their Store. was only 13 when he produced these illustrative etchings. From his distillation process. father’s Patrick street address in 1842 he sent his first four pictures to Image Courtesy of The National Folklore Collection, UCD Dublin’s Royal Hibernian Academy, and subsequently just one to MacDonald’s style is London’s Royal Academy. As his life and promising career was cut characterised by his depiction of attenuated, slim family figures, short by fever (he died in 1853), only a few of this talented artist’s highlighted with areas of red, the women and ragged children usually pictures survive. barefoot (often with a dog), ranged against a background of mountains and troubled skies. Their aspects of despair, invite viewers His surviving work demonstrates his fascination and concern with to sympathise with the families’ predicaments. local people’s lives. His socio-realist and narrative paintings are valuable windows onto Irish material culture. Like contemporary The arrangement with the taster on the right, facing the family to the artists such as Topham and Fripp, who pleased the critics with left, that leads the viewer’s eye around in a studied oval composition, ‘truthful’ representations, he entices sympathy with the hardships of is very similar to that in MacDonald’s painting of fig. 1. Details such as rural life. His An Irish Peasant Family Discovering the Blight of their the father’s single brogue, are fascinating, because shoes were indeed Store (fig.1) (Collection of the National folklore Collection, UCD) is one a very precious commodity, yet essential for digging turf (the brown of the only pictures graphically delineating the horror of discovery of fuel heaped in the openwork basket or creel beside the tree). To clarify the potato blight. Other titles further suggest his concern for the this, the artist shows him with his foot resting on his turf slean (spade). National tragedy of the Great Famine, on a personal level, for example It’s exactly the same type of spade is also painted in fig.1., and the Figures Gathered Round a Coffin (National Gallery of Ireland man’s leg rests in the same singular pose as that of the father in that collection). painting. Both paintings show a child on the far left with very similar profiles, both include despairing figures (on the right side) with their The covert distillation of whiskey known as “poitín”, using potatoes heads on their arms. So many common characteristics of detail, and barley, was widespread in rural Ireland, but highly illegal. subject and composition, make it highly likely that this is newly MacDonald’s depiction of this was perhaps influenced by that of the discovered painting can be attributed to Daniel MacDonald. famous Scottish genre painter Sir David Wilkie who toured Ireland in 1835. Wilkie’s huge painting The Irish Whiskey Still (1840) resulted, and Dr Claudia Kinmonth MA(RCA) was well known. Both artists’ paintings include three generations November 2012 assembled with their typical small pot distilling equipment; a barrel surmounted by a funnel, a worm, earthenware vessel and jug, at the Further examples: crucial point of tasting. Like Wilkie, MacDonald places his taster Claudia Kinmonth, Irish Rural Interiors in Art, Yale University Press, standing on the right, facing his ragged children on the left, complete 2006, fig.201 with their Irish wolfhound. Classical training encouraged artists like Peter Murray ed., Whipping the Herring, Gandon, Cork, 2006, pp.2, 18, Wilkie to depict bare limbed figures in specific poses, perhaps more 29, 46, 65, 78-9, 98-9, 101-3, 122-3, 134-5, 150-151 appropriate to the Mediterranean than Ireland. From what is known about Irish stills, MacDonald’s version, with his cave-like shelter seems €5,000-€7,000 (£4,000-£5,600 approx)

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69 Edwin Hayes RHA RI ROI (1819-1904) SAILING SHIP IN DUBLIN BAY WITH HOWTH HEAD IN THE BACKGROUND, 1850 oil on canvas signed and dated lower left; with partial framing label on reverse 20 by 30in. (50.80 by 76.20cm)

€10,000-€15,000 (£8,000-£12,500 approx)

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70 Edwin Hayes RHA RI ROI (1819-1904) FISHING BOAT APPROACHING A PIER IN HEAVY SEAS, 1860 oil on canvas signed and dated lower right 20 by 36in. (50.80 by 91.44cm)

€15,000-€18,000 (£12,500-£15,000 approx)

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71 73 William Percy French (1854-1920) William Conor OBE RHA RUA ROI CONTEMPLATION (1881-1968) oil on board MY AUNT, 1907 inscribed on reverse with title and medium; also with Oriel Gallery wax crayon and watercolour on paper label on reverse signed lower left, with inscribed Leinster Gallery label 15 by 12in. (38.10 by 30.48cm) on reverse 9 by 7.50in. (22.86 by 19.05cm) Provenance: The Oriel Gallery, Dublin; Provenance: Private collection Leinster Gallery, Dublin; Private collection Further inscription on reverse reads: “panel from Percy French door”. A rare oil by French, best known for his watercolours. This was one of four €2,000-€3,000 (£1,600-£2,500 approx) panels on a door.

€1,500-€2,000 (£1,250-£1,600 approx)

74 72 Mildred Anne Butler RWS (1858-1941) Seán Keating PRHA HRA HRSA STUDIES OF A WOMAN WRITING A LETTER and (1889-1977) PLAYING A PIANO (A PAIR) SIDE FACE PORTRAIT OF A WOMAN pen and ink over pencil pastel on tinted paper 8.50 by 5.50in. (21.59 by 13.97cm) signed lower right 17.25 by 13.25in. (43.82 by 33.66cm) The former has a pencil sketch of a man’s head on reverse.

€1,500-€2,000 (£1,250-£1,600 approx) €1,000-€1,500 (£800-£1,250 approx) 64 , WHYTE S S I N C E 1 7 8 3

75 Flora H. Mitchell (1890-1973) RIVER LIFFEY, DUBLIN pen and ink with watercolour over pencil signed in the margin lower right; titled lower left 6.50 by 10in. (16.51 by 25.40cm)

A night scene on the River Liffey looking towards O’Connell Bridge features in the artist’s text Vanishing Dublin, p.80.

€800-€1,200 (£640-£1,000 approx)

76 Joseph William Carey RUA (1859-1937) H.M. HOME FLEET AT ANCHOR OFF SEACOURT, 10 JULY 1904 watercolour over pencil signed lower left; with typed label on reverse detailing title and ships names; also with William Rodman & Co., Belfast label on reverse 7.25 by 14.75in. (18.42 by 37.47cm)

Names of ships reading from left to right are: Juno, Hood, Revenge, Russel, Essex, Royal Sovereign, Exmouth, Ad. Wilson’s Flagship and Empress of India.

€800-€1,200 (£640-£1,000 approx)

77 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]

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78 Frank McKelvey RHA RUA (1895-1974) DONEGAL COAST oil on canvas signed lower left; with original label detailing title on reverse; also with Waddington Galleries framing label on reverse 16 by 20in. (40.64 by 50.80cm)

Provenance: Adam’s & Bonhams , 30 May 2007, lot 141; Private collection

€4,500-€5,500 (£3,750-£4,400 approx)

79 Frank McKelvey RHA RUA (1895-1974) GLENVEAGH HILLS, COUNTY DONEGAL oil on board signed lower left; with partially inscribed label on reverse; with title and artist’s name and Ulster Arts Club exhibition label [1929] also on reverse 11.50 by 16.50in. (29.21 by 41.91cm)

Provenance: Ross’s, Belfast, 6 October 2010, lot 114; Private collection

Exhibited: Ulster Arts Club Exhibition, 15 May to 30 June, 1929, catalogue no. 32

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80 Frank McKelvey RHA RUA (1895-1974) NEAR TRAMORE, COUNTY DONEGAL oil on canvas with title inscribed on reverse; also with “Del (deliver) to 58 Howard St./1st Floor” [McKelvey’s studio address from c. 1936] in pencil on stretcher on reverse 20.25 by 24.50in. (51.44 by 62.23cm)

Exhibited: possibly exhibited as Tramore Bay, Co. Donegal, RHA , Dublin, 1949 catalogue no. 139

The setting for this work must be Tramore Strand, near Dunfanaghy, County Donegal, where McKelvey often worked from the mid-1920s onwards. Judged stylistically, however, this painting must date from the mid-to- late 1940s and it may be the Tramore Bay, Co. Donegal composition that was exhibited at the Royal Hibernian Academy in 1949. Prior to the late 1920s and early 1930s McKelvey’s style was much more representational, as his Children in a Park, 1922, or Evening, Ballycastle, c. 1924 (Ulster calm, fresh mood of the scene are also typical of McKelvey’s way of Museum), for example show (see S. B. Kennedy, Frank McKelvey, recording the Irish landscape. The title of the picture is inscribed in RHA, RUA: A Painter in his Time, 1993, plates 2 and 5 respectively); pencil on the reverse of the canvas along with his studio addrress. but thereafter his loose, Impressionist-derived manner took over Dr S.B. Kennedy (Kennedy, 1993, plate 36, illustrates the point) as can be seen here October, 2012 too. The free brushwork employed in the rendering of the sea, especially where it breaks upon the shore, and in the foreground, well exemplify these developments. The gentle hills and overall €5,000-€7,000 (£4,000-£5,600 approx)

81 James Humbert Craig RHA RUA (1877-1944) FORESHORE, NEAR CUSHENDUN, COUNTY ANTRIM oil on board signed lower left; with Pearson & Westergaard Fine Art [Glasgow] label on reverse 12 by 16in. (30.48 by 40.64cm)

Provenance: Pearson & Westergaard Fine Art, Glasgow; Private collection

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82 Maurice Canning Wilks RUA ARHA (1910-1984) CUSHENDUN VILLAGE, COUNTY ANTRIM oil on canvas signed lower left 20 by 24in. (50.80 by 60.96cm)

Provenance: Ross’s, Belfast, 2 October, 2007, lot 243; Private collection

€1,800-€2,200 (£1,500-£1,760 approx)

83 Maurice Canning Wilks RUA ARHA (1910-1984) MUCKISH MOUNTAIN, COUNTY DONEGAL oil on canvas signed lower right; with title inscribed on reverse 16 by 20in. (40.64 by 50.80cm)

Provenance: Whyte’s, 25 February 2008, lot 145; Whence purchased by the present owner

€1,500-€2,000 (£1,250-£1,600 approx)

84 Robert Taylor Carson HRUA (1919-2008) MAGHERA CLIFFS, COUNTY DONEGAL oil on canvas signed lower right; inscribed with title on reverse 19.75 by 24in. (50.17 by 60.96cm)

€1,000-€1,500 (£800-£1,250 approx)

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85 James Humbert Craig RHA RUA (1877-1944) NEAR DUNFANAGHY, COUNTY DONEGAL [LANDSCAPE WITH WOMAN HERDING A FLOCK OF TURKEYS, COTTAGE BEYOND] oil on board signed lower right; inscribed with location and provenance in pencil on reverse 15 by 20in. (38.10 by 50.80cm)

Provenance: The Collection of Con Little, Esq.; Thence by descent to the previous owner; Whyte’s, 28 April 2008, lot 157; Whence purchased by the present owner

€5,000-€7,000 (£4,000-£5,600 approx)

86 James Humbert Craig RHA RUA (1877-1944) THE GLEN BOG, COUNTY DONEGAL oil on canvas signed lower left; with partial inscribed label on reverse, reads [Gl__ Bog, Co. Donegal / £40] 20 by 26in. (50.80 by 66.04cm)

Provenance: Adam’s, 1 April, 2009, lot 151 as Donegal Bogland Scene with Figures Building Turf Stacks; Private collection

The bog at Glen was the subject of a number of works by J.H. Craig two of which were shown in the RHA in 1919 (no. 19) and later in 1928 (no. 188).

€5,000-€6,000 (£4,000-£5,000 approx)

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87 Brian Bourke HRHA (b.1936) DESERTED BUILDING, OWER, COUNTY GALWAY (COMMEMORATION OF FAMINE) oil on canvas signed and titled on reverse 50 by 40in. (127 by 101.60cm)

Exhibited ‘Spring Time’, McBride Gallery, Kerry, March - April, 2007

Provenance McBride Gallery, Kerry; Where purchased by the present owner

€3,000-€5,000 (£2,500-£4,000 approx)

88 Brian Bourke HRHA (b.1936) SCOTS PINE ON LIMESTONE, 2002 gouache with pastel and pencil on paper signed, titled and dated in the lower margin 18.75 by 14in. (47.63 by 35.56cm)

€800-€1,200 (£640-£1,000 approx)

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89 William Crozier HRHA (1930-2011) THE BLUE ROCK, 1990 oil on canvas signed lower right; signed again, titled and dated on reverse; with Scottish Gallery exhibition label on reverse 14 by 18in. (35.56 by 45.72cm)

Provenance: Scottish Gallery, Edinburgh and London; Private collection

Exhibited: ‘Malaga to West Cork by William Crozier’, Scottish Gallery, London, 4-29 September 1990

€5,000-€7,000 (£4,000-£5,600 approx)

90 William Crozier HRHA (1930-2011) JUNE, 2003 oil on canvas signed, titled and dated on reverse 10 by 14in. (25.40 by 35.56cm)

Provenance: Warren Gallery, Castletownsend; Private collection

€2,000-€3,000 (£1,600-£2,500 approx)

91 William Crozier HRHA (1930-2011) MORNING, 1996 watercolour signed and dated lower right 11 by 14.50in. (27.94 by 36.83cm)

€1,500-€2,000 (£1,250-£1,600 approx)

71 , WHYTE S Collection of Liam O’Keeffe-Ayudhkij S I N C E 1 7 8 3

Whyte’s are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O’Keeffe-Ayudhkij.

Liam O’Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand.

O’Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott’s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O’Keeffe-Ayudhkij’s love of art manifested itself in his support of Asian artists, the setting up of ‘Liam’s Gallery’ in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee.

After traveling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O’Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick’s Society among other accolades.

Outside of the business arena O’Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, “He will be remembered for his business acumen, charity work, love of art and Patrick Scott and Liam O’Keeﬀe-Ayudhkij at an boundless enthusiasm.” exhibition of Scott’s work.

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92 Patrick Scott HRHA (b.1921) GOLD PAINTING WITH BLUE CIRCLE AND GREEN oil with gold leaf on canvas 48 by 48in. (121.92 by 121.92cm)

Provenance of lots 92-105: The Collection of Liam O’Keeffe-Ayudhkij

€5,000-€7,000 (£4,000-£5,600 approx)

73 , WHYTE S Collection of Liam O’Keeffe-Ayudhkij S I N C E 1 7 8 3

93 Patrick Scott HRHA (b.1921) GOLD PAINTING 13, 1965 gold leaf and tempera on canvas signed and titled on reverse 48 by 60in. (121.92 by 152.40cm)

Provenance: Dawson Gallery, Dublin

Exhibited: ‘Patrick Scott’, Dawson Gallery, Dublin, 3-24 June, 1965, catalogue no. 6

€2,000-€3,000 (£1,600-£2,500 approx)

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94 Patrick Scott HRHA (b.1921) GOLD PAINTING, 64 oil with gold leaf on canvas signed and titled on reverse 46 by 50in. (116.84 by 127cm)

€5,000-€7,000 (£4,000-£5,600 approx)

95 Patrick Scott HRHA (b.1921) WOODLAND, 1962 oil on canvas with artist’s name, title and date on reverse 34 by 46in. (86.36 by 116.84cm)

€3,000-€4,000 (£2,500-£3,200 approx)

75 , WHYTE S Collection of Liam O’Keeffe-Ayudhkij S I N C E 1 7 8 3

96 Patrick Scott HRHA (b.1921) FUJI AFTER RAIN oil on canvas signed and inscribed beneath the frame, verso; with artist’s name and title printed in pencil on reverse 24 by 24in. (60.96 by 60.96cm)

€2,000-€3,000 (£1,600-£2,500 approx)

97 Patrick Scott HRHA (b.1921) PYRE 5, 1982 oil on unprimed canvas with silver leaf signed, titled and dated on reverse 32 by 32in. (81.28 by 81.28cm)

€2,000-€3,000 (£1,600-£2,500 approx)

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98 Patrick Scott HRHA (b.1921) GOLD DIPTYCH [FOLDING SCREEN], 1979- 1980 acrylic and gold leaf on unprimed canvas 50 by 50 by 2in. (127 by 127 by 5.08cm)

Three screens from this series were shown by the artist at ROSC in Dublin in 1980 and at his exhibition ‘A Sense of Ireland’ in London with Annely Juda Fine Art the previous year.

€5,000-€6,000 (£4,000-£5,000 approx)

99 Patrick Scott HRHA (b.1921) GOLD PAINTING 9, 1979 gold leaf and acrylic on canvas signed, titled and dated on reverse; with typed exhibition label on reverse; with name [Mrs Von Konig, Dublin] inscribed on stretcher on reverse 32 by 32in. (81.28 by 81.28cm)

€3,000-€4,000 (£2,500-£3,200 approx)

77 , WHYTE S Collection of Liam O’Keeffe-Ayudhkij S I N C E 1 7 8 3

100 Patrick Scott HRHA (b.1921) UNTITLED, 2009 (SET OF FOUR) carborundum with gold leaf; (no. 9 from an edition of 40); (framed) signed and dated lower right (quadrant); numbered and with blind stamp of the Stoney Road Press lower left (quadrant) 32 by 31in. (81.28 by 78.74cm)

Provenance: Taylor Galleries, Dublin

€4,000-€6,000 (£3,200-£5,000 approx)

101 Patrick Scott HRHA (b.1921) MEDITATIONS, 2007 box set of seven prints; (no. 35 from an edition of 50) each print signed, numbered, and dated in the lower margin; with Stoney Road Press blind stamp lower right 30 by 29in. (76.20 by 73.66cm)

€3,000-€5,000 (£2,500-£4,000 approx)

102 Patrick Scott HRHA (b.1921) UNTITLED [TWIN LINES] and UNTITLED, 2004 (A PAIR) carborundum with gold leaf; (each no. 9 from an edition of 75); (framed) each signed and dated in the margin lower right; each numbered lower left and with blind stamp of Stoney Road Press also lower right 39 by 39in. (99.06 by 99.06cm)

Sheet sizes: 46 by 44.5in. Both works framed uniformly.

€1,500-€2,000 (£1,250-£1,600 approx) 78 , Collection of Liam O’Keeffe-Ayudhkij WHYTE S S I N C E 1 7 8 3

103 Charles Harper RHA (b.1943) CROUCHING FIGURES, 1981 watercolour over ink on paper signed and dated lower right 25.25 by 37.25in. (64.14 by 94.62cm)

€800-€1,200 (£640-£1,000 approx)

104 Barrie Cooke HRHA (b.1931) TREES 5, 1966 watercolour signed and dated lower centre; with David Hendriks exhibition label on reverse 16.50 by 12.50in. (41.91 by 31.75cm)

Provenance: David Hendriks Gallery, Dublin

Exhibited: ‘Barrie Cooke’, David Hendriks Gallery, Dublin, June 1966

€800-€1,200 (£640-£1,000 approx)

105 Veronica Bolay RHA (b.1941) A REMOTE PLACE, 2002 oil on canvas signed lower right; signed again and dated on reverse; also with inscribed RHA exhibition label on reverse 24 by 30in. (60.96 by 76.20cm)

Provenance: RHA, Dublin; Whyte’s, 22 February 2005, lot 73; Whence purchased by the present owner

Exhibited: RHA, Dublin, 2002, catalogue no. 25 (illustrated on p. 48 of catalogue)

€1,500-€1,800 (£1,250-£1,500 approx) 79 , WHYTE S Collection of Liam O’Keeffe-Ayudhkij S I N C E 1 7 8 3

106 Patrick Scott HRHA (b.1921) UNTITLED II (FROM MEDITATIONS) lots 106 -110: all carborundum prints with gold and palladium leaf; (each no. 8 from an edition of 50) each signed and dated in the margin lower right; numbered lower left; with blind stamp of Stoney Road Press lower right each example 24 by 24in. (60.96 by 60.96cm)

Provenance: lots 106-110 Stoney Road Press; Private collection

Literature: Dunne, Aidan, Patrick Scott Text, Liberties Press, Dublin, 2008, pp.182-183 (illustrated)

€1,000-€1,500 (£800-£1,250 approx)

107 109 UNTITLED IV (FROM MEDITATIONS) UNTITLED VI (FROM MEDITATIONS)

€1,000-€1,500 (£800-£1,250 approx) €1,000-€1,500 (£800-£1,250 approx)

All uniformly framed. Sheet size: 28.5 by 28in. From a compilation of seven hand- made carborundum prints which re-examine the artist’s 108 introspective approach to 110 creation as seen in his earlier UNTITLED V (FROM MEDITATIONS), 2007 UNTITLED VII (FROM MEDITATIONS) works on canvas. Published in collaboration with Stoney €1,000-€1,500 (£800-£1,250 approx) €1,000-€1,500 (£800-£1,250 approx) Road Press in May 2007.

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

111 Patrick Scott HRHA (b.1921) GOLD PAINTING 10/94 112 gold leaf and tempera on canvas 24 by 24in. (60.96 by 60.96cm) Patrick Scott HRHA (b.1921) UNTITLED IV, 2006 €2,000-€3,000 (£1,600-£2,500 approx) carborundum with gold leaf; (no. 39 from an edition of 75) signed and dated lower right; numbered lower left; with typed Taylor Galleries label on reverse 38.50 by 19.25in. (97.79 by 48.90cm)

Provenance: Taylor Galleries, Dublin; Private collection

Sheet size: 45 by 25ins.

€1,000-€1,500 (£800-£1,250 approx)

113 Patrick Scott HRHA (b.1921) BOOK PRINT (from Meditations), 2008 and LIMITED EDITION BOOK carborundum with gold leaf; (1); limited edition book; (1); both no. 47 from an edition of 100 the first signed and dated in the margin lower right; numbered lower left; with blind stamp of Stoney Road Press lower right 14.50 by 14.50in. (36.83 by 36.83cm)

Literature: Dunne, Aidan, Patrick Scott Text, Liberties Press, Dublin, 2008, p.183 (illustrated)

Sheet size: 25.5 by 23ins. First, limited edition hard-backed book Patrick Scott Text by Aidan Dunne Liberties, Dublin, 2008, signed by the artist and numbered [47 from a limited edition of 100].

€1,000-€1,500 (£800-£1,250 approx) 81 , WHYTE S S I N C E 1 7 8 3

114 Its impact was instant. Although characters like Cúchulainn and Ferdia, Louis le Brocquy HRHA (1916-2012) Medb and Aillil, were local, the collaborators translated them into a THE TÁIN. MAGIC CHARIOT, 1991 crisply contemporaneous style that resonated through the cultural signed with initials in the weave on reverse by maître-lissier, hierarchy. It engaged lovers of art, language, music and Celtic studies, as René Duché and numbered lower right; with certificate of well as popular culture. The Táin became an Irish Iliad, with Cúchulainn authenticity sewn on reverse, signed, numbered, titled and as a Superhero reincarnating to a new age of rock, cartoons and dated by le Brocquy and Duché animation. Aubusson tapestry; Atelier René Duché; (no. 2 from an edition of 9) The images le Brocquy called ‘shadows thrown by the text’ became so 72.5 by 50.7in., 184 by 129cm. iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so Provenance: collaborative a way. Le Brocquy made hundreds of drawings, many of Taylor Galleries, November 2000; which appear in the de luxe and limited editions, with a handful printed Private collection in the paperback and a precious twenty in tapestry. Communication was Whyte’s, 29 November 2005, lot 112; difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending Literature: letters through the post. Louis le Brocquy: Aubusson Tapestries, Thomas Agnew & Sons, London, 2001, unpaginated (illustrated) Le Brocquy’s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that Louis le Brocquy was living in France with his young family when he resemble both chain mail and hand-writing, and in the H-shaped received a life-changing invitation, in December 1966. Publisher Liam Cúchulainn confronting Ferdia. Different ages and cultures whisper Miller wanted him to collaborate with Thomas Kinsella on a new through the images - and through the twenty tapestries made during translation of Ireland’s oldest saga. Le Brocquy penned an enthusiastic 1998-2000, when le Brocquy collaborated with maître-lissier René affirmative that Christmas Eve and spent much of the next three years Duché, whose firm had recently been awarded the honour Meilleur visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press Ouvrier de France. Cuchulainn’s Warp Spasm, for example, speaks both published it as The Táin. of calligraphic marks from Sun Tzu’s The Art of War and Yves Klein’s bodily-marked Anthropometries, as well as cave paintings traced by The Táin was born of some eighty stories about the Ulaidh, a prehistoric prehistoric peoples. people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, The translation into tapestry, via le Brocquy’s Táin lithographs, crested vicious, inconsistent and often rather rude. Oral versions survived for on the momentum from oral to written traditions, from drama to poetry long enough to be collected by scribes, whose fragmentary manuscripts and from visual culture to music. Duché’s subtly-textured cottons and are now in Trinity College and the Royal Irish Academy. Translators and wools freed le Brocquy’s black-on-white marks into a textured, sensual writers such as Lady Gregory and W.B. Yeats had retold some of the material that illuminates the sense of a blot or stain without definite Cúchulainn tales – and Joyce’s Finnegans Wake drew on its meandering edges, which is what he wanted. Here, the statuesque shapes let le style - but Thomas Kinsella’s Táin was the first widely-accessible version, Brocquy grow the book’s relatively modest scale into a life-affirming especially when Oxford University Press’ 1970 paperback followed the series of interconnected images that speak to each other like letters in a de luxe and limited editions produced by Dolmen Press. phrase or sentence. Le Brocquy’s hand reaches out through each one.

The Táin marked a unique cultural moment, for Ireland and the world. Medb Ruane The State had just celebrated the 50th anniversary of the 1916 Rising April 2012 and was driving ahead with Seán Lemass’ Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland €15,000-€20,000 (£12,000-£16,000 approx.) was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang “All You Need is Love.”

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115 landscape of the spirit’. This comment reveals the artist’s fundamental Louis le Brocquy HRHA (1916-2012) interpretation of humanity and the role of the heads in his work. INTERIOR STUDY OF HEAD, 1972 oil on canvas He developed his series to include images of famous writers and artists, signed, inscribed [“Lars from Louis”] and dated lower right; such as James Joyce, WB Yeats, Samuel Beckett and Francis Bacon. While signed, titled and dated again on reverse; numbered [306] on many of the subjects, whether of posthumous or living individuals, are reverse; also with Oriel Gallery label on reverse identifiable from photographs or other artworks, the theme is less about 16 by 19in. (40.64 by 48.26cm) their surface features than the workings of imagination and creativity. Others in the series are not specific individuals and therefore, stripped Provenance: of their direct references to known personalities, give full focus to the conditions and processes of the mind, as in Interior Study of Head. Christie’s, 17 May 2002, lot 103; Private collection; This was painted in the early 1970s, when this theme was well with the Oriel Gallery, Dublin; established in the artist’s oeuvre. It conforms to the general colouration Private collection of the series – of muted tones against shades of white – and in terms of composition, with a single head against a plain background, it evinces le Exhibited: Brocquy’s empathy with the poignant isolation of the individual. ‘Louis le Brocquy’, St-Paul, Foundation Maeght, 1973, no. 37 However, Interior Study of Head represents an unusual approach in that it is more explicitly about the inner person. With facial features reduced Literature: to a minimum or obliterated entirely, the viewer is drawn into a sense of human psychology, and its intellectual, emotional, and creative (Ed.) Lowry, Bernadette, Faces in Times, Oriel Gallery, Dublin / dimensions. While the organic forms and colours across the surface of Nicholson & Bass Ltd., Belfast, 2004, p. 6 (illustrated) the bones of the head suggest something of the tissue and nerve structures that support mental activity, the fragmentary nature of the A copy of the Oriel Gallery publication accompanies this lot. execution is less about materiality than elusive traces. Le Brocquy explained this well in an interview with George Morgan that is The head image is recognised as one of the major themes in the work of particularly apt for this work: Louis le Brocquy (1916–2012). The series emerged following a visit, in the winter of 1964, to the anthropological museum in Paris, the Musée Clearly it is not possible to paint the spirit. You cannot paint de l’Homme, where he came across the collection of Polynesian skulls, consciousness. You start with the knowledge we all have that the most partly reconstructed with plaster, decorated with painted marks and significant human reality lies beneath material appearance. So, in order with cowrie shells for eyes. Le Brocquy had been experiencing a to recognise this, to touch this as a painter, I try to paint the head image particularly difficult period as an artist and, dissatisfied with the from the inside out, as it were, working in layers or planes, implying a direction of his work which he felt was facile and aimless, he destroyed certain flickering transparency […] much of the year’s output. [Pierre le Brocquy (ed) and George Morgan (1986), Louis le Brocquy: The heads resonated with him, however, as he responded to their The Head Image, Gandon Editions, Cork, p.12. ] ritualistic symbolism, triggering his own series of profound images addressing a number of related themes within the overall concept. Dr Yvonne Scott These were initiated with the ancestral heads series that reflected his November 2012 perspective of Celtic ethnography. He explained: ‘Like the Celts I tend to regard the head as this magic box containing the spirit. Enter that box, enter behind the billowing curtain of the face, and you have the whole €25,000-€35,000 (£20,000-£28,000 approx)

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116 118 116 Louis le Brocquy HRHA (1916-2012) THE TÁIN. NAKED WOMAN, 1969 lots 116 -119: lithographic brush drawings (each no. 39 from an edition of 70) each signed, numbered and dated lower right each 21.25 by 15in. (53.98 by 38.10cm)

Printed by Frank O’Reilly, Dublin as part of The Táin Portfolio, which contained different prints or “lithographic brush drawings”, illustrating the epic Ulster cycle of heroic tales. No. 14 in the series from Portfolio 2.

€800-€1,000 (£640-£800 approx)

117 117 119 Louis le Brocquy HRHA (1916-2012) THE TÁIN. NOISU, 1969 No. 13 in the series from Portfolio 2.

€800-€1,000 (£640-£800 approx)

118 Louis le Brocquy HRHA (1916-2012) THE TÁIN. MACHA PLEADING, 1969 No. 21 in the series from Portfolio 2.

€800-€1,000 (£640-£800 approx)

119 Louis le Brocquy HRHA (1916-2012) THE TÁIN. FEDELM, 1969 No. 22 in the series from Portfolio 2.

€800-€1,000 (£640-£800 approx)

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120 Louis le Brocquy HRHA (1916-2012) EIGHT IRISH WRITERS, 1981 collotype lithographs (8); (nos. 97 from an edition of 100); unframed, in the original linen folio case each signed and numbered in the lower margin 13.25 by 11.25in. (33.66 by 28.58cm)

A series of eight portraits depicting Yeats, Synge, Joyce, Beckett, Kinsella, Montague, Heaney and Stuart, accompanied by a poem by each respective author, a biographical note by Andrew Carpenter, and a preface by Seamus Heaney. The eight charcoal drawings were printed by collotype lithography at the Imprimerie Arte, Adrien Maeght, Paris, where the text was also printed. Presented in the original portfolio box made in Dublin by John F. Newman and Sons Ltd.

€8,000-€10,000 (£6,400-£8,000 approx)

121 Anne Madden (b.1932) Exhibited: THE GARDEN OF LOVE, 2002 (TRIPTYCH) ’The Garden of Love’ New Work, Taylor oil on canvas Galleries, Dublin, 14 May to 2 June 2002 signed, titled and dated on reverse € € 72 by 72in. (182.88 by 182.88cm) 3,000- 4,000 (£2,500-£3,200 approx)

Provenance Taylor Galleries, Dublin; Whence purchased by the present owner 87 , WHYTE S S I N C E 1 7 8 3

122 Frederick Edward McWilliam RA HRUA (1909-1992) LEGS STANDING, 1978 bronze; (no. 2 from an edition of 5) signed and numbered at base 11.25 by 4.25 by 3.50in. (28.58 by 10.80 by 8.89cm)

Provenance New Art Centre, Wiltshire (The British agents for the McWilliam Estate); Private collection

Posthumously cast [1978.03]

€6,000-€8,000 (£5,000-£6,400 approx)

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Ex lot 123 (detail) obverse Ex lot 123 (detail) reverse

123 Rowan Gillespie (b.1953) MAQUETTE FOR “ASPIRATION” [TREASURY BUILDING, DUBLIN], 1995 bronze on polished granite; (no. 3 from an edition of 9) signed, numbered and dated at the base 83.50 by 13 by 18in. (212.09 by 33.02 by 45.72cm)

What is interesting about this rare maquette is that it shows the original figure for the Treasury Building was intended to be a man. This single polished granite slab shows a female figure scaling the wall on one side and a male on the reverse. The site specific commission is located on the historic site of Boland’s Mills. The image of the naked girl climbing a vertical wall was inspired by W.B. Yeats’ literary personification of Ireland, Cathleen Ní Houlihan. For Gillespie the piece also carries a more contemporary message about a rapidly developing Ireland at that time (1995). The figure’s pose and sexuality have prompted modern audiences to draw links with Frank Miller’s Batman or Bram Stoker’s Dracula. The 12 foot structure was erected by the artist in 1995 where it remains today.

For further reading see: Kohn, Roger, Rowan Gillespie, Looking for Orion, O’Brien Press, Dublin, 2007, p.79 (illustrated)

€10,000-€15,000 (£8,000-£12,500 approx)

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Ex 124 125 Ex 124

124 125 Rowan Gillespie (b.1953) Rowan Gillespie (b.1953) THE HERALD and LIMERICK LADY, 1994 (A PAIR) STUDY FOR HOMMAGE TO SPRING II, 1985 bronze on slate base; (the first, no. 8 from an edition of 9, the second, bronze; (no. 2 from an edition of 9) no. 9 from an edition of 9) signed, numbered and dated at base; signed the first, signed, titled, numbered and dated at the base; the second, again and titled beneath the base signed, numbered and dated at the base 12 by 9.50 by 7in. (30.48 by 24.13 by 19 by 6.50 by 4.50in. (48.26 by 16.51 by 11.43cm) 17.78cm)

See whytes.com for a note on this pair. See whytes.com for a note on this lot.

€10,000-€15,000 (£8,000-£12,500 approx) €3,000-€5,000 (£2,500-£4,000 approx) 90 , WHYTE S S I N C E 1 7 8 3

126 127 128 Orla de Brí (b.1965) Orla de Brí (b.1965) Orla de Brí (b.1965) CONNECT, c.1999 SELF DISCOVERY, c. early 1990s OFFERING, 2003 steel and bronze; (unique) bronze on slate; (from an edition of 5) bronze; (no. 1 from an edition of 8) with artist’s initials stamped at base signed with initials at the base signed, numbered and dated at base 26.25 by 6.75 by 3in. (66.68 by 17.15 by 26 by 9 by 5.50in. (66.04 by 22.86 by 21 by 12 by 3.50in. (53.34 by 30.48 by 7.62cm) 13.97cm) 8.89cm)

€1,500-€2,000 (£1,250-£1,600 approx) €1,500-€2,000 (£1,250-£1,600 approx) €1,500-€2,000 (£1,250-£1,600 approx)

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130 131 Vivienne Roche RHA Joseph Sloan (b.1953) (b.1940) IRIS JOYFUL FIGURE, 2006 bronze maquette; (no. 4 from an bronze; (no. 3 from an edition of 3) edition 9) signed, dated and numbered at 20.25 by 5.50 by 5.50in. (51.44 by the base 13.97 by 13.97cm) 19 by 14.50 by 8in. (48.26 by 36.83 by 20.32cm) Provenance Purchased directly from the artist by €1,000-€1,500 the present owner in 2006 (£800-£1,250 approx)

The present work is a maquette for NCI Iris the large scale outdoor sculpture commissioned by the National College of Ireland, IFSC, Dublin and sited outside their premises.

€1,500-€2,000 (£1,250-£1,600 approx)

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130

132

129

129 132 Ana Duncan John Behan RHA (b.1938) COCOON II UNTITLED (NUDE PREGNANT WOMAN SEATED), 1970 bronze on limestone base; (no. 2 from an bronze on black marble base; (unique) edition of 9) signed and dated twice at base of seat signed and numbered at the base; titled 13.25 by 8.50 by 8in. (33.66 by 21.59 by 20.32cm) beneath the base 11 by 7 by 5.50in. (27.94 by 17.78 by Provenance: 13.97cm) The Collection of Dr. Gerald Goldberg, Cork; His sale, Mealy’s, October 2004; €1,000-€1,500 (£800-£1,250 approx) Private collection

Dimensions of base: 10 by 9 by 1.5ins

€2,000-€3,000 (£1,600-£2,500 approx) 92 , WHYTE S S I N C E 1 7 8 3

135 John Behan RHA (b.1938) QUARE BIRD, 1993 painted steel on granite base; (unique) 24.50 by 24 by 17in. (62.23 by 60.96 by 43.18cm)

Provenance: Éigse, Carlow, 1993; Where purchased by the present owner

Exhibited: Éigse, Carlow, 1993

Dimensions of base: 7 by 7 by 1.5ins.

€2,500-€3,500 (£2,000-£2,800 approx) 134 Joseph Sloan (b.1940) APHRODITE ON THE CREST OF A WAVE bronze; (unique) signed with initials and numbered [1/1] at base 15 by 10 by 2.75in. (38.10 by 25.40 by 6.99cm)

Dimensions of bronze base: 7.5 by 3 by .25ins.

€1,000-€1,200 (£800-£1,000 approx)

133 John Behan RHA (b.1938) SPANISH BULL bronze on wooden base 6 by 14 by 5in. (15.24 by 35.56 by 12.70cm)

Provenance: Purchased directly from the artist by the present owner in 1978

€2,000-€3,000 (£1,600-£2,500 approx)

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

137 Sean Scully (b.1945) A FLOWER GIVEN TO MY DAUGHTER, FROM THE PORTFOLIO POMES PENYEACH, 1993 etching, aquatint, sugarlift, and spitbite on paper; (no. 20 from an edition of 33) signed and dated in the margin lower; 136 numbered lower left Helen Farrell (b.1961) 3 by 9in. (7.62 by 22.86cm) MAN INDOORS, 1997 Sheet size: 22 by 16ins. An example from this edition oil on canvas can be found in the Smithsonian American Art signed and dated on reverse Museum, Washington D.C. Pomes Penyeach refers to 59 by 59 in. (150 by 150cm) James Joyce’s collection of thirteen short poems published between 1904 and 1924. €400-€500 (£320-£400 approx) €1,000-€1,500 (£800-£1,250 approx)

138 Michael Warren RHA (b.1950) HORIZONTAL PLANE WITH VOID (SECOND VERSION), 2004 stainless steel; (unique) 4.50 by 52 by 14in. (11.43 by 132.08 by 35.56cm)

Provenance Hillsboro Fine Art, Dublin; Private collection

First version 1978.

€3,000-€5,000 (£2,500-£4,000 approx) 94 , WHYTE S S I N C E 1 7 8 3

139 Nick Miller (b.1962) CLEARED MOUNTAIN, 2006 Chinese ink and watercolour on paper signed and dated lower right; with partial Rubicon Gallery label on reverse 60.50 by 48.50in. (153.67 by 123.19cm)

Provenance: Rubicon Gallery, Dublin; Private collection

Exhibited: Centre Culturel Irlandais, Paris, 2007; Limerick City Gallery, 2008; Rubicon Gallery, Dublin, 2008

Literature: TRUCKSCAPES : Drawings from a mobile studio, Rubicon Gallery, Dublin, 2007, p.46

€2,000-€3,000 (£1,600-£2,500 approx)

140 141 Nick Miller (b.1962) Patrick Hickey HRHA (1927-1998) WHITETHORN FIELD WITH SHEEP, 2000 TREES IN A HIGH WIND I, 1984 oil on canvas watercolour with mixed media element on paper signed and dated lower left signed, titled and dated [October] lower right 22 by 24in. (55.88 by 60.96cm) 22 by 29.50in. (55.88 by 74.93cm)

Provenance: €1,000-€1,500 (£800-£1,250 approx) Rubicon Gallery, Dublin; Private collection

€2,000-€3,000 (£1,600-£2,500 approx) 95 , WHYTE S S I N C E 1 7 8 3

Lots 142-146 are from a single private collection.

142 show. A tactile, fragile creation, Pregnant in the Sky led the catalogue for Pauline Bewick RHA (b.1935) this new departure in Bewick’s oeuvre. For the artist they represent the PREGNANT IN THE SKY, 2003 female and, against “…the blue evening sky look wonderfully like stars”. acrylic, eggshell and gold leaf on paper laid on board signed and dated lower right; titled lower left; with title on Pauline Bewick was reared on a farm in Co. Kerry and later in England artist’s label on reverse; with Taylor Galleries exhibition label where she lived on a houseboat among other alternative dwellings. also on reverse Although Bewick lacked a formal education, her mother’s belief in her 36.50 by 48in. (92.71 by 121.92cm) abilities instilled a confidence in the artist which she carries to this day. Bewick has been living and working in Kerry since 1974. She has been Provenance: the subject of major retrospective exhibitions, ‘Two to Fifty’ (1,500 works) at the Guinness Hop Store in 1985 and ‘The Yellow Man’ Taylor Galleries, Dublin; exhibition in 1996 at the RHA Gallagher Gallery. She has published Private collection several illustrated books, Dr James White, former Director of the National Gallery of Ireland, was author of her biography in 1985 and she has been Exhibited: recorded on film in a 1993 documentary on her life by David Shaw- ‘Pauline Bewick, New Works’, Taylor Galleries, Dublin, 5-20 Smith. In September 1998 she was chosen for a portrait of 100 people September, 2003, catalogue no. 19 (illustrated on first page of who have changed the face of Ireland. The Taylor Galleries, Dublin have catalogue) shown Pauline Bewick’s work for most of her career and recently hosted a hugely successful exhibition, ‘Pauline Bewick at 75’ in 2011. The exhibition catalogue for the present work outlines the artist’s attraction to eggshells as a medium explored in the 2003 Taylor Gallery €6,000-€8,000 (£5,000-£6,400 approx)

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

143 144 Pauline Bewick RHA (b.1935) Pauline Bewick RHA (b.1935) WOMAN AND WATERLILIES, 1996 PULLING WATERLILIES, 1996 or SAYLOR AND WOMAN watercolour over pen and ink on paper watercolour over pen and ink on paper signed and dated [August] lower centre; titled lower right signed and titled lower centre; dated [September] lower 30 by 22in. (76.20 by 55.88cm) right; with RHA exhibition label [titled Saylor and Woman] 30 by 22.25in. (76.20 by 56.52cm) €3,000-€5,000 (£2,500-£4,000 approx) Provenance: RHA, Dublin; Private collection

Exhibited: RHA, Dublin, 26 April to 21 May, 1994, catalogue no. 23

€3,000-€5,000 (£2,500-£4,000 approx)

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

145 Pauline Bewick RHA (b.1935) IRIS AND KINGCUPS, 1996 watercolour over pen and ink on paper signed and dated [June] lower left; titled lower right 22.50 by 30in. (57.15 by 76.20cm)

€2,000-€3,000 (£1,600-£2,500 approx)

146 Pauline Bewick RHA (b.1935) LILIES AND REEKS, 1990-1996 watercolour over pen and ink on paper signed and dated lower right; titled lower left 21.75 by 30in. (55.25 by 76.20cm)

€2,000-€3,000 (£1,600-£2,500 approx)

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

147 148

147 Pauline Bewick RHA (b.1935) GERARD & ROSE - A MAEVE BINCHY ILLUSTRATION FOR A SHORT STORY pen and ink with watercolour signed and inscribed lower right 15 by 11.25in. (38.10 by 28.58cm)

€1,000-€1,500 (£800-£1,250 approx)

148 Barry Castle (1935-2006) DANGEROUS PETS, 1993 pen and ink with watercolour 149 signed with initials and dated lower right 30 by 22.50in. (76.20 by 57.15cm)

Provenance Purchased directly from the artist by the present owner in the 1990s

€1,500-€2,000 (£1,250-£1,600 approx)

149 Barry Castle (1935-2006) OTHER DAYS oil on board inscribed with title on Portal Gallery label on reverse 19.50 by 23in. (49.53 by 58.42cm)

€1,000-€1,500 (£800-£1,250 approx) 99 , WHYTE S S I N C E 1 7 8 3

Sinéad O’Connor has generously offered the following two works (lots 150 and 151) and the entire proceeds of their sale (including buyer’s premium) to The Penny Dinners, an old Dublin charity providing for the needy since 1884, and still very much active and relevant today.

150 Thomas Ryan PPRHA (b.1929) PORTRAIT OF SINÉAD O’CONNOR, 5 NOVEMBER 1974 pastel on tinted paper signed by the artist and the sitter and dated lower right 22.50 by 19in. (57.15 by 48.26cm)

The present work will feature on the front cover of Sinéad O’Connor’s forthcoming autobiography.

€5,000-€7,000 (£4,000-£5,600 approx)

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

151 Neil Condron (b.1956) UPON SMALL SHOULDERS, 2011 oil on canvas signed lower left; signed, inscribed, titled [“Upon Small Shoulders (Portrait of Tia)”] and dated on reverse 36 by 84in. (91.44 by 213.36cm)

Provenance: Purchased by Irish singer-songwriter Sinéad O’Connor directly from the artist

The present work appears on the sleeve for Sinéad O’Connor‘s ninth full- length album How About I Be Me (And You Be You)? released in March 2012.

Neil Condron is a Dublin born, Wicklow based artist working in both oil and pastel with portraiture considered his principal forte. Condron spent over 30 years as a graphic designer and has received numerous industry awards throughout his career. He retired from the design industry in 2007 to focus solely on his lifelong ambition “to paint”. Upon Small Shoulders is the artist’s first painting in a series of large works (in progress) exploring the theme of vulnerability and Irish children. It was acquired by Sinéad O’Connor in 2011 and this provocative image was used for the sleeve of her album, How About I Be Me (And You Be You)?

An extract from the artist’s statement on this work outlines his intentions for the image:

”This large painting depicts a little girl who is sitting precariously on rusted scaffolding with the Irish Tricolour draped behind her. The rusted scaffolding of an unfinished property development represents the remnants of Ireland’s’ Celtic Tiger’ boom. Tia, my young model, represents the children of Ireland left vulnerable and destitute with a huge burden to carry forward as a result of greed and neglect. The flag ‘our brightest colours’, is Ireland, her legacy. Her expression however isn’t one of fear and her posture is confident and defiant. She is captivated by something that has distracted her from her plight and her outstretched arm is gesturing to the viewer. What she is looking at and what is the meaning of her gesture is for the viewer to interpret.”

€10,000-€15,000 (£8,000-£12,500 approx) 101 , WHYTE S S I N C E 1 7 8 3

153 Stuart Morle (b.1960) STILL LIFE WITH SHEEP’S CHEESE AND TWO FIGS oil on board signed lower right 12 by 18in. (30.48 by 45.72cm)

€800-€1,200 (£640-£1,000 approx)

152 Conor Walton (b.1970) STILL LIFE WITH ORCHID, 2000 oil on canvas signed and dated lower right; with Jorgensen Fine Art label on reverse 36 by 18in. (91.44 by 45.72cm) 154 Stuart Morle (b.1960) Exhibited STILL LIFE WITH PORTUGUESE PASTRIES ’Conor Walton’, Jorgensen Fine Art, Dublin, August, 2000 oil on canvas on board signed lower right Provenance: 8 by 10in. (20.32 by 25.40cm) Jorgensen Fine Art, Dublin; Private collection €800-€1,000 (£640-£800 approx)

€1,000-€1,200 (£800-£1,000 approx)

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

155 155 John Behan RHA (b.1938) FLY (NOEL MANNION HEADS FOR THE WELSH LINE), 1988 bronze on black marble base; (unique) signed and dated on right leg of shorts 14.75 by 8 by 6in. (37.47 by 20.32 by 15.24cm)

Dimensions of base: 6 by 6 by 2ins. “Arms Park, Cardiff, February 4, 1989: Ireland number 8 Noel Mannion has just enough gas to make it to the Welsh line with David Bryant straining to catch the Corinthians clubman, scoring one of the greatest tries in the history of Irish rugby.” (from the archive of www.irishrugby.ie)

€2,000-€3,000 (£1,600-£2,500 approx)

156 Amelia Stein RHA (b.1958) JOHN BEHAN RHA, GALWAY STUDIO, 2007 archival pigment print; artist’s proof 11 by 10.75in. (27.94 by 27.31cm)

Provenance: Solomon Fine Art; Private collection

Literature: 156 Stein, Amelia, Portraits of Royal Hibernian Academy Members in their Studios, RHA, Dublin; 2009

This work pertains to Stein’s series of photographs of RHA Members. It was used as the cover image for the catalogue of John Behan’s solo exhibition with Solomon Fine Art, September 2010.

€400-€600 (£320-£500 approx)

157

157 Paddy Lennon (b.1955) ARKLE, 2012 charcoal on board signed, titled and dated lower right 29.50 by 33in. (74.93 by 83.82cm)

€1,000-€1,500 (£800-£1,250 approx) 103 , WHYTE S S I N C E 1 7 8 3

158 Jack Cudworth (1930-2010) CABBAGE PATCH oil on board signed lower left 13.25 by 15.75in. (33.66 by 40.01cm)

€800-€1,000 (£640-£800 approx)

159 Noel Murphy (b.1970) THE MOON II acrylic on card signed with initials lower right; numbered and with Gorry Gallery label on reverse 10.50 by 9.75in. (26.67 by 24.77cm)

Provenance: Gorry Gallery, Dublin; Private collection

€1,000-€1,500 (£800-£1,250 approx)

160 Carey Clarke PPRHA (b.1936) LANDSCAPE WITH SHEEP AND COTTAGES oil on canvas signed lower right 20 by 24in. (50.80 by 60.96cm)

€800-€1,000 (£640-£800 approx)

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

161 Thomas Ryan PPRHA (b.1929) GLASS HOUSE AT THE BOTANIC GARDENS, DUBLIN, 1962 oil on canvas signed lower right and upper right; with original inscribed artist’s label on reverse 19 by 20in. (48.26 by 50.80cm)

Provenance: Purchased directly from the artist; Thence by descent, Private collection, USA

€1,800-€2,200 (£1,500-£1,760 approx)

162 Leo Whelan RHA (1892-1956) REAR VIEW FROM 65 ECCLES STREET, DUBLIN [THE ARTIST’S HOME] oil on canvas signed lower right 17 by 14in. (43.18 by 35.56cm)

Provenance: The collection of the artist’s family; Thence by descent to the present owner

€2,500-€3,000 (£2,000-£2,500 approx)

163 Charles J. McAuley (1910-1999) VIADUCT, CUSHENDUN, COUNTY ANTRIM oil on board signed lower right; with location inscribed on reverse 14.25 by 18in. (36.20 by 45.72cm)

€1,000-€1,500 (£800-£1,250 approx) 105 , WHYTE S S I N C E 1 7 8 3

164 Paul Kelly (b.1968) ABOVE COBH HARBOUR, COUNTY CORK, 1998 oil on canvas signed lower left; signed again, titled and dated on reverse; also with Gorry Gallery exhibition label on reverse 25 by 30in. (63.50 by 76.20cm)

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

Exhibited: ‘Paul Kelly, Recent Paintings’, Gorry Gallery, Dublin, 25 March to 9 April, 1999, exhibition no. 18

€1,500-€2,000 (£1,250-£1,600 approx)

165 James le Jeune RHA (1910-1983) THE VILLAGE OF DOOAGH, ACHILL ISLAND, COUNTY MAYO oil on board signed lower right; inscribed with title on reverse 20 by 24in. (50.80 by 60.96cm)

€2,500-€3,500 (£2,000-£2,800 approx)

166 Fergus O’Ryan RHA (1911-1989) DÚN LAOGHAIRE AND HOWTH FROM THE MOUNTAINS oil on board signed lower right; with title inscribed on reverse 9.50 by 22in. (24.13 by 55.88cm)

€1,000-€1,500 (£800-£1,250 approx)

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

167 Kenneth Webb RWA FRSA RUA (b.1927) FARMHOUSES IN COUNTY DOWN oil on canvas signed lower left 18 by 40in. (45.72 by 101.60cm)

Provenance: Whyte’s, 9 December 2006, lot 35; Whence purchased by the present owner

€3,000-€4,000 (£2,500-£3,200 approx)

168 Kenneth Webb RWA FRSA RUA (b.1927) MOUNT CASHEL, COUNTY GALWAY oil on canvas signed lower right 14.50 by 35.50in. (36.83 by 90.17cm)

Provenance: Adam’s, 4 October 2006, lot 212; Whence purchased by the present owner

€3,000-€4,000 (£2,500-£3,200 approx)

169 Kenneth Webb RWA FRSA RUA (b.1927) CASTLE COMBE, WILTSHIRE oil on canvas signed lower left 16 by 24in. (40.64 by 60.96cm)

Provenance: Whyte’s, 9 December 2006, lot 176; Whence purchased by the present owner

€3,000-€4,000 (£2,500-£3,200 approx) 107 , WHYTE S S I N C E 1 7 8 3

170 Liam O’Neill (b.1954) SEO LIBH oil on canvas signed lower right; inscribed with title on Green Lane Gallery label on reverse 30 by 40in. (76.20 by 101.60cm)

Provenance: Green Lane Gallery, Dingle; Private collection

€4,000-€6,000 (£3,200-£5,000 approx)

171 Liam O’Neill (b.1954) MILKING TIME oil on canvas signed lower right 30 by 40in. (76.20 by 101.60cm)

Provenance: Purchased directly from the artist by the present owner

€4,000-€6,000 (£3,200-£5,000 approx)

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

172 Kenneth Webb RWA FRSA RUA (b.1927) WATERLILIES oil on canvas signed lower right 26.50 by 40in. (67.31 by 101.60cm)

Provenance: Kenny Gallery, Galway; Where purchased by the present owner

€5,000-€7,000 (£4,000-£5,600 approx)

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

173 Michael Hanrahan (b.1951) PRESIDENT KENNEDY AT ST PATRICK’S HALL, DUBLIN CASTLE RECEIVING AN HONORARY DEGREE FROM ÉAMON DE VALERA, CHANCELLOR OF THE NATIONAL UNIVERSITY OF IRELAND acrylic on canvas signed lower left 15 by 19in. (38.10 by 48.26cm)

One example from this series, which depicts President Kennedy arriving in Cork on 28 June 1963, has been selected by The Kennedy Foundation for their collection in Boston. The artist worked from photographs provided by the Foundation which recorded this historic visit. Aer Lingus will fly Hanrahan to Boston in the coming months to present their painting in person. Works by Michael Hanrahan can be found in the collections of Áras an Uachtaráin, Buckingham Palace, and The White House, in Washington D.C. among others.

€1,200-€1,500 (£1,000-£1,250 approx)

174 175 Arthur K. Maderson (b.1942) Aidan Bradley (b.1961) SATURDAY NIGHT OUT, LE VIGNAN, FRANCE SMITHFIELD MARKET, DUBLIN, 2007 oil with mixed media on board oil on board signed with initials lower left; signed again signed lower right; with title on reverse and with title on reverse 24 by 24in. (60.96 by 60.96cm) 15 by 11in. (38.10 by 27.94cm) Provenance €1,000-€1,500 (£800-£1,250 approx) Purchased at the artist’s solo exhibition, hosted by de Vere’s, Dublin, June 2007

€1,000-€1,500 (£800-£1,250 approx) 110 , WHYTE S S I N C E 1 7 8 3

176 Ivan Sutton (b.1944) THE BEACH COMMITTEE, INIS MÓR, ARAN ISLANDS COUNTY GALWAY oil on canvas board signed lower right; signed again and titled on artist’s label on reverse 20 by 30in. (50.80 by 76.20cm)

€1,800-€2,200 (£1,500-£1,760 approx)

177 Ivan Sutton (b.1944) GALWAY HOOKERS BERTHED AT ROUNDSTONE HARBOUR oil on canvas board signed lower right; signed again and titled on artist’s label on reverse 20 by 30in. (50.80 by 76.20cm)

€1,800-€2,200 (£1,500-£1,760 approx)

178 Aidan Bradley (b.1961) TRINITY COLLEGE, DUBLIN, 2009 oil on board signed and dated lower right; inscribed with title on reverse 23.50 by 23.50in. (59.69 by 59.69cm)

Provenance Purchased at the artist’s solo exhibition, hosted by de Vere’s, Dublin, June 2007

€800-€1,000 (£640-£800 approx) 111 , WHYTE S S I N C E 1 7 8 3

179 Markey Robinson (1918-1999) SHAWLIES TRADING BY THE SEA SHORE oil with gouache on card signed lower right 19 by 29in. (48.26 by 73.66cm)

€3,000-€5,000 (£2,500-£4,000 approx)

180 Markey Robinson (1918-1999) THE HERRING SELLERS oil with gouache on card signed lower left 19 by 29in. (48.26 by 73.66cm)

€3,000-€5,000 (£2,500-£4,000 approx)

181 Markey Robinson (1918-1999) SWAN SONG gouache on card signed lower right; with title on reverse 6.75 by 11.75in. (17.15 by 29.85cm)

€600-€800 (£500-£640 approx)

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

182 Markey Robinson (1918-1999) THE RAILWAY YARD gouache on board signed lower right 20 by 26in. (50.80 by 66.04cm)

Provenance: Oriel Gallery, Dublin; Private collection

Literature: O’Kelly, Paul, Markey at the Oriel, Oriel Gallery, Dublin & Nicholson & Bass Ltd., Belfast, 2008, p.40 (referenced) p.46 (full page illustration)

In Markey at the Oriel, O’Kelly notes that “Trains were hardly a Markey leitmotif and The Railway Yard shows that he was unafraid of unfamiliar, challenging subjects. There is detail in the engines and the tracks, and yet the composition is not over-fussy. It works, there is a feeling of life, rhythm and machine energy - and Markey manages to combine a kind of affectionate realism with the graphic simplicity by which we readily recognise most of his pictures.”

€5,000-€7,000 (£4,000-£5,600 approx)

183 Markey Robinson (1918-1999) STILL LIFE WITH BANJO gouache on card signed lower right; with title on reverse 21.75 by 13.25in. (55.25 by 33.66cm)

€1,500-€2,000 (£1,250-£1,600 approx) 113 , WHYTE S S I N C E 1 7 8 3

184 Markey Robinson (1918-1999) SHAWLIE ON ROCKY ROAD WITH COTTAGES AND SAILBOATS BEYOND oil on board signed lower left 19 by 29in. (48.26 by 73.66cm)

€2,000-€3,000 (£1,600-£2,500 approx)

185 Markey Robinson (1918-1999) WOMAN AND CHILD BEFORE COTTAGES AND MOUNTAIN oil on board signed lower right 8.50 by 15in. (21.59 by 38.10cm)

Provenance: Apollo Gallery, Dublin; Private collection; Whyte’s, 19 February 2007, lot 185; Whence purchased by the present owner

€1,500-€2,000 (£1,250-£1,600 approx)

186 Markey Robinson (1918-1999) WINTER SCENE oil on board signed lower left; with title on reverse 9.50 by 12.25in. (24.13 by 31.12cm)

€800-€1,000 (£640-£800 approx) 114 , WHYTE S S I N C E 1 7 8 3

187 Peter Collis RHA (1929-2012) LARGE STILL LIFE WITH FLOWERS, FRUIT AND JUG oil on canvas signed lower left; signed, titled and dated on artist’s label on reverse; also with Duke Street Gallery label on reverse 30 by 34in. (76.20 by 86.36cm)

Provenance: Duke Street Gallery, Dublin; Private collection

€3,000-€5,000 (£2,500-£4,000 approx)

188 Peter Collis RHA (1929-2012) ROAD ABOVE LOUGH DAN, COUNTY WICKLOW oil on canvas signed lower right; with exhibition label on reverse 34 by 34in. (86.36 by 86.36cm)

Provenance Purchased directly from the artist by the present owner in 2007

€2,000-€3,000 (£1,600-£2,500 approx)

189 Peter Collis RHA (1929-2012) SANDYMOUNT STRAND, DUBLIN oil on board signed lower left; with David Hendriks Gallery label on reverse 8 by 10in. (20.32 by 25.40cm)

Provenance: David Hendriks Gallery, Dublin; Private collection

€800-€1,200 (£640-£1,000 approx) 115 , WHYTE S S I N C E 1 7 8 3

190 Graham Knuttel (b.1954) ARTIST’S STUDIO, MONKSTOWN, COUNTY DUBLIN, c.1980s oil on board signed lower right 36 by 36in. (91.44 by 91.44cm)

€1,500-€2,000 (£1,250-£1,600 approx)

192 Graham Knuttel (b.1954) STILL LIFE BY MOONLIGHT oil on canvas signed lower right 47.50 by 24in. (120.65 by 60.96cm)

€1,500-€2,000 (£1,250-£1,600 approx)

191 Exhibited: Harry Kernoff RHA (1900-1974) ‘Group Exhibition, Painting and Sculpture’, Emmet Gallery, THE MANAGER Dublin, c.1979-1980 (catalogue not dated), exhibition no. 35 oil on board; (1); print; (1) [£100] (from ‘Paintings by the late Harry Kernoff’ section) signed upper right; with artist’s name and title on reverse 7.75 by 5.50in. (19.69 by 13.97cm) The red pencil illustrated is believed to be a “Blood Bank” pencil (given by the Blood Transfusion Board to donors. Also with this lot a print of a Kernoff woodcut depicting Two Men Provenance: Rowing a Curragh, signed with initial ‘K’ in the plate and signed in Emmet Gallery, Dublin; green ink in the lower margin. (5 by 7ins; framed). (2 Works Total) Where purchased by the present owner €800-€1,000 (£640-£800 approx) 116 , WHYTE S S I N C E 1 7 8 3

193 Graham Knuttel (b.1954) NUDE oil on canvas signed lower right 36 by 72in. (91.44 by 182.88cm)

€5,000-€7,000 (£4,000-£5,600 approx)

194 Brian Ballard RUA (b.1943) POPPIES AGAINST SKY, 1994 oil on canvas signed and dated lower left; inscribed with title, signed and dated on stretcher on reverse, with exhibition label of Solomon Fine Art on reverse, also with framing label of Rowley Gallery [London] on reverse 16 by 20in. (40.64 by 50.80cm)

Provenance: The Irish Sale, Christie’s, London, 8 May 2008, lot 136; with Solomon Fine Art; Private collection

Exhibited: ‘Important Irish & British and Master Prints’, Solomon Fine Art, Dublin, 14-16 November 2008, catalogue no. 14; as Poppies Against Sea, catalogue no. 10 (exhibition details untraced)

€1,200-€1,500 (£1,000-£1,250 approx) 117 , WHYTE S S I N C E 1 7 8 3

195 Gladys Maccabe HRUA ROI FRSA (b.1918) VIEW OF THE SACRÉ-COEUR BASILICA, PARIS oil on canvas signed lower right 20 by 24in. (50.80 by 60.96cm)

Provenance: Taylor Gallery, Belfast; Private collection

€3,000-€4,000 (£2,500-£3,200 approx)

196 Gladys Maccabe HRUA ROI FRSA (b.1918) FAIR GROUND AND CAROUSEL oil on board signed lower right 9.50 by 14in. (24.13 by 35.56cm)

€1,200-€1,500 (£1,000-£1,250 approx)

197 Gladys Maccabe HRUA ROI FRSA (b.1918) PUNCH AND JUDY SHOW oil on board signed lower right 9.50 by 14in. (24.13 by 35.56cm)

€1,200-€1,500 (£1,000-£1,250 approx)

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

198 John Schwatschke (b.1943) IT’S A LONG WAY FROM TIPPERARY, 2012 oil on canvas signed and dated upper left; signed again, titled, stamped and with artist’s archival number [2286] on reverse 28 by 42in. (71.12 by 106.68cm)

€1,200-€1,500 (£1,000-£1,250 approx)

199 Gladys Maccabe HRUA ROI FRSA (b.1918) BOOK FAIR oil on board signed lower right 9.50 by 13.50in. (24.13 by 34.29cm)

Provenance: Taylor Gallery, Belfast; Private collection

€1,000-€1,500 (£800-£1,250 approx)

200 Gladys Maccabe HRUA ROI FRSA (b.1918) VASE OF FLOWERS oil on board signed lower left 18.50 by 15.50in. (46.99 by 39.37cm)

€700-€900 (£560-£750 approx)

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

201 202 Michael Mulcahy (b.1952) Noel Murphy (b.1970) THE PALACE GUARD I NUDE, 2005 oil with mixed media on canvas oil on canvas signed lower right; titled on reverse; with Fenton signed with initials and dated lower right; signed, Gallery label also on reverse titled and dated on reverse 39.50 by 31.50in. (100.33 by 80.01cm) 36 by 32in. (91.44 by 81.28cm)

Provenance: €1,500-€1,800 (£1,250-£1,500 approx) Fenton Gallery, Cork; Private collection

€1,800-€2,200 (£1,500-£1,760 approx)

203 Neil Shawcross RHA RUA (b.1940) GIRL WITH GREEN SHOES, 1979 watercolour signed and dated lower right 29.50 by 20.50in. (74.93 by 52.07cm)

€1,500-€1,800 (£1,250-£1,500 approx)

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

204 Marian Jeffares (1916-1986) SELF PORTRAIT oil on board signed in monogram lower left 36 by 24in. (91.44 by 60.96cm)

The figure in the background is thought to be photographer and painter, Humphrey Spender (1910- 2005), who taught at the Royal College of Art, London.

€1,000-€1,500 (£800-£1,250 approx)

205 Marian Jeffares (1916-1986) THE COUPLE signed in monogram lower left; inscribed with title and artist’s address [Dublin 6] on reverse 20 by 24in. (50.80 by 60.96cm)

See www.whytes.ie for biography of this artist.

€1,000-€1,500 (£800-£1,250 approx)

206 Robert Ballagh (b.1943) A SAFE INVESTMENT, 1989 watercolour signed and dated lower right; with typed Gorry Gallery label on reverse 10 by 13in. (25.40 by 33.02cm)

Provenance: Gorry Gallery in Association with Damien Matthews Fine Art; Private collection

Exhibited: ‘Robert Ballagh, Works from the Studio 1959-2006’, Gorry Gallery in Association with Damien Matthews Fine Art, Gorry Gallery, Dublin, 20 September - 5 October 2006, catalogue no. 78 (illustrated p.89)

See catalogue note at www.whytes.ie .

€1,000-€1,500 (£800-£1,250 approx)

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

207 208 Anne Yeats (1919-2001) Maurice Desmond (b.1944) THE OVERGROWN GARDEN ABSTRACT LANDSCAPE oil on board oil on board signed lower right; original typed Dawson Gallery label signed lower right preserved on reverse 23.75 by 17.75in. (60.33 by 45.09cm) 22 by 15in. (55.88 by 38.10cm) €500-€700 (£400-£560 approx) Provenance: Dawson Gallery, Dublin; Where purchased by a Mrs Milne; Private collection

Exhibited: Dawson Gallery, Dublin (catalogue no. 210); catalogue untraced

€1,500-€2,000 (£1,250-£1,600 approx)

209 Maurice Desmond (b.1944) MOVEMENT IN SUMMER, 1994-1995 acrylic on wood signed and dated lower right; signed again, titled, dated and with artist’s archival number [F/4/95] on reverse 20.50 by 24.50in. (52.07 by 62.23cm)

€800-€1,200 (£640-£1,000 approx)

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

210 211 Michael Cullen RHA (b.1946) Michael Mulcahy (b.1952) PARROTS, 1984 A FISHERMAN, 1983 oil on paper gouache over pencil with mixed media on paper signed and dated lower right; titled lower left; signed and dated lower right; also with note by artist on reverse with Lincoln Gallery label on reverse 22 by 29.50in. (55.88 by 74.93cm) 30 by 22.50in. (76.20 by 57.15cm) €500-€700 (£400-£560 approx) Provenance: Lincoln Gallery, Dublin; Private collection

€1,500-€2,000 (£1,250-£1,600 approx)

212 Jacinta Feeney (b.1954) UNTITLED, 2003 oil on board signed and dated on reverse 16 by 19in. (40.64 by 48.26cm)

Provenance: Taylor Gallery, Belfast; Private collection

This work pertains to the artist’s ‘Book Series’.

€1,500-€2,000 (£1,250-£1,600 approx) 123 , WHYTE S S I N C E 1 7 8 3

213 Jeremy Henderson (1952-2009) BURIED EOLITH, 2002 oil on canvas signed, titled and dated on reverse 36 by 36in. (91.44 by 91.44cm)

Jeremy Henderson was born in Enniskillen in 1952. He studied Fine Art at Kingston University in London where he was awarded a First Class Honours Degree and was named the first recipient of the Stanley Picker Fellowship. In 1979 Henderson completed a Masters Degree in painting at the Chelsea School of Art and Design. He continued to work in London until he returned to Fermanagh in 1993.

€1,000-€1,500 (£800-£1,250 approx)

214 Pádraig MacMíadhacháin RWA (b.1929) ICE CREAM oil on canvas signed lower left; titled on label on reverse 20 by 24in. (50.80 by 60.96cm)

€1,000-€1,500 (£800-£1,250 approx)

215 Clement McAleer ARUA (b.1949) AERIAL VIEW pastel with mixed media on paper signed lower left 26.50 by 31.25in. (67.31 by 79.38cm)

€800-€1,200 (£640-£1,000 approx) 124 , WHYTE S S I N C E 1 7 8 3

216 217 Louis le Brocquy HRHA Frederick Edward McWilliam RA HRUA (1909-1992) (1916-2012) STUDIES FOR WOMEN OF BELFAST, 1972 STUDY TOWARDS AN IMAGE OF FEDERICO pen, ink and wash on paper GARCÍA LORCA, 1977 signed and dated lower right aquatint on Arches (no. 25 from an edition of 30) 11 by 16 by 11in. (27.94 by 40.64 by 27.94cm) signed in the margin lower right; numbered lower left Provenance 20.25 by 17.50in. (51.44 by 44.45cm) McWilliam Estate / Mayor Gallery, London; Private collection Sheet size: 30 by 22in. €1,000-€1,500 (£800-£1,250 approx) €1,500-€2,000 (£1,250-£1,600 approx)

218 Micheal Farrell (1940-2000) A SHORTER HISTORY, 1982 folio of eight etchings with aquatint, plus eight sheets of letterpress in green linen clam shell case (no. 9 from an edition of 80) each signed, inscribed and dated in the cover margin 14 by 14in. (35.56 by 35.56cm)

Provenance Origrafica Print Dealers, Sweden; Private collection

A series of eight etchings, each one representing a key image in Farrell’s long-running series on postcolonial Ireland, including Miss O’Murphy, Press Politique and the eponymous A Shorter History. Accompanied by eight pages of letterpress by Cyril Barrett. Printed at the Atelier Moret in Paris for Origrafica Malmö, with the aid of the National College of Art, Dublin.

€1,000-€1,500 (£800-£1,250 approx)

END OF SALE 125 , WHYTE S WHYTES I N C E 1S 7 8 3 S I N C E 1 7 8 3

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: 81, 82, 163, Galway: 27, 31, 34, 51, 87, 156, 168, 176, 177, Photography: 156 Belfast: 52-54, 217 Hampshire: 169 Sligo: 2, 12, 46 Clare: 16 Japan: 96, Sport: 155, 157 Cork: 9, 13, 89-91, 164, Kerry: 170, 171 Switzerland: 62 Donegal: 28, 29, 78, 79, 80, 83-86 Kilkenny: 19 Theatre: 41, 42 Down: 76, 167, Limerick: 124 Tipperary: 198 Dublin City: 3, 75, 161, 162, 173, 175, 178, 189, 190 Literature: 57, 59, 147, USA: 5, 11, 173 Dublin County: 22, 69, 166, Mayo: 39, 61, 165 Wales: 155 England: 77, 169 Maritime: 52, 67, 69, 70, 76, 77 White Stag Group: 20, 33, 36-39, 114-120, 216 Equestrian: 157, 167 Military: 4 Wiltshire: 169 Fermanagh: 213 Morocco: 50, Wicklow: 188 France: 57, 174, 195 Music: 150, 151, 198

126 AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

For topographical and general index see opposite page

Allen, H.E: 31 Hamilton, L.M: 47 Mulcahy, M: 201, 211 Ballagh, R: 206 Hanley, J: 4, 5 Murphy, N: 159, 202 Ballard, B: 194 Hanrahan, M: 173 Nicholl, A: 67 Behan, J: 132, 133, 135, 155 Harper, C: 103 O’Donoghue, H: 10 Bewick, P: 142-147 Hayes, E: 69, 70, 77 O’Neill, D: 28, 29, 31A, 32 Bolay, V: 105 Henderson, J: 213 O’Neill, L: 170, 171 Bourke, B: 21, 22, 87, 88 Hickey, P: 141 O’Ryan, F: 166 Bradley, A: 175, 178 Hone, E: 25 O’Malley, T: 15, 16, 18, 19 Brady, C: 17 Iten, H: 53 Orpen, W: 57 Butler, M.A: 74 Jeffares, M: 204, 205 Rákóczi, B.I: 37-39 Campbell, G: 34, 35 Keating, S: 51, 72 Reid, N: 23, 24 Carey, J.W: 76 Kelly, P: 164 Robinson, M: 179-186 Carson, R.T: 84 Kernoff, H: 42, 191 Roche, V: 130 Castle, B: 148, 149 Knuttel, G: 190, 192, 193 Ryan, T: 150, 161 Clarke, C: 160 Lamb, C.V: 48 Salkeld, C.F: 40A, 41 Collis, P: 187-189 Lavery, J: 50 Schwatschke, J: 198 Condron, N: 151 le Brocquy, L: 20, 33, 36, 114-120, Scott, P: 92-102, 106-113 Conor, W: 52, 54, 55, 73 216 Scully, S: 137 Cooke, B: 104 le Jeune, J: 165 Shawcross, N: 203 Craig, J.H: 81, 85, 86 Lennon, P: 157 Shinnors, J: 1, 14 Crozier, W: 11, 13, 89-91 Maccabe, G: 195-197, 199, 200 Sloan, J: 131, 134 Cudworth, J: 158 MacDonald,D: 68 Stein, A: 156 Cullen, M: 210 MacMíadhacháin, P: 214 Sutton, I: 176, 177 Davidson, L.L: 49 Madden, A: 121 Swanzy, M: 30 de Brí, O: 126-128 Maderson, A.K: 174 Teskey, D: 3 Desmond, M: 208, 209 Martin, C: 7 Topham, F.W: 65 Dillon, G: 26, 27 McAleer, C: 215 Tyrrell, C: 9 Doherty, J: 8 McAuley, C.J: 163 Walton, C: 152 Duncan, A: 129 McDaniel, D: 68 Warren, M: 138 Farrell, H: 136 McKelvey, F: 78-80 Webb, K: 167-169, 172 Farrell, M: 218 McSweeney, S: 2, 12 Whelan, L: 162 Faulkner, J: 66 McWilliam, F.E: 122, 217 Wilks, M.C: 82, 83 Feeney, J: 212 Middleton, C: 39A, 40 Yeats, A: 207 French, W.P: 60-64, 71 Miller, N: 139, 140 Yeats, J.B: 43-46, 58, 59 Gale, M: 6 Mitchell, F.H: 75 Yeats, S. M. (‘Lily’): 56 Gillespie, R: 123-125 Morle, S: 153, 154 , WHYTE S SINCE 1783

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