Important Irish Art
Transcription
Important Irish Art
Important Irish Art Including the Patrick McElroy Studio Sale Wednesday 31st March 2010 at 6pm Contacts for this sale Brian Coyle FIAVI FRICS James O’Halloran FIAVI Stuart Cole MIAVI David Britton BBS ACA Director [email protected] Director [email protected] Eamon O’Connor BA Jane Beattie BA MRICS Associate Director [email protected] Nick Nicholson MIAVI Kieran O’Boyle BA MIAVI Associate Director [email protected] Caroline Kevany BA Aoife Leach MA Chairman Fine Art Department [email protected] Managing Director [email protected] Fine Art Department [email protected] Est 1887 26 St Stephen’s Green, Dublin 2. Tel +353 1 6760261 Fax +353 1 6624725 [email protected] www.adams.ie Consultant [email protected] Abigail Bernon BA Fine Art Department [email protected] Fine Art Department [email protected] Est 1887 IMPORTANT IRISH ART AUCTION Wednesday 31st March 2010 at 6.00pm VENUE James Adam Salerooms 26 St Stephen’s Green, Dublin 2 Ireland SALE CODE This sale may be referred to as 3095 in all correspondence CATALOGUE €15.00 or at www.adams.ie Viewing : March 28th-31st Adam’s, 26 st stephen’s green, Dublin 2. Sunday 2.00pm - 5.00pm Monday - Wednesday 9.30am - 5.00pm 4 INFORMATION FOR PURCHASERS 1. Estimates and Reserves These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate. 2. Paddle Bidding All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recommended to register on viewing days. 3. Payment, Delivery and Purchasers Premium Thursday 1st April 2010, 10.00am - 1.00pm and 2.00pm -5.00pm. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be paid for and removed from the premises not later than 5pm on Thursday 1st April 2010. Auctioneers commission on purchasers is charged at the rate of 18% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque vouched to the satisfaction of the auctioneers, prior to sale. Purchasers wishing to pay by credit card (Visa & Mastercard) may do so, however, it should be noted that such payments will be subject to an administrative fee of 1.85% on the invoice total. American Express is subject to a charge of 3.65% on the invoice total. Please contact our accounts department prior to sale with your payment queries. Artists Resale Rights (Droit de Suite) is NOT payable by purchasers. 4. VAT Regulations All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is inclusive of VAT. This is not recoverable by any VAT registered buyer. 5. Please note that imperfections are not stated. 6. Absentee Bids We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone. However, these services are subject to special conditions see conditions of sale in this catalogue. All arrangements for absentee bidding must be made before 5pm on the day prior to sale. 7. Acknowledgments We would like to acknowledge, with thanks, the assistance of Dr. Eimear O’Connor, Dickon Hall, Dr. Brian Kennedy, Kevin Ruthledge, Dr. Denise Ferran, Sile Connaughton - Deeny and Aoife Leach. 8. These lots are being sold under our Conditions of Sale as printed in this catalogue and on display in the salerooms. 5 1 Cecil Maguire RUA (b.1930) Landscape near Roundstone Oil on board, 51 x 61cm (20 x 24”) Signed. Inscribed with title verso Provenance: Collection of Raymond MacDonnell, Architect €2000 - 3000 Important Irish Art 31st March 2010 6 2 Maurice Canning Wilks ARHA RUA (1910-1984) A County Antrim Lane, Cushendun Oil on board, 30 x 35cm (12 x 12.75”) Signed €1000 - 1500 3 Maurice Canning Wilks ARHA RUA (1911-1984) Mountain Landscape, Connemara Oil on canvas, 34 x 44cm (13.5 x 17.5”) Signed and inscribed with title verso €1500 - 2000 7 4 Maurice Canning Wilks ARHA RUA (1910-1984) “John The Rocks”, Rockfort, Cushendun, Co. Antrim Oil on board, 30 x 35cm (12 x 13.75”) Signed €2000 - 3000 Important Irish Art 31st March 2010 8 5 Fr ank Egginton RCA FIAL (1908-1990) Tully Mountain From Lettergesh Connemara Watercolour, 37 x 53cm (14.5 x 21”) Signed and dated ‘73, title inscribed on label verso €800 - 1200 6 Fr ank Egginton RCA FIAL (1908-1990) In the Kerry Mountains Watercolour, 54 x 76cm (21.25 x 30”) Signed €1500 - 2500 9 7 Fr ank Egginton RCA FIAL (1908-1990) Sheep Grazing in Bogland, Kerry Watercolour, 54 x 76cm (21.25 x 30”) Signed and dated (19)’73 €1500 - 2500 Important Irish Art 31st March 2010 10 8 Fr ank Egginton RCA FIAL (1908-1990) Lough Shindilla, Connemara Watercolour, 38 x 53cm (15 x 20.75”) Signed and dated 1978 €800 - 1200 9 Fr ank Egginton RCA FIAL (1908-1990) A Wet Day, Co. Donegal Watercolour, 38 x 53cm (15 x 20.75”) Signed and dated 1980 €800 - 1200 11 10 Lily Williams ARHA (1874-1940) Cottage at Ticknock, Dundrum Oil on canvas laid on board, 15 x 22.75cm (6 x 9”) Signed with monogram €1000 - 1500 Dublin born Lily Williams was first taught art by May Manning and later went on to the Dublin Metropolitan School of Art where her contemporaries included Estella Solomons,Beatrice Glenavy and Cissie Beckett. She was well known for her Republican sympathies and fell out with her family at the time of the rising. Her portrait of Arthur Griffith is in the Hugh Lane Gallery Collection. Important Irish Art 31st March 2010 12 11 May Guinness (1863-1955) Harbour Scene Watercolour, 29 x 23cm (11.5 x 9”) Signed €1000 - 1500 12 Gr ace Henry HRHA (1868-1953) Mending Nets, Chioggia Watercolour, 31 x 23cm (12.25 x 9”) Signed Dawson Gallery label verso Together with a catalogue, Grace Henry, The Person and Artist, by J.G. Cruickshank. Grace Henry visited Venice and nearby Chioggia with the writer and parliamentarian Stephen Gwynn in the 1920’s. It has been noted for being one of the happiest periods in her eventful life judging from the many exceptional pictures that she produced whilst on her travels. €2000 - 4000 13 13 Gr ace Henry HRHA (1868-1953) Little Waves, Achill Oil on canvas, 37 x 44.5cm (14.5 x 17.5”) Signed €7000 - 10000 Grace Henry was the subject of a very successful retrospective at Jorgensen Fine Art in January of this year. Much of Grace Henry’s output is characterized by a lyrical quality. In this Landscape, for example, there is an emphasis on the curvilinear which, while respecting the topography of the scene, emphasizes a gentle design aspect. In this she was, in her own words, ‘in revolt against the waning inspiration of an outworn impressionism,’ which typified much art of her time. She, on the other hand, preferred to think of a painting as ‘an arrangement of colours and planes on a flat surface, not a hole in the wall through which nature is seen more or less uncritically’ (‘Grace Henry’, Father Mathew Record, November 1942, p.4). She also preferred, as in this work, to juxtapose fairly large masses of colour and form with one another so as to give solidity to the composition. But there is too in her work a vivacity, at times an almost irresponsible gaiety and, as the Irish Times (15 August 1953) noted shortly after her death, her best work was always ‘highly individualistic, and free from conventional inhibitions.’ All these qualities can be seen in this Landscape, which is possibly a scene near Achill Sound, although of this one cannot be certain. Dated 1915-19 on stylistic grounds and with regard to the fact that the artist left Achill Island late in the latter year. Dr. S.B. Kennedy Important Irish Art 31st March 2010 14 14 Evie Hone HRHA (1894-1955) Design for Stained Glass Window in the Church of The Immaculate Assumption, Farm Street, London Gouache and wax crayon, triptych, 45.8 x 8.4cm each (18 x 3.25”) Inscribed ‘The Assumption’ Dawson Gallery label verso Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €1500 - 2500 15 Evie Hone HRHA (1894-1955) St. Francis in the Garden Gouache, lancet shaped, 26 x 7cm (10.25 x 2.75”) and Blessed Virgin Mary and St. Gabriel, 3 light window designs by the same hand together with three further works that are thought to be possibly by the same hand including: Women at the Well & Continental Monotype (6) unframed Provenance: Leo Smith, The Dawson Gallery, Dublin, and thence by descent €500 - 700 15 16 Barry Castle (1935-2006) Soldier of the Lord Oil on board, 122 x 68.5cm (48 x 27”) Signed and dated ‘94, inscribed with title verso Exhibited: “Autumn Exhibition”, The Frederick Gallery, November 2000, catalogue no. 65, where purchased by the current vendor. €3000 - 5000 Important Irish Art 31st March 2010 16 17 Martin Mooney (b.1960) Still Life with Leeks Oil on canvas, 90 x 121cm (35.5 x 47.5”) Signed, inscribed with title verso and dated 1997 Provenance: Purchased in May 1998 at a charity sale in aid of “Camphill Communities of Ireland” by the current owner €8000 - 12000 17 18 Martin Mooney (b.1960) Still Life with Chinese Vase Oil on canvas, 60 x 120cm (24 x 48”) Signed, also signed, inscribed, dated 2000 and numbered MM209 verso Exhibited: Martin Mooney Exhibition, The Solomon Gallery, Dublin, Oct/Nov 2000 where purchased Literature: Full page illustration in the accompanying catalogue €10000 - 15000 Important Irish Art 31st March 2010 18 19 Martin Mooney (b.1960) Still Life Study with Flower Oil on board, 23.5 x 32cm (9.75 x 12.5”) Signed with initials and dated ‘05. Signed again and inscribed with title verso €2000 - 3000 19 20 Maeve McCarthy RHA (b.1963) Supermarket Asparagus Oil on canvas, 25.5 x 30.5cm (10 x 12”) Signed and dated ‘03 Exhibited: Royal Hibernian Academy Annual Exhibition 2004, catalogue no. 264, where purchased by the current owner €700 - 1000 Important Irish Art 31st March 2010 20 21 Brian Ballard RUA (b.1943) Still Life with Lemons & Jug Oil on canvas, 39 x 49cm (15.25 x 19.25”) Signed and dated ‘07 €2000 - 4000 22 Brian Ballard RUA (b.1943) Irises and Fruit Oil on board, 24.5 x 34.5cm (9.75 x 13.5”) Signed and dated ‘98 €1500 - 2000 21 23 Brian Ballard RUA (b.1943) Seated Figure with Flowers Oil on board, 58.5 x 44cm (23 X 17.25”) Signed and dated ‘96 €2000 - 3000 Important Irish Art 31st March 2010 22 24 John Doherty (b.1949) Eleana - Gets a Face Lift Acrylic on canvas, 30.5 x 46cm (12 x 18”) Signed, inscribed with title and dated ‘07 verso Exhibited: “John Doherty, New Twists and Turns” Exhibition, The Taylor Gallery, Dublin, March-April ‘07, Catalogue number 13, where purchased by the current owner. Literature: Full page illustration in accompanying exhibition catalogue €6000 - 8000 23 25 John Doherty (b.1949) The Channel Wader Acrylic on canvas, 56 x 61cm (22 x 24”) Signed, dated 2006 and inscribed with title verso Exhibited: The Royal Hibernian Academy, Annual Exhibition 2006, catalogue no 156, where purchased by the current owner. €8000 - 12000 Important Irish Art 31st March 2010 24 26 Blaise Smith (b.1967) Red Barn near Gowran Oil on gesso panel, 30.5 x 30.5cm (12 x 12”) Signed verso Exhibited: “Blaise Smith Exhibition” The Molesworth Gallery, June 2000, catalogue no. 3, where purchased by the current owner. €1000 - 2000 27 Blaise Smith (b.1967) Across Kilkenny Oil on gesso panel, 30.5 x 30.5cm (12 x 12”) Signed and inscribed on artist’s label verso Exhibited: “Blaise Smith Exhibition” The Molesworth Gallery, June 2000, catalogue no. 2, where purchased by the current owner. €1000 - 2000 25 28 Donald Teskey RHA (b.1956) Layer Tilt II Acrylic on paper, 76 x 76cm (30 x 30”) Signed and dated ‘08. Inscribed artist’s label verso €10000 - 15000 Important Irish Art 31st March 2010 29 Tony O’Malley HRHA (1913-2003) The Cloister of Montregan, Bahamas Acrylic on canvas, 120 x 89cm (47 x 35”) Signed with initials, dated 1/ 1980 Provenance: Acquired directly from the artist’s studio; Solomon Gallery, Dublin; Private collection, Dublin. Painted during one of O’Malley’s many summer visits to the Bahamas, The Cloister of Montregan, Bahamas is a vivid composition that is typical of his work, with fields of colour and shapes and symbols that make up an abstracted bird’s eye view. Here a number of colourful elements hint at manmade structures, from the overall division of the canvas into sections that can be viewed as rooms, to smaller details such as a door like shape in the top right. The ecclesiastical nature of these structures is evident from two Chi Rho symbols on the left side of the picture plain. Made up from the first two letters of the ancient Greek word for Christ, the emblem has been used in Christian iconography for centuries, and is probably best recognised by an Irish audience from a carpet page in the Book of Kells. O’Malley embeds the Chi Rhos in the composition, along with vibrant forms that imply foliage and architectural elements, suggesting the ubiquitous Christian devotion of daily monastic life. Yet the subtle incorporation of these emblems into a bright ground of colourful forms gives the composition an overall decorative appeal that transcends religious conviction. €35000 - 45000 27 Important Irish Art 31st March 2010 28 30 Tony O’Malley HRHA (1913-2003) Crow Country 1980 Gouache and pumice on paper, 20 x 27.5cm (8 x 10.8”) Signed with initials and dated 8/80, signed again, inscribed with title and artist’s self portrait device Exhibited: “Tony O’Malley Exhibition”, Irish Museum of Modern Art, July 2001 - January 2002 Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €1500 - 2500 31 Tony O’Malley HRHA (1913-2003) Winter Fields 1973 Gouache, 64 x 49cm (25.25 x 19.25”) Signed and inscribed with title and dated 1/73 Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €2000 - 4000 29 32 Tony O’Malley HRHA (1913-2003) Mirror at Allen’s Cottage, New Mill (Self Portrait) Gouache on paper, 39.5 x 28cm (15.5 x 11”) Signed, inscribed with title and second title “Self Portrait”, and dated 20/5/77 Exhibited: “Tony O’Malley Exhibition”, Irish Museum of Modern Art, July 2001 - January 2002 Provenance: From the McClelland Collection, and on loan to IMMA from 1999 - 2004 €2500 - 3500 Important Irish Art 31st March 2010 30 33 Tony O’Malley HRHA (1913-2003) Autumn and Black(1976) (Winter Lines) Gouache, 42 x 29cm (16.5 x 11.5”) Signed with initials, inscribed with title “Winter Lines” and dated Nov’ 76 Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €1200 - 1600 34 Tony O’Malley HRHA (1913-2003) 2 Birds, St. Martin’s (1974) Gouache on paper, 18 x 25.2cm (7 x 9.8”) Signed with initials, dated 3/74 and inscribed with title Exhibited: “Tony O’Malley Exhibition”, Irish Museum of Modern Art, July 2001 - January 2002 Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €1500 - 2500 31 35 Patrick Scott HRHA (b.1921) Little Girl Oil on canvas, 51 x 61cm (20 x 24”) Signed, signed again and inscribed with title verso Exhibited: Irish Exhibition of Living Art 1958, catalogue no. 91 €5000 - 7000 Important Irish Art 31st March 2010 32 36 Patrick Scott HRHA (b.1921) Gold Painting 4/93 Tempera and gold leaf on linen, 60.5 x 60.5cm (24 x 24”) Signed and inscribed with title verso €2500 - 3500 37 Patrick Scott HRHA (b. 1921) Tangram IV (2005) Carborundum and gold leaf, 66 x 76cm (26 x 30”) Signed and numbered 58/75 Provenance: The Taylor Galleries, Dublin, where purchased by the current owner. €1000 - 1500 33 38 Patrick Scott HRHA (b.1921) The Irish Border Tempera on canvas, 61 x 61cm (24 x 24”) Signed, inscribed with title and dated ‘87 verso €1500 - 2500 Important Irish Art 31st March 2010 34 39 Martin Gale RHA (b.1949) Sheltering Man Oil on canvas,40 x 50cm (15.75 x 19.75”) Signed Exhibited: Martin Gale Exhibition, The Taylor Gallery, Dublin , October 2006, catalogue no. 4 Literature: Full Page Illustration in the accompanying catalogue €2000 - 4000 35 40 Martin Gale RHA ( b.1949) A Search Oil on canvas, 76 x 76cm (30 x 30”) Signed and dated 1999 Exhibited: Festival Art Exhibition, 1999 €3000 - 5000 Important Irish Art 31st March 2010 41 Colin Middleton RHA MBE (1910-1983) El Nene I Oil on canvas, 51 x 61cm (20 x 24”) Signed with artist’s device, signed again and inscribed with title verso Provenance: John Ross & Co. Belfast, 7th June 2000, catalogue no. 170, where purchased by the current owner. There are occasions when Colin Middleton’s background as a damask designer created problems in his work as a painter, but in the later work in particular, he is skillfully able to draw on it to enhance rather than overbalance a composition. Pattern does dominate El Nene but the figures do not lose their solidity and weight nor does the space ever become too flat. The abstract coherence of the mother and child gives them a greater universality because they do not become too particular. Middleton’s post-war work had often created women who were inextricably a part of the landscapes they inhabited. By the 1960s this had become less emotive and more detached, as he abstracted the female form to a point at which it became a synthesis of the natural landscape and womankind, invested with the monumentality and fecundity that we see in this work. Dickon Hall €20000 - 30000 37 Important Irish Art 31st March 2010 38 42 Ger ard Dillon (1916-1971) A Flower for my Sweetheart Linocut, 11.5 x 19cm (4.5 x 7.5”) together with a Christmas card with three drawings on a Waddington Gallery catalogue inscribed “To Leo, A Happy Xmas old boy and all that” and dated 1960 & a print possibly by the same hand (3) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €300 - 500 43 Nano Reid (1900-1981) Guitar Watercolour, 20.5 x 12.6cm (8 x 5”) Inscribed with title also inscribed within “Best of luck/Nano” together with Birds in the Meadow Watercolour, 17 x 14cm (6.75 x 5.5”) Signed inside card (2) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €400 - 600 39 44 Romeo Charles Toogood RUA ARCA (1902-1966) Smithfield 1951 Oil on board, 110 x 184cm (43 x 72.5”) Signed with initials. Bearing brass plaque with inscription Romeo Toogood studied at the Belfast School of Art and the Royal College of Art in London. Returning to his home town of Belfast in 1930 he joined a small group of artists known as the Ulster Unit, and taught at various high schools and institutes including the Belfast College of Art where his students included Terence Flanagan and Basil Blackshaw. Toogood’s work was exhibited at the RHA, Ulster Academy of Arts, RUA and the Piccolo Gallery in Belfast. Following his death retrospectives were held by the Arts Council of Northern Ireland (1978) and the Bell Gallery (1989). €2000 - 4000 Important Irish Art 31st March 2010 45 George Campbell RHA (1917-1979) My Cat & Flowers Oil on board, 75 x 62.5cm (29.5 x 24.5”) Signed. Inscribed with title verso Original gallery label verso Exhibited: The Ritchie Hendriks Gallery, Dublin, July 1963 There is a wonderful photograph of two men in a boat, one rowing the other holding onto a cat. These two men are Gerard Dillon, the rower, and George Campbell, the cat-lover. The photo was taken in 1951 by James MacIntyre, a young artist who spent a summer painting with Campbell and Dillon on the island of Inishlacken off the west coast. He wrote a lovely account of this in his book, Three Men on an Island, where he tells us that the large white and ginger cat was known as Suzy Blue Hole, ‘discerningly named because of the colour of part of her anatomy’! Both George and his wife, Madge, were keen on cats; their home featured many feline touches and George often painted cats. When Dillon came to paint a portrait of Madge, he posed her sitting with a cat on her lap. Painted in the early 1960s, My Cat and Flowers is typical of the way George was working at that time. It displays a fascination with underlying patterns and rhythms; both the cat and the flowers are seen in planes of colour rather than realistically. He looks at his subjects, analyses and reassembles them and represents them with a tessellated finish. He was apt to describe his west of Ireland landscape as ‘Connemara-tweed landscapes’ and ‘ Donegal-tweed landscapes’, that is, that they took on the appearance of the warp and weft of a piece of textured fabric. He treats this still-life in a similar manner. The knowingness of the cat’s eyes as he fixes his look upon us is quite startling; in a sense, we, the viewers, become the subject of the painting. I am reminded of Lewis Carroll’s Cheshire Cat grinning at Alice as he appears and disappears at will, engaging her in amusing but sometimes vexing conversation.and of George’s comment on figures in his work : ‘I paint my figures merging - now you see me, now you don’t - poised on the edge of something - probably nothing important.’ Síle Connaughton-Deeny, March 2010 41 Important Irish Art 31st March 2010 42 47 46 Marion King (1897-1963) La Charmeuse de Legendes Reverse painted on glass and contained within a fretwork frame, 75 x 45cm (29.5 x 17.75”) Signed Inscribed artist’s exhibition label verso Trim born Marion King was something of an inventor with her technique of painting on glass which caused quite a stir in artistic circles. For information on her technique and her life see Theo Snoddy Dictionary of Irish Artists. €800 - 1200 47 Melanie le Brocquy HRHA (b.1919) The School Outing Painted plaster relief plaque, 20 x 23cm (8 x 9”) Signed 46 €500 - 700 43 48 Mary Dor an (fl.1920-30’s) Inspiration Champleué enamel plaque on copper, 20 x 18cm (8 x 7.25”) Exhibited: The 4th Arts & Crafts Society of Ireland Exhibition, 1910 Irish Art Exhibition, Brussels, May 1930 Provenance: From the estate of the late Patrick McElroy A student of Oswald Reeves’ at the Dublin Metropolitan School of Art. A piece by her can be found in the Royal Collection. €2000 - 4000 Important Irish Art 31st March 2010 44 49 John Behan RHA (b.1938) 50 John Behan RHA (b.1938) The Children of Lir Bronze, 32cm high including base (12.5”) Flight of Birds Bronze, 45cm high including base (17.75”) €2000 - 3000 €3000 - 5000 45 51 John Behan RHA (b.1938) Ghost Ship Bronze, 57cm high, 59cm long (22 x 23.25”) €5000 - 8000 Important Irish Art 31st March 2010 46 52 Gerda Frömel (1931-1975) Disc (with Lozenge) Bronze on a marble base, 38.5cm diameter (15.2”) Exhibited: Gerda Frömel Retrospective Exhibition, Hugh Lane Gallery, Dublin, June 1976, Cat. No. 40 €2000 - 4000 53 Imogen Stuart RHA (b.1927) King Laoghaire Greets Saint Patrick Carved wooden disc mounted on handmade paper, 16 x 15cm (6.25 x 6”) Signed, inscribed label verso Provenance: From the estate of the late Patrick McElroy €500 - 700 47 54 Catherine Greene (b.1960) Harlequin on Horse Bronze, 55.5cm high (21.75”) Signed with initials, numbered II/V and dated ‘05 €3000 - 4000 Important Irish Art 31st March 2010 48 55 Edward Delaney RHA (1930-2009) Walking Girl Silver alloy on a marble base, 17cm high overall (6.75”) Stamped with initials €1500 - 2000 56 Edward Delaney (1930-2009) Figures and Horse Mixed media, 56 x 80.5cm (22 x 31.75”) This work comes from a series of work by Delaney called the “Cuchulainn Suite” that were exhibited at the Davis Gallery Sept. 1972 €400 - 600 49 57 Ana Duncan (20th/21st Century) Seated Woman Bronze on a tall black marble base, 38.5cm (15”) overall Signed and numbered 3/ 9 €800 - 1200 58 John Coll (20th/21st Century) Head of Samuel Beckett Bronze, 30.5cm (12”) high Provenance: From the Estate of Dr. Carmel Long and Richard Dennis Esq. €1500 - 2500 Important Irish Art 31st March 2010 59 Sean Keating PRHA HR A HRSA (1889 - 1977) (Don) Quixote Oil on canvas, 81 x 102cm (32.2 x 40.25”) Signed €15000 - 20000 Provenance: Victor Waddington Gallery Dublin, 1932; Carnegie Institute, Pittsburgh, 1933; Irish Art Rooms, New York 1934/1946; returned to Ireland with Victor Waddington 1947; Victor Waddington Gallery Dublin, 1952; Seán Keating Retrospective, Municipal Gallery of Art, Dublin, 1963; private collection. Miguel de Cervantes published the first part of Don Quixote in 1605, followed by a second volume in 1615, and ever since the central eponymous and comical character has been popular as a satirical metaphor for those not enamoured of the political classes, or of the self-satisfied. Formerly Alonso Quijano, the delusional old man read so many chivalric novels that he lost his mind. Led by his over-ripe imagination, he decided to transform himself into a knight. He created a cardboard helmet and found himself an ancient horse and an old suit of armour. In the guise of Don Quixote he took to the road to live out a series of catastrophic events, but none of which related to chivalry. Along the way he acquired the services of an elderly assistant, Sancho Panza, otherwise known as the magician, whose role was initially self-serving, yet ultimately he helped his master through the reality of the terrible tribulations that they encountered. For Seán Keating the artistic and allegorical possibilities offered by literature were endless. A fluent French speaker, his interest in all things Spanish was ignited on meeting his future wife, May Walshe, in 1916. Raised in a convent in Spain, May was so immersed in the culture that the language of her dreams was Spanish. The first image in a series of three relating to Don Quixote was El Prestigiador Despojado (The Magician), a portrait of Sancho Panza, which was painted by the artist in 1918. It is now in the collection of the Crawford Gallery in Cork. Keating did not return to the theme again until the late 1920s, and when he did, it was Don Quixote’s character that offered him the opportunity to allegorically critique the business and political classes at home and abroad. He painted the first of two versions of the unlucky knight in 1927, and sent it immediately to the Carnegie Institute in Pittsburgh and to several exhibitions in New York. It is a quiet and contemplative painting in which Don Quixote sits in an undefined interior setting, his hand on his cardboard helmet, thinking about his supposedly chivalric deeds. It proved extremely popular as a readily recognisable metaphor for the self-satisfied during the financially problematic years of the 1920s and 30s. In 1932 Keating painted this second version of Don Quixote. It is a lively and expressive composition, which finds the self-constructed hero amid an extraordinary setting that may relate to the second volume of the novel. Don Quixote is seated beneath a banner. It bears a full coat of heraldic arms that identifies the sitter as a knight. He is portrayed in the manner of a Renaissance hero, complete with the accoutrements of his apparent success: sword, helmet and book of knowledge. In the background there is a walled town, possibly Toledo, an ancient citadel replete with emblematic and symbolic chivalric meaning. The irony for Keating, and for the audience familiar with the story, is that the seemingly impressive portrait and symbolic location is the ultimate apotheosis of Don Quixote’s wild imagination. When transposed into the Irish, or even the international context, the image, like the first version, offers a range of allegorical possibilities. As the painting was produced in the year that Cumann nGaedhael lost power to Fianna Fáil, it can be justifiably understood as a metaphorical critique of the political classes, who, as far as the artist was concerned, had failed to fulfil the promise of the Treaty of Independence. For its painterly style, use of colour and exterior setting, this second version of Don Quixote has far more in common with El Prestigiador Despojado (The Magician) than the earlier, interior image. Don Quixote is described in the novel as tall and gaunt. Keating always chose his models to suit the character he wanted to portray. In this instance, he used a man with suitable physical attributes from among those that modelled the Dublin Metropolitan School of Art. The same man appears in both versions of Don Quixote and in Quixote Model’s Interval (1927) (private collection) and Good Old Stuff (1928) (private collection). Dr Éimear O’Connor TRIARC-Irish Art Research Centre, TCD. Dr O’Connor recently published Seán Keating in Context: responses to culture and politics in post-civil war Ireland, in which she compiled and contextualised all of the artist’s writings and broadcasts from 1924/1972, and Seán Keating in Focus, the catalogue for the eponymous exhibition at the Hunt Museum in Limerick (June-September 2009). O’Connor is working on a monograph of Keating to be published in 2012, after which she intends to publish a catalogue raisonne. She would be very grateful to receive all information about the artist and his work. She can be contacted at TRIARC-Irish Art Research Centre, Provost’s Stables, Trinity College, Dublin 2, or at [email protected] 51 Important Irish Art 31st March 2010 52 60 Muriel Br andt RHA (1909-1981) The Pink Nightdress Oil on board, 25 x 19cm (9.75 x 7.5”) Signed Inscribed artist’s label verso €1000 - 2000 61 Estella Solomons HRHA (1882-1968) Portrait of a Girl Oil on canvas, 51 x 40.5cm (20 x 16”) Provenance: The artist’s studio Exhibited: Estella Solomons Exhibition, The Crawford Gallery, Cork 1986, Cat. No. 99 €2000 - 3000 53 62 Manner of James Barry R A (1741-1806) Portrait Of A Gentleman, believed to be Alexander Pope Oil on canvas, 59 x 47cm (23.25 x 18.5”) Provenance: From a Private Dublin Collection €2000 - 4000 63 Sar ah Purser HRHA (1848-1943) Portrait of a Lady with a Scarf Oil on board, 44.5 x 35.5cm (17.5 x 14”) Provenance: The Artist’s Family Exhibited: “Nathaniel Hill and the Bretons” Exhibition, Milmo Penny Fine Art, Dublin, 2007 €2000 - 3000 Important Irish Art 31st March 2010 54 64 William Sadler (18th/ 19th Century) Figures before the Sugar Loaf; Stormy Landscape Oil on panel, a pair, 18 x 28cm (7 x 11”); 18 x 27cm (7 x 10.5”) (2) €1500 - 2000 65 William Sadler (18th/ 19th Century) Extensive Mountain Landscape Oil on panel, 28 x 45cm (11 x 17.5”) €1400 - 1800 55 66 James Arthur O’Connor (1792-1841) River Landscape with Figure Sitting on Rocks Oil on canvas, 38 x 54cm (15 x 21.25”) Signed, dated indistinctly €5000 - 6000 Important Irish Art 31st March 2010 56 67 Edwin Hayes RHA RI ROI (1819-1904) Storm Brewing Oil on canvas, 30.5 x 50.5cm (12 x 19.75”) Signed and dated indistinctly €3000 - 4000 68 Edwin Hayes RHA RI ROI (1819-1904) Fishermen in an open boat off a pier Oil on canvas, 24 x 40cm (9.5 x 16.75”) €2500 - 3500 57 69 Edwin Hayes RHA RI ROI (1819-1904) Shipwreck on a shore, with sailing ships in a bay Oil on canvas, 41 x 61cm (16.25 x 24”) Signed indistinctly, also with indistinct signature and inscription on stretcher and label fragment verso €6000 - 8000 Important Irish Art 31st March 2010 58 70 Edwin Hayes RHA RI ROI (1819-1904) Fishing Boat Unloading on the Shore; Wave Study Oil on board, a pair,13.5 x 22cm (5.25 x 8.75”); 13 x 22cm (5 x 8.75”) Signed (2) €2000 - 3000 71 Edwin Hayes RHA RI ROI (1819-1904) Coastal Study with Sailboat in the foreground Oil on board, 16 x 29.5cm (6.25 x 11.5”) €600 - 800 59 72 Edwin Hayes RHA RI ROI (1819-1904) Rocks off Greystones, Co. Wicklow Oil on board, 13.5 x 25cm (5.25 x 9.75”) Signed €1500 - 2500 73 Edwin Hayes RHA RI ROI (1819-1904) Sailboats off the Coast, The Baily, Howth Oil on board, 14 x 39cm (5.5 x 15.25”) Signed €1500 - 2500 Important Irish Art 31st March 2010 60 74 Edwin Hayes RHA RI ROI (1819-1904) Near Naples Oil on board, 22 x 5.5cm (8.75 x 2.5”) Signed and dated 1880 €500 - 700 75 Edwin Hayes RHA RI ROI (1819-1904) A view towards Liverpool Oil on board, 15 x 30cm (6 x 11.75”) Signed, also signed verso €1000 - 1500 61 76 Thomas Rose Miles RCA (fl.1869-1910) “Rising Wind and Sea” (off Sheerness) Oil on canvas, 40 x 66cm (16 x 26”) Signed, and also signed and inscribed with title verso. €2000 - 3000 Important Irish Art 31st March 2010 62 77 Thomas Rose Miles RCA (fl.1869-1910) Evening, Kilkieran Bay Oil on canvas, 55.5 x 91.5cm (22 x 36”) Signed, also signed and inscribed with title verso €4000 - 6000 63 78 Thomas Rose Miles RCA (fl.1869-1910) Weed Gatherers, Bertraghboy Bay, Connemara Oil on canvas, 53 x 91cm (21 x 36”) Signed, inscribed with title verso €4000 - 6000 Important Irish Art 31st March 2010 64 79 Alfred Nicholson (1788-1840) A sketchbook with a quantity of sketches of Dublin Bay, Howth, Lough Gill, Sligo from Hazelwood and Holywell and Glencar Waterfall and surrounding area (over 40 drawings) Pencil, 28 x 15.5cm (11 x 6.25”) Signed, inscribed “Nassau Street, Dublin, 2nd August 1816” on cover Son of painter Francis Nicholson, Alfred lived in Ireland between 1813-17 €400 - 600 80 William Henry Bartlett (1858-1932) Barge on the River Oil on board, 12 x 21cm (4.75 x 8.25”) Signed and dated (18)’92 €800 - 1200 65 81 James Humbert Cr aig RHA RUA (1878-1944) Donegal Lanscape Oil on canvas 49.5 x 59..5cm (19.5 x 23.5”) Signed €7000 - 10000 Important Irish Art 31st March 2010 66 82 David Hone PPRHA (b.1928) Evening, Venice Oil on board, 15 x 25cm (6 x 9.75”) Signed Inscribed original exhibition label verso €800 - 1200 83 David Hone PPRHA (b.1928) The Lagoon, Venice Oil on board, 21 x 25cm (8.25 x 9.75”) Signed €800 - 1200 67 84 Thomas Ryan PPRHA (b.1929) Bridge on the Broadmeadow River Oil on canvas, 36 x 24cm (14 x 9.5”) Signed. Signed again, numbered 113 and dated ‘79 verso Inscribed studio label verso €1500 - 2500 Important Irish Art 31st March 2010 68 85 Kenneth Webb RUA (b. 1927) East Ferry (Cork) Oil on Canvas 37 x 90.5cm (14.6 x 35.7”) Signed €2500 - 3500 86 Kenneth Webb (b. 1927) The Hunt (Possibly St. Stephen’s Day Hunt) Mixed media 38 x 30cm (15 x 11.8”) Signed €1200 - 1500 69 87 Kenneth Webb (b. 1927) Macroom Castle Oil on canvas 37 x 90.5cm (94.6 x 35.7”) Signed €3000 - 4000 Important Irish Art 31st March 2010 70 88 John Coyle RHA (20th/ 21st Century) Ballyvaughan Oil on board, 35 x 45cm (13.75 x 17.75”) Signed. Inscribed with title verso €1500 - 2000 89 Rosaleen Brigid Ganley RHA (1909-2002) A Dark Day (Holmston Avenue) Oil on board, 39 x 49.5cm (15.5 x 19.5”) Signed €800 - 1200 71 90 Richard Kingston RHA (1922 - 2003) Landscape Watercolour, 45 x 59cm (19.25 x 23.25”) Signed €1200 - 1800 Important Irish Art 31st March 2010 72 91 Nathaniel Hone RHA (1831-1917) Sketch at Constantinople Pencil and watercolour mounted on card, 10.4 x 17.4cm (4.2 x 6.75”) Stamped with studio monogram together with four further watercolour landscapes thought to be by the same hand (one with studio stamp) (5) Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €600-800 92 Mícheál MacLiammóir (1899-1978) Costumes Design for “Full Moon for the Bride” One pencil / one watercolour, 40 x 30cm each (15.75 x 11.75”) Signed on the front Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €300-500 73 93 Nathaniel Hone RHA (1831 - 1917) Cattle on Foreshore with Ruins in the distance (Malahide) Oil on canvas, 29.5 x 45.5cm (11.5 x 18”) Signed with initials €5,000 - 7.000 Important Irish Art 31st March 2010 94 Jack B. Yeats RHA (1871-1957) Downpatrick Head, Co. Mayo Oil on board, 23 x 35.5cm (9 x 14”) Signed Provenance: Leo Smith, November 1946 Sir Hugh Beaver; thence by descent to Mrs. C. Lawson-Tancred; Christies, 17th November 1978, lot 164 Exhibited: Dublin, Stephen’s Green Gallery, Drawings and Paintings of Life in the West of Ireland, February-March 1921, no.13 Literature: Hillary Pyle, Jack B. Yeats; A Catalogue Raisonné of the Oil Paintings I, London, 1992, no.11, p.12 Hillary Pyle has described the view (pp.11-12), “Downpatrick Head, five miles north-east of Ballycastle, lies on the right horizon, with the spectacular Doonbristy - the cliff with promontory fort cut off at the end of the Head - in the centre” €20000 - 30000 75 Important Irish Art 31st March 2010 76 95 Alexander Williams RHA (1846-1930) At Red Island, Skerries, Co. Dublin Watercolour, 30 x 54cm Signed and inscribed with title €1,000 - 2,000 77 96 Fr ank McKelvey RHA RUA (1895-1974) Bog Road, Co. Mayo Oil on canvas, 37 x 50cm (14.5 x 19.75”) Signed €8,000 - 12,000 Important Irish Art 31st March 2010 78 97 George Russell Æ (1867-1935) Children Playing on a Beach with Ball Oil on canvas, 32 x 48cm (12.5 x 19”) €5,000 - 7,000 79 98 Jack Butler Yeats RHA (1871-1957) ‘In the Days of Chivalry’ - A Needle Affair (c.1902) Watercolour, 36 x 53.5cm (14.1 x 21”) Signed The backing board inscribed ‘To Leo/with best wishes/Dublin, November 1962/Victor” Provenance: Given by Victor Waddington to the Dawson Gallery owner in November 1962. Leo Smith and thence by descent. Exhibited: “Jack B. Yeats, Watercolours and Drawing Exhibition” The Dawson Gallery, November/December 1962, catalogue no. 19. “Jack B. Yeats Exhibition”North West Arts Festival organsied by Arts Council of Northern Ireland, Derry, April 1964, catalogue no. 11. May Festival Belfast, May 1964, catalogue no. 11. Literature: Pyle, Hillary; Jack B. Yeats, His Watercolours, Drawings and Pastels; IAP 1993, catalogue no. 421. Hillary Pyle has written: “The end of a jousting tournament at a country fair. It is heavily raining. Two men dressed as knights are losing their armour as they persist on cotinuing the fight, though their lances are broken and their horses have run away. The drawing has been dated 1894: but the style and subjectmatter suggest the period of the juvenile plays. The forms, particularly the horses, are sketched loosely in dark tones, lifted by a wash of pale green and pink.” The following Lots 120-126 are from the estate of Michael Butler Yeats, formerly a Senator and M.E.P, son of the poet W.B Yeats and grandson of the painter John Butler Yeats. They are from the family collections, passed down by inheritance, and have never been exhibited. They are now offered for sale by the executors of Michael Yeats. €6000 - 8000 Important Irish Art 31st March 2010 99 Patrick Hennessy RHA (1915-1980) Never Ending Summer Oil on canvas, 64 x 76cm (25.25 x 30”) Signed Exhibited: Ritchie Hendriks Gallery, Dublin. Original label verso In November 1964 at his annual exhibition at the Ritchie Hendriks Gallery, St. Stephens Green, Dublin, Patrick Hennessy exhibited 23 paintings with a broad spectrum of subject matter, the content of his travels from the previous year, the Irish countryside, still lives, rose studies, mementos from Spain, and a number of paintings of Moroccan objects and countryside, Morocco was becoming a greater part of Hennessy’s life and he was spending up to six months of the year there, avoiding the Irish winters for health reasons. The painting ‘The Never Ending Summer’ a landscape is probably a view existing only in Hennessy’s mind, a blue hazy sky, a dry arid vista with a high rocky mountain in the background dominating the centre of the canvas, a low shallow stretch of water clearly below normal level with sun bleached stones from the river bed completing the effect of a long dry period. The inclusion of a spray of brilliant red roses with luxuriant green foliage that dominate the foreground and contrasts sharply with the landscape is a Hennessy trademark and a device he used many times. The landscape has all the elements of a Hennessy capriccio. Kevin A. Rutledge €7000 - 10000 81 Important Irish Art 31st March 2010 82 100 Gr ace Henry HRHA (1868-1953) Statue in French Garden Oil on board, 33.5 x 26cm (13.25 x 10.25”) Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004. Previously in the collection of Judge Meredith. €1000 - 2000 101 Patrick Hennessy RHA (1915-1980) The Fruit & Flower Seller Watercolour, 21 x 28cm (8.5 X 11”) Signed and dated (19)’41 Our thanks to Kevin Rutledge for his assistance in cataloging this work. €1500 - 2000 83 102 Patrick Hennessy RHA (1915-1980) The Sanctuary Oil on board, 50 x 40cm (19.75 x 15.75”) Inscribed artist’s label verso Patrick Hennessy returned home to Ireland from Scotland in 1939 and after travel in France and Italy, he immediately commenced on a career as a full time artist. The painting ‘The Sanctuary’ dating from the early 1940’s depicts a stone statue framed on each side by evergreen trees. The building in the background and the water feature, are features of Kilruddery, Co. Wicklow, an Elizabethan revival mansion and the home of the Earl’s of Meath. The statue is placed in front of the end of one of the long canals where it dominates the full foreground, an air of decay is introduced by the crumbling wall and the invading briar, the colour is low key and muted, but the blue of the sky is reflected in the water brightening the painting. The statue is religious, possibly a saint rather than the Virgin Mary. The contraposto pose increases the effect of the dominance in the composition. The sleeveless arms and missing hands are thought provoking. Hennessy often introduced bizarre or cryptic elements in this type of painting particularly with statuary, e.g. ‘The Oracle’ from the National Gallery of Ireland’s collection. Early Hennessy’s were often bordering on the dreamlike or surreal. In this painting ‘The Sanctuary’ is being offered without hands. Kevin A. Rutledge €1000 - 2000 Important Irish Art 31st March 2010 84 103 Letitia Marion Hamilton RHA (1878-1964) Blossoming Cherry Trees, Summertime; (Study of a Venetian Villa on the Water verso) Oil on canvas, 42 x 48cm (16.5 x 19”) Signed with initials This is thought to be Belgrade €3000 - 5000 85 104 Letitia Marion Hamilton RHA (1878-1964) Glengarriff, Co. Cork (1941) Oil on canvas, 61 x 51cm (24 x 20”) Signed with initials Original inscribed artist’s exhibition label verso Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004 €3000 - 5000 Important Irish Art 31st March 2010 105 Paul Henry RHA (1876-1958) A Village in the West of Ireland (1941) Oil on canvas, 38 x 46cm (15 x 18”) Signed, also signed and inscribed with title verso Provenance : Artist’s studio till 1957; deVere’s, Dublin, June 1997; Private Collection, Dublin, Exhibited: “Recent paintings by Paul Henry” Exhibition Combridge’s Gallery Dublin Oct 1941 Cat. No. 7. “Paintings and charcoals: Paul Henry” Exhibition Waddington Galleries Dublin Feb - March 1952 Cat. No. 14. “Paul Henry Exhibition” The Studio,Bray Nov 1956 Cat. No. 13 “Paul Henry Retrospective Exhibition” The Ritchie Hendriks Gallery Dulin/ Belfast Museum and Art Gallery May - July 1957 Cat. No. 12 “Paul Henry Exhibition” Shannon Airport August 1957 Cat. No. 12 Literature: Kennedy,S.B., Paul Henry, Yale 2007, p.302 Dr. S.B.Kennedy writes that this painting was almost certainly painted in the spring of 1941 when Paul Henry stayed for a time in Co. Kerry. Numbered 1020 in Dr. Kennedy’s ongoing Catalogue Raisonne. €45000 - 55000 87 Important Irish Art 31st March 2010 88 106 Mark O’Neill (b.1963) In the Potting Shed Oil on board, 62.5 x 56.25cm (24.5 x 22”) Signed and dated 1999 Exhibited: Mark O’Neill Mini Exhibition, The Frederick Gallery, October 1999 where purchased by current owner. €3000 - 5000 89 107 Mark O’Neill (b.1963) Gardens Green Oil on board, 48.5 x 64.5cm (19 x 25.4”) Signed and dated 1999 Exhibited: Mark O’Neill Mini Exhibition, The Frederick Gallery, October 1999 where purchased by current owner. €3000 - 5000 Important Irish Art 31st March 2010 90 108 Walter Verling HRHA (b. 1939) Back Garden Oil on board 27 x 34cm (10.5 x 13.5”) Signed €800 - 1200 109 Anita Shelbourne RHA (b.1938) Beehive Hut, Slea Head, Co. Kerry Oil on board, 30 x 23cm (12 x 9”) Signed. Inscribed with title verso €800 - 1200 91 110 Brian Bourke HRHA (b.1936) Knock-a-lough Winter 1977-78 Oil on paper laid on board, 66 x 51cm (26 x 20”) Exhibited: Brian Bourke Exhibition, The Taylor Galleries, Dublin, October 1978, catalogue no. 21, where purchased by Mr. W.M. Roth Provenance: From the collection of William and John Roth and their sale, Christies, May 2004, catalogue no. 90, where purcahased by the current owner €1500 - 2500 Important Irish Art 31st March 2010 92 111 Neil Shawcross RHA RUA (b.1940) Telephone Mixed media on board, 42 x 53.5cm (16.5 x 21”) Signed and dated 2003 €2500 - 3500 112 Neil Shawcross RHA RUA (b.1940) Green Tea Acrylic on board, 23 x 27.5cm (9 x 10.75”) Signed and dated 2001 €1500 - 2000 93 113 Neil Shawcross RHA RUA (b.1940) Travelling Man (2003) Mixed media on canvas, 73 x 63cm (28.75 x 24.75”) Signed €2000 - 4000 Important Irish Art 31st March 2010 94 114 Neil Shawcross RHA RUA (b.1940) Female Nude in a Yoga Position Watercolour and charcoal, 80 x 91cm (31.5 x 36”) Signed and dated 1993 €2500 - 3500 95 115 William Crozier HRHA (b.1930) Yellow Box Oil on canvas, 58 x 75cm (22.75 x 29.5”) Signed, signed again and inscribed with title verso €6000 - 8000 Important Irish Art 31st March 2010 96 116 Gr aham Knuttel (b.1954) At the Tribunal Oil on canvas, 56 x 66cm (22 x 26”) Signed €1000 - 2000 117 Gr aham Knuttel (b.1954) The Ganster’s Mole Pastel, 70 x 49.5cm (27.5 x 19.5”) Signed €800 - 1200 97 18 Gr aham Knuttel (b.1954) The Sinking of the Titanic Oil on canvas, 91.5 x 184cm (36 x 72.5”) Signed €4000 - 6000 Important Irish Art 31st March 2010 98 119 Noel Murphy (b.1970) The Moon (II) Acrylic on card, 8.59 x 26.5cm (11.5 x 10.5”) Signed Exhibited: “Noel Murphy Exhibition”, The Gorry Gallery, April 2000, catalogue no. 42 where purchased by the current owner. €1000 - 2000 120 Ross Wilson (b.1957) Night Poet, (Study of Seamus Heaney) Oil on board, 10 x 15cm (4 x 6”) Signed with initials and inscribed with title Exhibited: “Modern Ulster Exhibition”. The Eakin Gallery Oct / Nov 2000 Cat. No. 69 where purchased by current owner. €500 - 800 99 121 Roy Lyndsay (b.1945) Point-To-Point Meeting Oil on canvas, 39.5 x 94cm (15.5 x 37”) Signed Provenance: The Lyndsay Gallery, Dublin €4000 - 6000 Important Irish Art 31st March 2010 100 122 Mick O’Dea RHA (b.1958) Self-Portrait Charcoal, 40 x 55.5cm Signed, inscribed ‘Self-Portrait, Freagh Castle, Miltown Malbay’ and dated September 1983 verso €400 - 600 Mick O’Dea is the subject of a major article in the current Irish Arts Review. 123 Mick O’Dea RHA (b.1958) The Painter Seán McLeoud Pastel, coloured pencil and chalk, 75 x 54cm (29.5 x 21.25”) Signed with mongram and dated 15-11-84 €600 - 800 101 124 Desmond Hickey (1927-1998) Still Life with Fish, Newspaper and Matchbox Oil on canvas laid on board, 35.5 x 41cm (14 x 16.25”) Signed Provenance: The Lyndsay Gallery, Dublin €1500 - 2000 Important Irish Art 31st March 2010 102 125 John Shinnors (b. 1950) St. John’s Square Triptych 18 x 14.5cm each (7.2 x 5.75”) Signed verso on panel III Exhibited: “John Shinnors Exhibition”, The Taylor Gallery, Dublin, May 2007 where purchased by the current owner Literature: Full page illustration in accompanying catalogue €5000 - 7000 103 126 John Shinnors (b.1950) Crane, Cathedral, St. Johns Square Oil on canvas, 29.5 x 29.5cm (11.5” x 11.5”) Signed and inscribed verso with title €3500 - 5000 Important Irish Art 31st March 2010 104 127 Sean Scully (b.1945) Dark Fold Aquatint, 102 x 72cm (40.2 x 28.5”) Signed, inscibed with title, dated ‘03 and numbered 28/40 Provenance: The Kerlin Gallery, Dublin, where purchased by the current owner. €1500 - 2500 105 128 Sean Scully (b.1946) Standing 2 Woodcut, printed in colours on japon paper, 100 x 74.5cm (39.5 x 29.5”) Signed, titled and numbered 3/35, dated ‘86 €2000 - 4000 Important Irish Art 31st March 2010 106 129 Felim Egan (b.1952) Tide Song B Mixed media on board, 24 x 24cm (9.5 x 9.5”) Signed and dated ‘06 verso Exhibited: Felim Egan Exhibtion, The Warren Gallery, Castletownsend, Cork, June 2006 €600 - 800 130 Maria Simonds Gooding ARHA (b.1939) The Day the Boat was Looking for the Dolphin Etching, 30 x 39cm (11.75 x 15.25”) Signed, inscribed with title and numbered 60/85 €200 - 300 131 Felim Egan (b.1952) Green Crest Acrylic and mixed media on canvas, 75 x 75cm (29.5 x 29.5”) Signed and dated ‘05 verso Provenance: The Kerlin Gallery, Dublin, where purchased by the current owner €2500 - 3500 107 Important Irish Art 31st March 2010 108 132 Louis le Brocquy HRHA (b.1916) 133 Louis le Brocquy HRHA (b.1916) Head of Samuel Beckett Aquatint, 39 x 39.5cm (15.25 x 15.5”) Signed and number HC 9/10 Head of Strindberg Lithograph, 77 x 57.5cm (30.25 x 22.75”) Signed and numbered 91/100 €1000 - 1500 €600 - 800 109 134 Louis le Brocquy HRHA (b.1916) Procession Lithograph, 56 x 77cm (22 x 30.5”) Signed and numbered 48/ 75 €1500 - 2000 Important Irish Art 31st March 2010 110 135 Nor ah McGuinness HRHA (1901 - 1980) The Terrace Table Oil on canvas, 56 x 71cm (22 x 28”) Signed Exhibited: Norah McGuinness Exhibition, The Dawson Gallery, Dublin, September 1975, catalogue no. 22 A painting which exudes confidence, The Terrace Table was painted by an artist at the top of her game. It is the work of a bon viveuse. With its ripe, rich colours, life bursts from the canvas. It might more fittingly be entitled Bien être et ce bien vivre. We have nature as beauty and as provider: the flower, the fruit and the wine. These sensuous experiences are all brought together in a sybaritic setting yet with the underlining innocence of a cloister. There is a stained-glass quality to the work, which is enhanced by the rather ecclesiastical colonnade in the background. Sensuality is further suggested by the relative lack of straight lines: all is curvilinear, rounded and lush. The viewer is invited to come sit and enjoy. The Fauves’ spontaneity and bold use of colour stayed with Norah McGuinness long after her time in Paris. We also see her foreshortened perspective and her trademark use of flat areas of patterning. There is boldness in the colours, in the composition and, most tellingly, in the contrasts: between light and shade, between man and nature. The purity of the white lily, for instance, as opposed to the lushness of the fruit and wine. It is these juxtapositions which cause the painting to vibrate as the eye jumps from element to element. There is also a tension, a dynamic set up by the use of the threshold between the interior and the garden. The pull between interior/exterior, between connection/separation is almost an established protagonist in this mise-en-scène awaiting its human players. The foreground items are on display: for God or Mammon, on an altar or a stage? The viewer must decide. Síle Connaughton-Deeny, March 2010 €12000 - 18000 111 Important Irish Art 31st March 2010 112 136 Michael Healy (1873-1941) Dubliners Watercolour, a set of three, 15.3 x 10cm (6 x 4”) together with a larger version (4) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €600 - 800 137 Michael Healy (1873-1941) Dubliners Watercolour, a miscellaneous set of six, various sizes (6) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €600 - 800 113 138 Evie Hone HRHA (1894-1955) In the Woods at Marley Watercolour, 36 x 26.5cm (14 x 10.5”) Dawson Gallery label verso €1000 - 1500 Important Irish Art 31st March 2010 114 140 Harry Kernoff RHA (1900-1974) A Summers Day, Stephen’s Green, Dublin Oil on board, 60 x 74cm (23.6 x 29”) Signed. Inscribed with title and artist’s address verso Watercolour version Exhibited: Royal Hibernian Academy, Dublin, 1950, Cat. No. 160 Provenance: From the collection of the late Dr M Mcloughlin, who studied medicine at the Royal College of Surgeons and worked in Dublin thereafter before emigrating to Cape Town South Africa after the Second World War. Born in London to Russian Jewish and Spanish parents, Harry Kernoff moved to Dublin at the age of fourteen and made it his home for life. Kernoff spent his days as an apprentice in his father’s furniture business, taking night classes at the Metropolitan School of Art under Sean Keating, and becoming the first night student to win the Taylor Art Scholarship in 1923. He first exhibited at the RHA just three years later, and continued to do so until the year of his death, becoming a full member of the academy in 1936. In that same year he held the first of three solo shows at the Victor Waddington Galleries (the others being in 1937 and 1940). Kernoff was active in many facets of the visual arts scene, designing sets and costumes for Dublin theatre productions, and executing portraits of literary figures and actors. His paintings, drawings and woodcuts of Dublin street scenes are significant not only for their artistic accomplishments but as historical records of the since changed capital. This view inside St. Stephen’s Green, however, is an example of one of Dublin’s landmarks that has retained its Victorian charm and continues to be a popular social backdrop for Dublin’s locals and visitors of all ages. We sold a watercolour version of this work in our Important Irish Art Sale, March 2004, catalogue no. 43, which sold for €17,000. €10000 - 15000 115 Important Irish Art 31st March 2010 116 141 Cecil King (1921-1986) Pendant (1971) Pastel, 33 x 15.5cm (13 x 6”) Signed Exhibited: Cecil King Exhibition, David Hendriks Gallery, Dublin, August 1973, Cat. No. 12 where purcahased Provenance: Collection of Mr. Des Ryan €500 - 800 142 Cecil King (1921-1988) Abstract Oil on card, 5.5 x 8cm (2.25 x 3.2”) Applied as a folded sheet of paper with inscription “Leo-/My Best Wishes/Cecil” together with Berlin Series Lithograph, 14 x 8.5cm (5.5 x 3.25”) Signed and numbered 2/100. Inscribed with title and greetings inside and “Abstract” gouache inscribed by the artist and dated 1964 (3) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €500 - 700 117 143 Cecil King (1921-1988) Orange Abstract (c.1967) Pastel, 34.5 x 24cm (13.5 x 9.5”) Exhibited: Cecil King Retrospective Exhibition, Irish Museum of Modern Art, Feb - May 2008, catalogue no. 17 Literature: Full page illustration in accompanying publication “Cecil King - A Legacy of Painting” €800 - 1200 Important Irish Art 31st March 2010 118 144 Sean McSweeney HRHA (b.1935) The Pool Oil on canvas, 35 x 45cm (13.75 x 17.75”) Signed and dated ‘93, signed and dated also and inscribed with title on stretcher €2000 - 4000 145 Sean McSweeney HRHA (b.1935) Mountainous Landscape with Tree Watercolour, 33.5 x 48.5cm (13 x 19”) Signed €500 - 700 119 146 Sean McSweeney HRHA (b.1935) Landscape Oil on canvas, 34 x 44.5cm (13.5 x 17.5”) Signed and dated ‘90 €3000 - 4000 Important Irish Art 31st March 2010 120 147 William John Leech RHA (1881-1968) Plant on a Windowsill Oil on canvas, 61 x 51cm (24 x 20”) Signed Original artist’s label verso giving Abbey Road address, London William John Leech was educated at St. Columba’s College, and in Switzerland. He subsequently attended the Metropolitan School of Art before passing to the Royal Hibernian Academy Schools as a pupilof Walter Frederick Osborne (1859-1903), and from there to the Academie Julian in Paris in 1901. Leech later proclaimed that William Osborne was responsible for teaching him everything he needed to know about painting, and playing tribute to him, he said; “He was the best teacher I ever had. At the Academie Julian, I didn’t need to listen. I just carried on doing what Walter Osborne taught me.” In the 1930’s, Leech embarked on a series of pictures of various themes; still life’s, self portraits, railways, and his life long friend and partner May Botterell, who he married in 1953. By the 30’s, Leech painted daily at his rented No. 4 Steele studio and his greatest influence during this time were the ‘Bloomsbury’ painters, Duncan Grant, Vanessa Bell and Roger Fry. Their focus was more with private than public concerns and influenced Leech to paint purely for ‘art’s sake’. Here Leech’s concern is capturing a plant at a certain time of the day, with emphasis on how the sunshine affects it, and the surrounding area. Leech painted a number of similar still life studies; ‘Chrysanthemums’,(AIB Collection), ‘Window Early Morning’ (private Collection), ‘Flowers in a Mirror’ (private Collection), and ‘Flowers in a Vase’, (Private Collection). These still lifes are painted with masterly fashion from unusual perspectives when the flower studies are viewed from above or on a diagonal axis. In this painting, Leech has applied this technique, and has continued to explore the qualities of pattern and colour enhanced from his earlier style of painting in 1910, when he began to adopt a bright post-impressionist palette with colour, sunlight and strong shadows, permeating his canvases. The diagonal of the window-sill focuses attention on the sill, and the plant, shaded from outdoors enables to viewer to see it in detail. Outside, in contrast, through glass, the bright sunshine blurs our vision of the garden. Leech is adept at depicting flowers in early morning at the first flicker of the sun’s rays, in bright light, or in the eerie light of the moon to the early dawn light. €10000 - 15000 121 Important Irish Art 31st March 2010 122 148 Claude Hayes Near Brancaster, North Norfolk Watercolour, 24 x 70cm (9.5 x 27.5”) Signed €800 - 1400 150 Joseph William Carey RUA (1859-1937) Belfast Lough from Holywood Watercolour, 26 x 35.6cm (10.25 x 14”) Signed, dated 1904 and inscribed €800 - 1200 123 151 Joseph William Carey RUA (1859-1937) Groomsport, Co. Down Watercolour, 23.5 x 44cm (9.25 x 17.25”) Signed, dated 1936 and inscribed with title €800 - 1200 Important Irish Art 31st March 2010 124 152 William Percy French (1854-1920) Beach Scene, Donegal Watercolour, 22 x 35.5cm (8.75 x 14”) Signed with initials and dated (18)’98 €600 - 900 153 William Percy French (1854-1920) Coastal Scene Monochrome wash, 13 x 21cm (5.2 x 8.25”) Signed with initials W.F & dated (18)’98 €1000 - 1500 125 154 William Percy French (1854-1920) Moonlight, Lough Swilly, Co. Donegal Watercolour, 15 x 24cm (6 x 9.5”) Signed and dated (18)’97 €2000 - 3000 155 William Percy French (1854-1920) Beach Scene in Hazy Sunlight Watercolour, 22 x 35.5cm (8.75 x 14”) Signed and dated (18)’98 €1000 - 1500 Important Irish Art 31st March 2010 126 156 Tom Cullen (1934-2001) Cornmarket & Christchurch Oil on canvas, 34 x 59cm (13.5 x 23.25”) Signed and dated 1986 €800 - 1200 157 Fergus O’Ryan RHA (1911-1989) College of the Irish Nobles, Salamanca, Spain Oil on board, 41 x 51cm (16 x 20”) Signed, inscribed with title verso €800 - 1200 127 158 Brett McEntagart RHA (b.1939) View of Ireland’s Eye from Howth Harbour Oil on canvas, 61 x 91.5cm (24 x 36”) Signed and dated ‘07 €2000 - 3000 Important Irish Art 31st March 2010 128 159 John Kingerlee (b.1936) Almost Abstract Oil on board, 23.5 x 25.5cm (9 x 10”) Signed and inscribed with title and dated 1989 verso €1000 - 1500 160 John Kingerlee (b.1936) Sun Watchers Oil on canvas, 30 x 30cm (11.75 x 11.75”) Signed with monogram. Signed again and inscribed with title verso €1000 - 1500 129 161 John Kingerlee (b.1936) The Gathering (Beara Penninsula, 2005) Oil on board, 16 x 38cm (6.25 x 15”) Signed with monogram €1500 - 2000 162 John Kingerlee (b.1936) Gothic Landscape Oil on board, 18 x 36cm (7 x 13”) Signed with monogram €500 - 800 Important Irish Art 31st March 2010 130 163 Peter Collis RHA (b.1929) Railway by the Sea, Monkstown Oil on board, 24 x 29cm (9.5 x 11.5”) Signed with initials. Inscribed with title verso €1000 - 1500 131 164 Peter Collis RHA (b.1929) Landscape at Roundstone Oil on board, 60 x 70cm (23.5 x 27.5”) Signed Exhibited: Grant’s Fine Art NI €3000 - 4000 Important Irish Art 31st March 2010 132 165 John Minihan (b.1946) Samuel Beckett in Café Français, Boulevard St. Jacques, Paris 1985 Silver gelatin print, 45 x 47cm (17.5 x 18.5”) (Unframed) €500 - 700 166 John Minihan (b.1946) Francis Bacon photographed outside the Tate Gallery, London 1985 Silver gelatin print, 20 x 29.5cm (8 x 11.5”) Signed and inscribed with title, also inscribed verso with greeting message from the artist. (Unframed) €1000 - 1500 133 167 John Minihan (b.1946) Seamus Heaney at the West Cork Literary Festival, Bantry, Co. Cork, 2005 Silver gelatin print, 50 x 40cm (19.5 x 15.75”) Signed and inscribed with title also signed by the poet Seamus Heaney €1500 - 2000 Important Irish Art 31st March 2010 134 168 Louis le Brocquy HRHA (b.1916) Raven (From The Táin) Lithograph, 24 x 38cm (21.25 x 15”) Signed, dated 1969 and numbered 1/70 Provenance: From the estate of Mr. Des Ryan €800 - 1200 169 James Hanley RHA (b.1965) Study for something bigger and more important Soft ground etching, 20.5 x 29.5cm (8 x 11.75”) Signed, inscribed with title, dated 2004 and numbered 23/41 €300 - 400 135 170 William Scott R A (1913-1987) One Plate from a Poem for Alexander Screenprint, 58 x 77cm (23.75 x 30.25’’) Signed and dated ‘72 €1500 - 2500 Important Irish Art 31st March 2010 136 171 Arthur K Maderson (b.1942) Waiting for a Punter, Krakow, Poland Oil on board, 79 x 110cm (31 x 43.25”) Signed, signed again and inscribed with title verso €6,000 - 8,000 137 172 Arthur Maderson (b.1942) Young Girl Bathing Oil on board, 101 x 72cm (39.75 x 28.25”) Signed €5000 - 7000 Important Irish Art 31st March 2010 138 173 Muriel Br andt RHA (1909-1981) View over DúnLaoghaire Pen and ink, 13.5 x 15cm (5.25 x 6”) Signed together with a signed card enclosing pencil sketch of “man with rabbit on his head” by the same hand, a signed abstract monotype by Imogen Stuart and “Cherrie Dancing” by Pauline Bewick in coloured markers, signed and inscribed with title (4) unframed Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €400 - 600 174 Barrie Cooke et al (b.1931) Baby Crawling Pen and ink, 9 x 14cm (3.5 x 5.5”) Signed together with works by Caroline Scally, Noel Sheridan, Michael Kane etc. (A small collection) Provenance: Leo Smith, Dawson Gallery, Dublin thence by descent €200 - 300 175 Leslie Mac Weeney (20th Century) Studies of a Boy & Girl Oil sketch, a pair, 25 x 19.5cm (10 x 7.75”) each Signed together with a ltihograph “ Mother & Child” thought to be by the same hand and Madja Van Dam “Hospital Scene” etching, 25 x 29cm (10 x 11.5”), signed inscribed and numbered 10/20 and a collection of Christmas cards by Fergus O’Ryan, linocut and other mediums, some signed and inscribed (9) €400 - 600 139 176 Cecil Maguire RHA RUA (b.1930) Magheralin, Co. Down Oil on canvas, 27 x 36.5cm (10.5 x 14.25”) Signed and dated ‘55 This lot was a wedding gift from Cecil Maguire to the vendor’s mother in law, to whom he was related my marriage. €3000 - 5000 Important Irish Art 31st March 2010 140 177 Thomas Ryan PRHA (b.1929) Street Vendor, Milan Graphite and watercolour, 17 x 14cm (6.75 x 5.5”) Signed, inscribed ‘Milan’ and dated 27.5.98 Provenance: From the estate of Mr. Des Ryan €300 - 500 141 178 Norman J. McCaig (1929-2001) Portmarnock Golf Club Oil on canvas, 60 x 90cm (23.5 x 35.5”) Signed €3000 - 4000 Important Irish Art 31st March 2010 142 179 Norman J. McCaig (1929-2001) On the Liffey Oil on canvasboard, 39 x 49.5cm (15.25 x 19.5”) Signed €1400 - 1800 180 Norman J. McCaig (1929-2001) West of Ireland Landscape with Cottage Oil on canvas, 23.5 x 34cm (9.25 x 13.25”) Signed Provenance: The artist’s family €800 - 1200 143 181 Norman J. McCaig (1929-2001) St. Stephen’s Green, Dublin Oil on canvasboard, 34 x 45cm (13.25 x 17.75”) Signed €1800 - 2400 182 Norman J. McCaig (1929-2001) On Sandymount Strand Oil on canvasboard, 34 x 44cm (13.25 x 17.25”) Signed €1800 - 2400 Important Irish Art 31st March 2010 144 183 Willie Evesson (b.1960) Silt Clontarf Oil on canvas, 60 x 75cm (23.5 x 29.5”) Signed and dated ‘09 €1500 - 2500 145 184 Willie Evesson (b.1960) Sandymount Strand Oil on canvas, 120 x 90cm (47.25 x 35.5”) Signed and dated ‘09 €3000 - 5000 Important Irish Art 31st March 2010 146 185 Agnes Conway Font carved in the form of a Nun’s Head Stone, 30 x 30 x 30cm (12 x 12 x 12”) Provenance: From the estate of the late Patrick McElroy €300 - 500 186 Vincent Browne (b.1947) Winged Devil Bronze, 24cm high (9.5”) Born in Dublin in 1947, Browne studied at the National College of Art and Design and the Jan Van Eyck Academy in Holland. He is responsible for many pieces of public sculpture including: Mr. Screen (the squat usher figure outside the Screen cinema in Dublin), the Anti-War Memorial in Limerick and the bronze Palm Tree Seat in Temple Bar, Dublin. He is currently a member of Aosdána. €300 - 500 147 187 George Stephen Walsh (1911-1988) Jonah and the Whale Hand painted stained glass panel, 18 x 25cm (7 x 10”) Provenance: From the estate of the late Patrick McElroy €400 - 600 188 Pat McCann (20th Century) Flowers etched on a copper panel with blue enamel Fan shaped, 10.5 x 12cm (4 x 4.75”) Signed Pat McCann verso Provenance: From the estate of the late Patrick McElroy €40 - 60 Important Irish Art 31st March 2010 148 Patrick McElroy (1923-2008) Patrick McElroy was born in Inchicore, Dublin on October 15th 1923 into a family of Republican and social activists. Shortly after winning a scholarship to one of the newly established VEC Schools he had to leave at the age of 15 in order to support his mother and younger siblings after his father suddenly died. Following a long family tradition he became a blacksmith in the railway works at Inchicore. Named after his uncle Paddy who fought on the Republican side in the Spanish Civil War, McElroy joined the RAF during the Second World War seeing active service in the deserts of Egypt, Iran and Iraq. In 1948 McElroy returned to work in CIE and began studying Fine Art at the National College of Art at night. He studied under Werner Schurman who upon his resignation from the college recommended McElroy for the post of teacher of enamelling and fine art metal work, a position McElroy held until his retirement in 1988. McElroy was a successful practicing sculptor winning numerous public and church commissions. From 1954 to his death on February 11th 2008 McElroy exhibited at nearly all of the major annual art exhibitions. He was Chairperson of the Independent Artists and was one of the founder members of the Project Art Gallery. In 1976 Brian Fallon wrote that McElroy was “one of the country’s better sculptors” noting that McElroy had “the imagination to back up his obvious skill and he has kept up a remarkably sound level for a longish period”. Fallon went on to comment that McElroy’s skill and long career has led to a situation where “to be taken for granted can be as bad as being ignored”. Throughout the years McElroy sold regularly yet very few sculptures have been resold at auction. McElroy won the gold medal for metal enamelling at the International Biennale of Sacred Art Salzburg in 1960 and his work can be seen all over Ireland in churches including the Basilicas of Knock and Lough Derg. In 1964 McElroy was commissioned to make the decorative gates and sculpture for the Irish Pavilion at the New York World’s Fair. Whilst in NCAD Sean Keating had taught McElroy and in the book “NCAD 250 Drawings 1746-1996” it is observed that McElroy’s style draws on the vigour of Keating and the late Cubist manner of Jellett and Hone. In 1982 James White wrote in the catalogue accompanying McElroy’s one man show at the Taylor Gallery that “the daring of McElroy’s invention is sometimes breathtaking”. White went on to note that McElroy had a “remarkable range of skills in the handling of metals of all kinds” commenting also on McElroy’s “Joycean preoccupation with certain essentials common to humanity”. Public sculptures such as the pillar in Newry called “A Proud People” and the “Knight of St. John” in Kilmainham, both commissioned in the 1990s, demonstrate this ability and display McElroy’s knowledge and passion for everyday life, history and tradition. Sculpture by McElroy is well represented in many public and private collections, such as the Gordon Lambert Collection, the National Self-Portrait Gallery and Galway University. In 1968 McElroy was specially commissioned by Edgar Gemmell of Princetown University to create a sculpture on the theme of “Prometheus”. As he got older McElroy returned to his first love that of painting, drawing and print-making and never ceased to work. Adam’s are delighted to offer the following lots from McElroy’s studio. 149 The Studio Sale Important Irish Art 31st March 2010 150 189 Patrick McElroy (1923-2008) King Sitric Enamel and copper, 18 x 14cm (7 x 5.5”) Signed and dated, also dated 1982 verso €200 - 300 190 Patrick McElroy (1923-2008) Enamel Cross, 1975 Enamel and copper, 37 x 33cm (14.5 x 13”) €500 - 700 151 191 Patrick McElroy (1923-2008) Cross, 1994 Bronze & enamel mounted on a wooden cross, 91 x 76 x 11cm (36 x 30 x 4.5”) €1500 - 2000 Important Irish Art 31st March 2010 152 192 Patrick McElroy (1923-2008) Male & Female Torsos Bronze with green patina, a pair, 34cm high each (13.25”) Inscribed and dated 1990 on studio label beneath (2) €500 - 700 193 Patrick McElroy (1923-2008) Contorted Mask, 1994 Bronze, 28cm high (11”) €400 - 600 153 194 Patrick McElroy (1923-2008) Pectoral Cross Copper and enamel, 10 x 5 x 2cm (3.75 x 2 x 1”) Studio label verso Exhibited: International Biennale of Sacred Art Salzburg in 1960, where he won the gold medal for enamelling for this piece. €2000 - 3000 Important Irish Art 31st March 2010 154 194A Patrick McElroy (1923-2008) Saint Gobnet Enamel and copper, 18 x 14cm (7 x 5.5”) Signed and dated 1987. Exhibition label verso Exhibited: Taylor Gallery, Dublin Sept-Oct ‘82 €250 - 350 195 Patrick McElroy (1923-2008) Cockerel Enamel and copper, 18 x 13cm (7 x 5.25”) Signed and dated 1984 €200 - 300 196 Patrick McElroy (1923-2008) Pig on Orange ground with Blue Flowers Copper and enamel, 10 x 10cm (4 x 4”) €100 - 200 155 197 Patrick McElroy (1923-2008) Christ Enamel and copper on a wooden cross, 36 x 22cm (14 x 8.75”) €300 - 500 198 Patrick McElroy (1923-2008) St. Patrick Enamel plaque, 28.5 x 22cm (11.2 x 8.7”) €250 - 350 Important Irish Art 31st March 2010 156 199 Patrick McElroy (1923-2008) Night Town (Joyce’s Ulysses) Crayon, chalk and wash, 84 x 58cm (33 x 23”) Signed and dated ‘84 Exhibited RHA Annual Exhibition, 2007 €800 - 1200 200 Patrick McElroy (1923-2008) Night Town (Joyce’s Ulysses) Crayon, chalk and wash, 84 x 58cm (33 x 23”) Signed Exhibited RHA Annual Exhibition, 2007 €800 - 1200 157 201 Patrick McElroy (1923-2008) Night Town (Joyce’s Ulysses) Crayon, chalk and wash, 84 x 58cm (33 x 23”) Signed Exhibited RHA Annual Exhibition, 2007 €800 - 1200 202 Patrick McElroy (1923-2008) Night Town (Joyce’s Ulysses) Crayon, chalk and wash, 84 x 58cm (33 x 23”) Signed Exhibited RHA Annual Exhibition, 2007 €800 - 1200 Important Irish Art 31st March 2010 158 203 Patrick McElroy (1923-2008) Trinity Cross, 1960 Bronze on a granite base, 67 x 23cm (26.25 x 9”) €300 - 500 205 Patrick McElroy (1923-2008) 204 Patrick McElroy (1923-2008) Chalice with Icon of Christ Copper and enamel, 19cm high (7.5”) Crucifixion Bronze and forged steel, 70 x 30cm (27.5 x 12”) €300 - 500 €300 - 500 159 206 Patrick McElroy (1923-2008) Altar Cross of Triumphal Christ & Saints, 1960 Bronze and forged steel, 81 x 23 x 22cm (32 x 9 x 8.5”) €800 - 1200 207 Patrick McElroy (1923-2008) Triumphal Panel Cross, 1959 Copper, enamel and steel, 30cm high (11.75”) Inscribed label verso €600 - 800 Important Irish Art 31st March 2010 160 208 Patrick McElroy (1923-2008) Saint Patrick with Crozier Forged steel, 33cm high (13”) €400 - 600 209 Patrick McElroy (1923-2008) Warrior with Shield and Spear Forged steel, 48cm high (18.75”) Dated ‘91 on studio label €400 - 600 209 210 Patrick McElroy (1923-2008) Standing Warrior with Spear & Shield Bronze on Kilkenny marble base, 51cm high (20”) Signed and dated ‘99 €600 - 800 210 161 211 Patrick McElroy (1923-2008) 212 Patrick McElroy (1923-2008) Warrior in a Boat Wileding an Axe Forged steel, 157cm high (62”) Warrior on Horseback with Spear Bronze on Kilkenny marble base, 19cm high (7.5”) €1000 - 1500 €700 - 1000 Important Irish Art 31st March 2010 162 213 Patrick McElroy (1923-2008) Grace Weir’s Chair; The Back in the Form of a Woman Welded steel rods, 29cm high (11.5”) €100 - 200 214 Patrick McElroy (1923-2008) Standing Female (Grace Weir) Soldered iron, 38cm high (15”) €500 - 700 215 Patrick McElroy (1923-2008) Mother with Tugging Child Welded Iron, 25cm high (10”) €200 - 300 163 216 Patrick McElroy (1923-2008) Icarus Bronze and forged steel, 131cm high (51.5”) €1000 - 2000 217 Patrick McElroy (1923-2008) Standing Male Holding Stone Aloft Forged steel on a wooden base, 81cm high (32”) €800 - 1200 Important Irish Art 31st March 2010 164 218 Patrick McElroy (1923-2008) Woman with Wine Goblet Enamel and copper, 20 x 14cm (7.75 x 5.5”) Signed and dated 1980 €250 - 350 219 Patrick McElroy (1923-2008) Happy Land, 1982 Enamel and copper, 18 x 13cm (7 x 5”) €300 - 400 165 220 Patrick McElroy (1923-2008) Cubist Composition with Norman Knight, Táin Bull & Voyagers Crayon and chalk on paper, 42 x 60cm high (16.5 x 23.5”) Literature: NCAD 250 Drawings 1746-1996 €200 - 400 221 Patrick McElroy (1923-2008) Three Nudes Painted earthenware charger, 36cm diameter (14”) Signed with initials and dated 1990 €150 - 250 Important Irish Art 31st March 2010 166 222 Patrick McElroy (1923-2008) Norman Knight on Horseback, 1999 Bronze with green patina on a Kilkenny marble base, 33cm high (13”) €600 - 800 223 Patrick McElroy (1923-2008) Angel on Horseback Bronze with green patina on Kilkenny marble base, 22 x 20cm (8.5 x 8”) €500 - 700 167 224 Patrick McElroy (1923-2008) Brendan Behan, 1984 Bronze, 27cm high (10.5”) Inscribed with title on the base, signed and dated verso Exhibited: RHA Annual Exhibition, 1984, Cat. No. 262 (Statue of Brendan Behan, bronze maquette) €800 - 1200 225 Patrick McElroy (1923-2008) Seated Woman with Arms Crossed Bronze on a limestone plinth, 51 x 18cm (20 x 7”) €700 - 1000 Important Irish Art 31st March 2010 168 227 Patrick McElroy (1923-2008) Life Angel - The Birth, 1981 Bronze on a limestone base, 25 x 15cm (9.75 x 6”) €400 - 600 226 Patrick McElroy (1923-2008) Figures; Horse Bronze relief panel (two-sided) on a limestone base, 29cm high (11.5”) €400 - 600 228 Patrick McElroy (1923-2008) Táin, 1979 Bronze relief mounted on board covered in linen, 19 x 19cm (7.5 x 7.5”) €300 - 500 169 229 Patrick McElroy (1923-2008) Angel Seated on a Coulmn Bronze with a green patina on granite base, 72cm high (28.5”) €1000 - 1500 230 Patrick McElroy (1923-2008) Three Norman Warriors with Swords Bronze reliefs mounted on Kilkenny marble, 28 x 30 x 23cm (11 x 12 x 9”) €600 - 800 Important Irish Art 31st March 2010 170 231 Patrick McElroy (1923-2008) 232 Patrick McElroy (1923-2008) Danú, 1996 Bronze with a green patina on Kilkenny marble base, 18cm high (7.25”) Crouching Anthropomorphic Figure Bronze on a limestone base, 13cm high (5”) Signed and dated 1980 Exhibited: RHA Annual Exhibition, 1996, Cat. No. 317 €200 - 300 €250 - 350 171 233 Patrick McElroy (1923-2008) Viking Helmet (Self-Portrait) Welded iron on a limestone base, 39cm high (15.5”) Signed and dated 1974 on the base €300 - 500 234 Patrick McElroy (1923-2008) Phoenix Steel on a wooden base, 66 x 25 x 18cm (26 x 10 x 7”) Literature : The artist is photographed beside this piece in “The Irish Press” Wed Nov 1970, on the occassion of his winning the £1,000 commission for Dunmurray Shopping Centre Belfast, for which this is a maquette. McElroy describes the work “as representing a Phoenix - a symbol of hope in the present unhappy Northern situation “. €400 - 600 Important Irish Art 31st March 2010 172 235 Patrick McElroy (1923-2008) Male Nude, 1979 Bronze relief on a limestone base, 25 x 15cm (10 x 6”) €400 - 600 236 Patrick McElroy (1923-2008) Bird Relief Bronze relief with green patina on a white marble support, 20 x 13cm (8 x 5”) €400 - 600 237 Patrick McElroy (1923-2008) The Total Bronze on a limestone base, 30 x 20cm (12 x 8”) Signed and dated 1979 €500 - 700 173 239 238 Patrick McElroy (1923-2008) God of All Ages Forged steel and cast bronze on granite base, 91cm high (36”) €800 - 1200 239 Patrick McElroy (1923-2008) Standing Nudes Bronze relief, 24 x 27cm (9.5 x 10.5”) Signed and dated 1981 238 €500 - 700 Important Irish Art 31st March 2010 174 240 Patrick McElroy (1923-2008) Man Emerging from a Portal Steel on a wooden board, 61 x 38 x 13cm (24 x 15 x 5”) €500 - 700 241 Patrick McElroy (1923-2008) Seated Woman Iron on a wooden base, 61 x 38cm (8 x 8”) Label verso €500 - 700 175 242 Patrick McElroy (1923-2008) Three Figures and a Bird Steel, 124 x 74 x 43cm (49 x 29 x 17”) €1000 - 2000 243 Patrick McElroy (1923-2008) Two Figures Steel, 50 x 51 x 19cm (19.5 x 20 x 7.5”) €600 - 800 Important Irish Art 31st March 2010 176 244 Patrick McElroy (1923-2008) Two Men and a Woman (within a square) Steel, 53 x 46 x 46cm (21 x 18 x 18”) €600 - 800 245 Patrick McElroy (1923-2008) Two Women and a Man Steel, 61 x 13 x 15cm (24 x 5 x 6”) €400 - 600 177 246 Patrick McElroy (1923-2008) Bird Relief Steel, stained glass on a wooden board, 107 x 61 x 28cm (42 x 24 x 11”) €800 - 1200 246 247 Patrick McElroy (1923-2008) Crowing Cock Bronze with green patina, 20cm high (8”) €300 - 500 247 Important Irish Art 31st March 2010 178 248 Patrick McElroy (1923-2008) Crouching Female & Male Nude Enamel and copper, 15cm diameter each (5.75”) (2) €200 - 400 249 Patrick McElroy (1923-2008) Herald Angel Steel, 34 x 36cm (13.5 x 14”) €400 - 600 179 250 Patrick McElroy (1923-2008) Standing Woman Bronze on a wooden base, 37cm high (14.5”) €300 - 500 251 Patrick McElroy (1923-2008) Female Torso Bronze on a marble base, 17.5cm high (6.8”) €300 - 500 Important Irish Art 31st March 2010 180 252 Patrick McElroy (1923-2008) Christ with Angels Bronze relief mounted on white marble, 33 x 33cm high (13 x 13”) €600 - 800 253 Patrick McElroy (1923-2008) Relief with Figures Bronze on a white marble support, 41 x 13cm (16 x 5”) €500 - 700 181 254 Patrick McElroy (1923-2008) Three Women and the Moon Bronze relief on a Kilkenny marble base, double-sided €500 - 700 255 Patrick McElroy (1923-2008) St. Brendan’s Voyage Bronze relief on wood, 17 x 30cm (6.5 x 12”) €300 - 500 Important Irish Art 31st March 2010 182 257 256 256 Patrick McElroy (1923-2008) Saints in Relief Bronze on a white marble support, 20 x 20cm (8 x 8”) €500 - 700 257 Patrick McElroy (1923-2008) Sheela Na Gig (...Ich Blian ag Mair), 1979 Bronze relief on a limestone base, 25 x 15cm (10 x 6”) Signed and dated €400 - 600 258 Patrick McElroy (1923-2008) The Seeking Bronze relief on a limestone base, 27 x 15cm (10.5 x 6”) Signed and dated 1979 258 €400 - 600 183 General Terms and Conditions of Business The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2. DEFINITIONS AND GENERAL CONDITIONS Definitions 1. In these conditions the following words and expressions shall have the following meanings: ‘Auctioneer’ – James Adam & Sons. ‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25. ‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication. ‘Forgery’ – A Lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substantially less than it would have been had the Lot been in accordance with the Catalogue description. ‘Hammer Price’ – The price at which a Lot is knocked down by the Auctioneer to the buyer. ‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any Lot number in any Catalogue. ‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the Lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is chargeable and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. ‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction. ‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction. ‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder. ‘V.A.T.’ – Value Added Tax. Cataloguing Practice and Catalogue Explanations 2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows: The first name or names and surname of the artist; In the opinion of the Auctioneer a work by the artist. The initials of the first name(s) and the surname of the artist; In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist. The surname only of the artist; In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style. The surname of the artist preceded by ‘after’; In the opinion of the Auctioneer a copy of the work of the artist. ‘Signed’/’Dated’/’lnscribed’; In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist. ‘With Signature’/’with date’/’with inscription’; In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist. ‘Attributed to’; In the opinion of the Auctioneer probably a work of the artist. ‘Studio of/Workshop of ’ In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision. ‘Circle of ’; In the opinion of the Auctioneer a work of the period of the artist and showing his influence. ‘Follower of ’; In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil. ‘Manner of ’; In the opinion of the Auctioneer a work executed in artist’s style but of a later date. ‘*’; None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named. GENERAL CONDITIONS Auctioneer Acting as Agent 3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer. Auctioneer Bidding on behalf of Buyer 4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids. Admission to Auctions 5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person. Acceptance of Bids 6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any Lot, combine any two or more Lots and, in the case of a dispute, to put any Lot up for auction again. Indemnities 7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity is expressed to be for their benefit. Representations in Catalogues 8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a Lot must exercise and rely on their own judgment and opinion as to such matters. 9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof. Important Irish Art 31st March 2010 184 CONDITIONS WHICH MAINLY CONCERN THE BUYER The Buyer 12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal. Commission 13. The buyer shall pay the Auctioneer a commission at the rate of 18%, exclusive of vat, of the Hammer Price payable in respect of any Lot. Payment 14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction. The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied. The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted. Reservation of Title 15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due. Collection of Purchases 16. The buyer shall at his own expense collect the Lot purchased not later than (2) days after the sale etc (2) days after the date of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to the Auctioneer of the Total Amount Due. The buyer shall be responsible for any removal, storage and insurance charges in respect of any Lot which is not taken away within seven (2) days after the date of the auction. The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of one (1) day from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or damage of any kind howsoever caused while a purchased Lot remains in its custody or control after such time. Packaging and Handling of Purchased Lots 17. Purchased Lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer, its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer has recommended. (f ) To retain that Lot or any other Lot purchased by the buyer whether at the same or any other auction and release same to the buyer only after payment to the Auctioneer of the Total Amount Due. (g) To apply any sums which the Auctioneer received in respect of Lots being sold by the buyer towards settlement of the Total Amount Due. To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason. (h) Liability of Auctioneer and Seller 19. Prior to auction ample opportunity is given for the inspection of the Lots on sale and each buyer by making a bid acknowledges that he has, by exercising and relying on his own judgment, satisfied himself as to the physical condition, age and Catalogue description of each Lot (including but not restricted to whether the Lot is damaged or has been repaired or restored). All Lots are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees, servants or agents shall be responsible for any error of description or for the condition or authenticity of any Lot. No warranty whatsoever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any Lot and any condition or warranty express or implied by statute or otherwise is hereby specifically excluded. Forgeries 20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three (3) years of the date of the auction at which it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that: (a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the number of the Lot and the date of the auction at which it was purchased; (b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the Lot free from any third party claims; FURTHER PROVIDED THAT the buyer shall have no rights hereunder if: (i) The description of the Lot in the Catalogue at the time of the auction was in accordance with the then generally accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion; (ii) The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the Lot. Under no circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense suffered or incurred by the buyer by reason of the Lot being a Forgery. The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the purpose of this condition be the person to whom the original invoice in respect of the sale of the Lot is made. Photographs 21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the Lot purchased by the buyer for such purposes as the Auctioneer may require. Non-Payment or Failure to Collect Purchased Lots 18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein specified for payment and collection the Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies without further notice to the buyer: (a) To issue court proceedings for damages for breach of contract; (b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that or at any other auction; (c) To resell the Lot or cause it to be resold whether by public auction or private sale. In the event that there is a deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale after deduction of any necessary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus arising shall belong to the seller. (d) To store (whether at the Auctioneer’s premises or elsewhere) and insure the purchased Lot at the expense of the buyer. (e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its absolute discretion from the date on which payment is due hereunder to the date of actual payment. The only method of establishing at the time of the auction in question that the Lot was a Forgery would have been by means of scientific processes which were not generally accepted for use until after the date of the auction or which were unreasonably expensive or impractical. CONDITIONS WHICH MAINLY CONCERN THE SELLER Auctioneer’s Discretion 22. With regard to the sale of any Lot the Auctioneer shall have the following powers exercisable solely in the discretion of the Auctioneer: (i) To decide whether to offer any Lot for sale or not; (ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the place and date of sale, the conditions of sale and the manner in which such sale should be conducted; (iii) To determine the description of any Lot in a Catalogue. (iv) To decide whether the views of any expert shall be obtained and to submit Lots for examination by any such experts. (v) To determine what illustration of a Lot (if any) is to be included in the Catalogue. 185 23. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the Lot or is legally authorised to sell the Lot on behalf of the true owner and can transfer good and marketable title to the Lot free from any third party claims. As regards Lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the buyer that the Lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of them in consequence of any breach of the above warranties or undertakings by the seller. Reserves 24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any Lot. All reserves must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any Lots under IR£100 in value. The reserve shall be the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for Lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the Lot after the auction. The minimum commission hereunder shall be €50. The Auctioneer may in its sole discretion sell a Lot at a Hammer Price below the reserve therefore but in such case the Proceeds of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse. Unless a reserve has been placed on a Lot in accordance with the provisions set out above such Lot shall be put up for sale without reserve. In the event that any reserve price is not reached at auction then for so long as the Lot remains with the Auctioneer and to the extent that the Lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale. Commission 25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all Lots sold on behalf of the seller at Irish Art Sales and 17.5% on the Hammer Price of all Lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13. Insurance 26. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehicles) deposited with the Auctioneer or put under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution towards such insurance at the rate of 1% of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a Lot then the Lot shall at all times remain at the risk of the seller who undertakes to indemnify the Auctioneer and hold the Auctioneer harmless against any and all claims made or proceedings brought against the Auctioneer of whatever nature and howsoever and wheresoever occurring for loss or damage to the Lot. The sum for which a Lot is covered for insurance under this condition shall not constitute and shall not be relied upon by the seller as a representation, warranty or guarantee as to the value of the Lot or that the Lot will, if sold by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the Lot is paid for and collected by the buyer or, in the case of Lots sold which are not paid for or collected by the buyer by the due date hereunder for payment or collection such due date or, in the case of Lots which are not sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified the seller to collect the Lots. Recision of Sale 27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfaction of the Auctioneer that the Lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the buyer any amount paid to the Auctioneer by the buyer in respect of the Lot. Payment of Proceeds of Sale 28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller. If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then title to the Lot shall pass to the Auctioneer. If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s own name. If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense, to agree special terms for payments of the Total Amount Due, to remove, store and insure the Lot sold, to settle claims made by or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer. Payment of Proceeds to Overseas Sellers 29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Euro unless it was agreed with the seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Euro) specified by the seller in which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment. Charges for Withdrawn Lots 30. Once catalogued, Lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. If Lots are withdrawn after proofing or publication of Catalogue they will be subject to a commission of 10% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. All commission hereunder must be paid for before Lots withdrawn may be removed. Unsold Lots 31. Where any Lot fails to sell at auction the Auctioneer shall notify the seller accordingly and (in the absence of agreement between the seller and the Auctioneer to the contrary) such Lot may, in the absolute discretion of the Auctioneer, be re-entered in the next suitable auction unless instructions are received from the seller to the contrary, otherwise such Lots must be collected at the seller’s expense within the period of thirty (30) days of such notification from the Auctioneer. Upon the expiry of such period the Auctioneer shall have the right to sell such Lots by public auction or private sale and on such terms as the Auctioneer in its sole discretion may think fit. The Auctioneer shall be entitled to deduct from the price received for such Lots any sums owing to the Auctioneer in respect of such Lots including without limitation removal, storage and insurance expenses, any commission and expenses due in respect of the prior auction and commission and expenses in respect of the subsequent auction together with all reasonable expenses before remitting the balance to the seller. If the seller cannot be traced the balance shall be placed in a bank account in the name of the Auctioneer for the seller. Any deficit arising shall be due from the seller to the Auctioneer. Any Lots returned at the seller’s request shall be returned at the seller’s risk and expense and will not be insured in transit unless the Auctioneer is so instructed by the seller. Auctioneer’s Right to Photographs and Illustrations 32. The seller authorises the Auctioneer to photograph and illustrate any Lot placed with if for sale and further authorises the Auctioneer to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time in its absolute discretion (whether or not in connection with the auction). Important Irish Art 31st March 2010 Est 1887 Tuesday 20th April 2010 Independence An Auction of Irish Historical Documents & Collectables Enquiries to Stuart Cole or Kieran O’Boyle Tel +353 1 6760261 Fax +353 1 6624725 [email protected] The Great Famine Auction May 20th 2010 A unique and truly fascinating sale offering eye witness accounts of one of the most pivotal and emotive events in Irish History as told by its unfortunate participants, ancestors to generations of Irish around the world. This is an unparalleled collection of handwritten testaments from the period detailing the local experiences of people from all walks of life, from tenants to landlords, and from every county in Ireland. These poignant letters and documents detail the suffering caused by starvation, forced emigration, evictions, failed crops, and in some cases murder. The auction will also include Works of Art from some of Irelands foremost artists inspired by The Great Famine. On View at 26 St Stephens Green, Dublin, Ireland Saturday Sunday Monday 15th May 16th May 17th May 2.00pm-5.00pm 2.00pm-5.00pm 10.00am-5.00pm You can also view on line, three weeks prior at www.adams.ie Enquiries to Stuart Cole or Kieran O’Boyle Tel +353 1 6760261 Fax +353 1 6624725 [email protected] Rowan Gillespie (b.1953) Famine figure Est 1887 at Clandeboye Ulster Artists Exhibition William Scott “Still Life 1951” Gerard Dillon “In the London Flat” To celebrate our announcement of opening at Clandeboye Adams are delighted to present this exhibition “Ulster Artists” which combines an Ulster preview of our June 2nd Important Irish Art Sale with pictures onloan from Private Collections from both North and South of the border. The Adam’s office opens full time at the AVA Gallery in August with an exhibition “The French Connection” in time for the Clandeboye Festival with Camerata Ireland. This exhibition will then travel to The Hunt Museum,Limerick in September. Exhibition on view 15th - 29th April Monday - Friday 10.00am - 5.00pm daily Irish Art Valuation Day at Clandeboye Thursday 15th April 10.00am - 4.00pm Est 1887 at Clandeboye Ulster Artists Exhibition John Luke “Dancer & Bubble” William Conor “The Street Dance” Charles Lamb “A Connemara Woman” (1932) Colin Middleton Opus I (41) Esmeralda (1942) Telephone during Exhibition only +44 (0)28 91852263 Daniel O’Neill “The Two Bouquets” www.adams.ie Paul Henry “Attending the Lobster Pots” Adam’s at Clandeboye The Ava Gallery Clandeboye Estate Bangor, Co. Down BT19 IRN Est 1887 190 in association with Louis le Brocquy “Adam” Est: €25,000 - 35.000 Mary Swanzy “The Blessing” Est: €10,000 - 15,000 Viewing London & Dublin; Tony O’Malley “Various Elements, 1979” Est: €40,000 - 60,000 Robert Ballagh “Couple with Fernand Leger” Est: €8,000 - 12,000 London May 4th - 7th Dublin May 30th - June 2nd Louis le Brocquy “Eve” Est: €25,000 - 35,000 Patrick Collins “Pierrot” Est: €10,000 - 15,000 Bonhams, 101 New Bond St. Adam’s, 26 St. Stephen’s Green I M P O RTA N T I R I S H A RT Auction Wednesday 2nd June 2010 Paul Henry “Evening in Connemara” Est: €45,000 - 55,000 Harry Kernoff “In Davy’s Back Snug” Est: €50,000 - 70,000 Jack B. Yeats “Dusty Lane, Kerry” (1913) Est: €35,000 - 45,000 191 Sir John Lavery “Mrs Arthur Franklin” Est: €40,000 - 60,000 Lillian Lucy Davidson “The Turf Cart” Est: €4,000 - 6,000 Colin Middleton “The Wilderness, Mother and Child” (1941) Est: €20,000 - 30,000 101 New Bond Street, London W1S 1SR Tel +44 (0)207 4688366 Fax + 44 (0)207 4477434 [email protected] www.bonhams.com Est 1887 Est 1887 ith Further entries are being accepted for this prestigious sale. 26 St Stephens Green , Dublin 2 Tel +353 1 6760261 Fax +353 1 6624725 Important Irish Art 31st March 2010 [email protected] www.adams.ie 192 Index to lot numbers Ballard, Brian 21 - 23 Bartlett, William Henry 80 Barry, James (In the Manner of) 62 Behan, John 49 - 51 Bourke, Brian 110 Brandt, Muriel 60, 173 Hamilton, Letitia Marion Hanley, James Hayes, Claude Hayes, Edwin Healy, Michael Hennessy, Patrick Henry, Grace Henry, Paul Hickey, Desmond Hone, David Hone, Evie Hone, Nathaniel Campbell, George Carey, Joseph William Castle, Barry Collis, Peter Conway, Agnes Cooke, Barrie Coyle, John Cullen, Tom Craig, James Humbert Crozier, William 45 150, 151 16 163, 164 185 174 88 156 81 115 Delaney, Edward Dillon, Gerard Doherty, John Doran, Mary Duncan, Ana 56, 55 42 24, 25 48 57 Egan, Felim Egginton, Frank Evesson, William 129, 131 5-9 183, 184 French, William Percy Frömel, Gerda 152 - 155 52 Gale, Martin Ganley, Rosaleen Brigid Gooding, Maria Simonds Greene, Catherine Guinness, May 39, 40 89 130 54 11 103, 104 169 148 67 - 75 136, 137 99, 101, 102 12, 13, 100 105 124 82, 83 14, 15 91, 93 Keating, Sean Kernoff, Harry King, Cecil King, Marion Kingerlee, John Kingston, Richard Knuttel, Graham 59 140 141, 142, 143 46 159 - 162 90 116 - 118 Le Brocquy, Louis Le Brocquy, Melanie Leech, William John Lyndsay, Roy 132 - 134, 168 47 147 121 MacLiammóir, Mícheál MacWeeney, Leslie Maderson, Arthur Maguire, Cecil McCaig, Norman J. McCarthy, Maeve McElroy, Patrick McEntagart, Brett McGuinness, Norah McKelvey, Frank McSweeney, Sean Middleton, Colin Miles, Thomas Rose Minihan, John Mooney, Martin Murphy, Noel 92 175 172 1, 176 178 - 182 20 189 - 258 158 135 96 144 - 146 41 76 - 78 165 - 167 17 - 19 119 Nicholson, Alfred 79 O’Connor, James Arthur O’Dea, Mick O’Malley, Tony O’Neill, Mark O’Ryan, Fergus 66 122, 123 29 - 34 106, 107 157 Purser, Sarah 63 Reid, Nano Russell, George Ryan, Thomas 43 97 84, 177 Sadler, William Scott, Patrick Scully, Sean Shawcross, Neil Shelbourne, Anita Shinnors, John Smith, Blaise Solomons, Estella Stuart, Imogen 64, 65 35 - 38 127, 128 111 - 114 109 125, 126 26, 27 61 53 Teskey, Donald Toogood, Romeo Charles 28 44 Verling, Walter 108 Walsh, George Stephen Webb, Kenneth Wilks, Maurice Canning Williams, Alexander Williams, Lily Wilson, Ross 187 85 - 87 2, 3, 4 95 10 120 Yeats, Jack Butler 94, 98