AUCTION: 24 FEBRUARY @ 6PM
PREVIEW: 20 – 24 FEBRUAR Y DURROW & LIVE ONLINE
CATALOGUE LIVE ONLINE SHEPPARDS.IE
Art Important
24 FEBRUARY 2026
PREVIEW
VENUE: DURROW, LAOIS, R32 FN88, IRELAND
FRIDAY 20 FEBRUARY 2026 10:00-17:00
SATURDAY 21 FEBRUARY 2026 10:00-17:00
SUNDAY 22 FEBRUARY 2026 10:00-17:00
MONDAY 23 FEBRUARY 2026 10:00-17:00
TUESDAY 24 FEBRUARY 2026 10:00-17:00
ORDER OF SALE
VENUE: DURROW, LAOIS, R32 FN88, IRELAND
TUESDAY 24 FEBRUARY 2026 18:00-21:00: LOTS 1 - 312
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FOREWORD
This auction brings together an exceptional selection of Important Irish Art, anchored by the distinguished collection of Gerry Cuddy, one of the most discerning private collectors of Irish art in County Antrim. The Cuddy Collection forms a central pillar of the sale, reflecting decades of focused connoisseurship and an informed engagement with key figures of modern Irish painting.
The sale is further strengthened by a carefully curated group of works from the studios of Barrie Cooke and Sonja Landweer, offering valuable insight into the working practices and artistic environments of two highly influential artists, and complementing the major painted and sculptural works presented elsewhere in the catalogue.
Additional highlights include important works of painting and sculpture from private collections and other notable clients, broadening the scope of the sale while maintaining a consistently high level of quality and significance.
Rarity and art-historical importance are defining features of this auction. Among the most notable works is Joseph Malachy Kavanagh’s Evening Light, painted during the artist’s final years in Brittany; George Mullins’s Animated Landscape, one of a very small number of fully authenticated paintings by the artist known worldwide; and John Bellany’s Masquerade, a powerful and characteristic work by one of the most influential Scottish artists of the post-war period.
The work that perhaps best defines the character and calibre of the sale is Grace Henry’s Achill Island, painted during her formative years on the island alongside Paul Henry between 1912 and 1919. Described by Dr Peter Murray as one of her “finest landscape paintings”, it stands as a work of both rarity and exceptional quality.
We are grateful to Dr Peter Murray, Marianne O’Kane Boal, Liam Kelly, Aidan Dunne, R.F. Foster, Brighid McLaughlin, Martin Mooney, and Dominic Milmo-Penny for their scholarly assistance and valued contributions to this catalogue.
1
GEORGE K. GILLESPIE RUA (1924 -
1995)
Title: Rossnowlagh Beach, Co. Donegal
Medium: Oil on Canvas
Signature: Signed Lower Left and Inscribed Verso
Provenance: The Oriel Gallery (Label Verso); Private Collection
Framed
Image: 21 x 29cm
Framed: 34 x 42cm
€1,000 - 1,500
2
SONJA LANDWEER (1933 - 2018)
Title: Shaped Form
Medium: Bronze
Signature: Unsigned
Provenance: Family of the artist
Dimensions (with base): 41 cm. high; 16 cm. wide; 15.5cm deep
Dimensions (no base): 34cm high; 16cm wide; 11cm deep
€5,000 - 8,000
3
GEORGE MULLINS (FL. 1756 - C.1798)
Title: Animated River Landscape, Homestead and Castle Beyond Medium: Oil on canvas
Signature: Unsigned
Provenance: Frost & Reed, London, Stock No. 8592 (Label Verso); Galeria Moody, Buenos Aires, Argentina, Circa 1945; Monica Zajac de Dobry, Buenos Aires, Argentina; Gorry Gallery, Dublin; Private Collection
Exhibited: Gorry Gallery, Dublin, ‘An Exhibition of 18th - 21st Century Irish Paintings’, 1 - 19 November, 2021, Catalogue No. 12
Framed
On the banks of a lake, surrounded by trees and country roads, a small group of people are engaged in conversation, with one man pointing towards a tall thatched circular building – perhaps a dovecot, or toll house. The building is dilapidated, with thatch missing in some places, exposing the rafters underneath. Beside the group, a rustic footbridge spans a small river. Cattle are gathered by the lake edge and a figure can be seen walking along a road that curves out of sight. On the far side of the lake are the silhouettes of buildings, while in the distance rises a tall mountain. In spite of such details, many drawn from life, the scene is likely an imagined view – a lá Claude Lorrain or Vernet – rather than a depiction of an actual landscape, and is reminiscent of the work of John Butts and Nathaniel Grogan. In terms of composition, this work is in some ways a mirror image of a recently re-discovered Mullins, sold at Sothebys in November 2020, ‘A River Landscape with a Group of Figures by a Waterfall, with Classical Ruins, An Irish Round - Tower and a Mountain Beyond’ . One of the finest of these idealised landscapes by Mullins is his 1772 Fishing Party, in the Ashmolean Museum.
In spite of the evident high quality of his work, the biographical details known of George Mullins are scant. Around 1756 he was a student of James Mannin at the Dublin Society Schools. He was later, in 1763 and 1768, awarded prizes by the Dublin Society. Moving to Waterford, Mullins worked as a decorative painter for the merchant Thomas Wyse, whose factory at St. John’s in the city produced japanned, or lacquered, trays, tea caddies and snuff boxes. Returning to Dublin, Mullins married a woman who ran a tavern in Temple Bar called the Horseshoe and Magpie. Also known as the Pigeon and Pattern, it was a
gathering place for artists and theatre people, and was later described by Joseph Boucher as a ‘celebrated temple of nocturnal entertainment and festivity’. The sister of Mullins’s wife married the painter Hugh Douglas Hamilton (also a pupil of Mannin), while the artists Robert Healy and Thomas Roberts lodged at the tavern, with Roberts serving his apprenticeship with Mullins. Giving the tavern as his address, Mullins first exhibited at the Society of Artists in 1765, and continued to send works to the City Assembly House exhibitions over the next four years. In addition to views of landscapes such as Lough Erne and Leixlip, he also painted subjects taken from the Old Testament. In 1758 he painted four large canvases, depicting morning, noon, evening and night, for Lord Charlemont’s country house at Marino. In 1770 he moved to London, and that same year showed ‘View from the temple at Marino’ at the Royal Academy. He lived for a time with Robert Carver, while continuing to show at the Royal Academy over the next four years, his work being admired by Horace Walpole. He also worked on a decorative paintings for Chirk Castle in North Wales. In 1772 his painting of a Spaniel dog was published as a mezzotint, with Mullins himself having worked on the plate, while his ‘Portrait of a beggar in Wales’, exhibited at the RA in 1773, was included in a Sheppards Auction in 2021. Although Mullins was an influential artist in eighteenth century Ireland, known works by him are rare.
Dr. Peter Murray, February 2026
Image: 68.5 x 91 cm
Framed: 86 x 109 cm
€10,000 - 15,000
JARLATH DALY (B. 1956)
Title: Pikeman
Medium: Unique Bronze
Signature: Signed
Provenance: Private Collection
Framed
44 cm. high; 14cm wide; 7cm deep
€1,000 - 1,500
5
JAMES HUMBERT CRAIG RHA RUA (1877 -
1944)
Title: Grazing on the Mournes
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: John Magee, Belfast (Label Verso); The Collection of Derry and Gemma Hussey; Private Collection
Framed
Image: 26 x 39cm
Framed: 46 x 59cm
€3,000 - 5,000
BRIAN MACMAHON (B. 1955)
Title: The Riverbanks
Medium: Oil on Canvas
Signature: Unsigned
Provenance: The Collection of Tommy Smith, Grogan’s Pub, Dublin; Private Collection
Framed Image: 95 x 71cm
Framed: 107 x 82cm
€600 - 900
7
AUGUSTUS NICHOLAS BURKE RHA (1838 - 1891)
Title: Twilight, Walberswick, Suffolk (C. 1884)
Medium: Oil on Canvas
Signature: Signed with Monogram AB RHA Lower Left
Provenance: Royal Hiber nian Academy, Dublin, 1884; Matilda Segrave; John Talbot; Thence by Family Descent; Milmo-Penny Fine Art, Dublin (Label Verso); Where acquired by the present owner
Exhibited: Royal Hiber nian Academy, 1884, Catalogue No. 148; Milmo-Penny Fine Art, Dublin, October 1992
Note: One of Walter Osborne’s most notable works, ‘A Tale of the Sea’ was painted in the same year in Walberswick, when he was with Burke and Nathaniel Hill at the Artist’s Colony there.
Framed
The artist was interested in the challenge of capturing on canvas the effects of a twilight sky, which he does here to great effect. Walberswick attracted many artists to its surrounding countryside and coastline. Burke was in Walberswick in the company of his friend and former student Walter Osborne in 1884 where they were joined by Nathaniel Hill. Among the other Irish artists to paint there were Hone, Purser, Garstin, Kavanagh and O’Kelly.
The View is along the estuary of the River Blyth looking inland from a popular location among the colony known locally as the Skate’s Nose.
Dominic Milmo-Penny
Image: 29 x 59.5 cm.
Framed: 54 x 85 cm.
€3,000 - 5,000
Title: Farm by the Coast Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 39 x 59cm
Framed: 50 x 70cm
€2,000 - 3,000
KENNETH WEBB RWA FRSA RUA (B. 1927)
ROSE MAYNARD BARTON RWS (1856
- 1929)
Title: Lord Edward Street with Christ Church Cathedral in the Distance, Dublin (C. 1897)
Medium: Watercolour
Signature: Signed Lower Right
Provenance: The Collection of Robert Crewe-Milnes, 1st Marquess of Crewe, Crewe Hall; Mary Innes-Ker, Duchess of Roxburghe, West Horsley Place, Surrey; Her Estate Sale, Sotheby’s, London, 27 May, 2015, Lot 292; Private Collection
Literature: Crewe House, London, Inventory, Vol. 2, 1913, P. 56, in Lord Crewe’s Study
Framed
When sold at Sothebys in May 2015, as part of the collection of the Duchess of Roxburghe, this atmospheric watercolour by Rose Barton was identified simply as ‘A Street Scene’. In fact, the view depicts Lord Edward Street in Dublin, with the spire of Christ Church in the distance. The thoroughfare is busy with pedestrians, while a sidecar approaches, following the tram tracks. To the right can be seen the Working Boys Home and Harding Institute, while on the left is the neo-classical Newcomen Bank. The spire on the tower of Christ Church would have been relatively new when Barton painted the view, having been added during the 1870’s restoration. Equally, the Harding Institute, built in 1892, was a recent addition to the streetscape. This work can be related to Barton’s 1897 watercolour Going to the Levée at Dublin Castle, which is in the National Gallery of Ireland, with both paintings taking the junction of Lord Edward Street and Cork Hill as their viewpoint. Although the View of Lord Edward Street was not reproduced in Frances Gerard’s 1898 book Picturesque Dublin Old and New, which contains illustrations by Barton, on page 127 a view by her, Narrow Lane, with a Peep of Christ Church, depicts the same spire.
The daughter of a successful Tipperary lawyer – and a cousin of Edith Somerville, and the Hamilton sisters – Rose Barton was born in Dublin in 1856. Her mother was from the Martin family of Co. Galway. Barton was privately educated, and after the death of her father in 1874, travelled to Brussels with her mother and sister. She studied art under Henri Gervex, along with her friend Mildred Anne Butler. Both artists also studied in London,
under Paul Jacob Naftel, quickly developing their skills as watercolour painters. They were part of an gifted group of Irish artists who specialised in this medium in the late nineteenth and early twentieth centuries. Barton first showed at the Royal Hibernian Academy in 1878, and two years later at the Dudley Gallery in London. Over the following decade she had exhibitions in both London and Dublin. Elected an associate member of the Society Women Artists by 1886, seven years later she became an associate of the Royal Society of Painters in Water-Colour (RWS), and a full member in 1911. In 1903, she settled in Knightsbridge, painting many views of the streetscapes and buildings of London. These were reproduced the following year in Familiar London, a book she both wrote and illustrated. Also in 1904 she was represented in the exhibition of Irish art curated by Sir Hugh Lane at the Guildhall in London. Although many of Barton’s watercolours of Dublin depict scenes such as the Old Parliament building, the Viceregal Lodge, Dublin Castle and Charlemont House, she invested these views with an ethereal quality, shrouded in fog, or silhouetted against evening skies. She also sought out lesserknown laneways, delighting in their literary or historical associations. Rose Barton died in London on 10 October, 1929.
Dr. Peter Murray, February 2026
Image: 15 x 11 cm
Framed: 37 x 32 cm
€5,000 - 8,000
MARIE CARROLL (20TH CENTURY)
Title: Four Courts
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 49.5 x 75cm
Framed: 66 x 92cm
€700 - 1,000
11
SANDRA BELL (B. 1954)
Title: Reclining Figure
Medium: Unique Bronze on Marble Base
Signature: Signed
Provenance: Private Collection
6cm high; 20 cm wide; 12cm deep
€600 - 900
FR. JACK P. HANLON (1913 - 1968)
Title: Garden Study
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Acquired Directly from the artist by the parents of the previous owner; Private Collection
Note: In Original Dawson Gallery Frame (Framing Label Verso)
Framed Image: 40.5 x 30cm
Framed: 56.5 x 45.5cm
€700 - 1,000
BRIAN
MAGUIRE (B. 1951)
Title: Self - Portrait (1980)
Medium: Pastel
Signature: Signed and Dated Lower Left and Titled Lower Right; Inscribed Verso
Provenance: The Lincoln Gallery, Dublin (Label Verso); The Estate of Judge Desmond Windle; Private Collection
Framed Image: 36 x 25.5cm
Framed: 53 x 42.5
€600 - 900
14
MARKEY ROBINSON (1918 - 1999)
Title: Evening Stroll
Medium: Gouache on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
€2,000 - 3,000
MARIE CARROLL (20TH CENTURY)
Title: Flowers
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 24 x 17cm
Framed: 37 x 30cm
€500 - 800
SONJA LANDWEER (1933 - 2018)
Title: Elemental Being (1987)
Medium: Monoprint
Signature: Signed and Inscribed Verso
Provenance: Family of the artist
Exhibited: Retrospective Exhibition - ‘A Life’s Work’, Visual Carlow, 2011 - 2012
Framed
Image: 13 x 24cm
Framed: 53.5 x 39cm
€500 - 800
17
CHARLES VINCENT LAMB RHA RUA (1893 - 1964)
Title: Sunset at Killaloe
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Victor Waddington Galleries (Label Verso); Private Collection
Framed
Image: 24 x 29cm
Framed: 39 x 44cm
€2,500 - 3,500
18
Title: Dusk Scene
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 46 x 36cm
Framed: 57 x 47cm
€1,000 - 1,500
ANTHONY ROBERT KLITZ (1917 - 2000)
19
JAMES S. BROHAN (B. 1952)
Title: Blooming Field
Medium: Oil on Canvas Board
Signature: Signed Lower Left
Provenance: Waldock Gallery, 2003 (Label Verso); Private Collection
Framed
Image: 28.5 x 39cm
Framed: 52.5 x 62cm
€3,000 - 5,000
20
SEAN O’CONNOR ARHA (1909 - 1992)
Title: The Gap of Dunloe, Killarney
Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Artist’s Studio, Killarney (Inscribed Label Verso); Private Collection
Framed
Image: 34 x 47cm
Framed: 56.5 x 66cm
€2,000 - 3,000
CONSTANCE GORE - BOOTH, COUNTESS MARKIEVICZ (1868 -
1927)
Title: Portrait of a Gentleman
Medium: Red Chalk
Signature: Unsigned
Provenance: The Gore - Booth Family Collection, Lisadell House, Co. Sligo; Lisadell Collection, Mealy’s, Castlecomer, Co. Kilkenny, May 2002; Private Collection
Framed Image: 48 x 39cm
Framed: 65 x 56cm
€800 - 1,200
MICHAEL GEMMELL (B. 1950)
Title: Bog of Allen (1993)
Medium: Oil on Board
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 34 x 25cm
Framed: 55 x 46cm
€700 - 1,000
23
JOSEF TOMKO (20TH / 21ST CENTURY)
Title: Mother and Child
Medium: Bronze
Signature: Unsigned; Inscribed Label Verso
Provenance: Private Collection
55 x 46cm
€400 - 600
JOHN BEHAN (B. 1938)
Title: Birds in Flight
Medium: Unique Bronze on Black Kilkenny Marble Base
Signature: Signed
Provenance: Private Collection
37 cm. high
€4,000 - 6,000
EUGENE JOSEPH VERBOECKHOVEN (1798 - 1881)
Title: Sheep
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Private Collection
Framed
Image: 14 x 25cm
Framed: 33 x 44cm
€400 - 600
MAURICE
CANNING WILKS ARHA RUA (1910 - 1984)
Title: St. Helen’s Harbour, Co. Wexford
Medium: Oil on Canvas
Signature: Signed Lower Left and Inscribed Verso
Provenance: Lincoln Gallery, Dublin (Framing Label Verso); Private Collection
Framed
Image: 33 x 43 cm
Framed: 59 x 69 cm
€2,000 - 3,000
27
LETITIA MARION HAMILTON RHA (1878-1964)
Title: The Monastery Wall
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: Hamilton Osbor ne King, 30 May, 2005, Lot 65, Where acquired by the present owner Framed
A delightful painting depicting a monastery wall and gatehouse, with tall Cedar of Lebanon trees in the background, this painting by Letitia Marion Hamilton was likely painted ‘en plein air’, with the shadows cast by trees on the roadway setting up a visual rhythm that is echoed by arched gateways in the wall of the monastery. Hamilton is adept at using complementary colours, with the violet shadows contrasting with the green foliage and whitewashed wall.
Along with her sister Eva, Letitia Hamilton was one of a generation of Irish women in the early twentieth century who turned to art as a profession. The two sisters spent their lives painting, traveling and exhibiting. They did not marry and, with their genteel lifestyle and dedication to art, became known as ‘The Hamwood Ladies’. After attending Alexandra College, during which time she probably took painting lessons with John Butler Yeats, Letitia began exhibiting with the Watercolour Society of Ireland. In 1907, she was a student at the Metropolitan School of Art, studying under William Orpen. The sisters then moved to London, where Letitia studied for a time under Anne
St. John Partridge (1860-1836) at the Chelsea Polytechnic and also under Frank Brangwyn. She first showed at the RHA in 1909, submitting a view of her local village, Dunboyne, and thereafter exhibited regularly at the Academy, eventually being elected a member in 1943. While Hamilton was fond of depicting hunting scenes in the Irish midlands and the landscapes and townscapes of Connemara, she also travelled widely, to places as diverse as Alaska, Brittany, Mallorca and Dubrovnik. The scenes she painted include the Alhambra in Grenada, the Carthusian Valdemosa monastery on Mallorca, and the Grand Canal in Venice. The monastery depicted has not been identified, but judging by the terracotta tiled roof on the gatehouse, and the white-washed walls, is likely to be in the South of France or Spain.
Dr. Peter Murray, February 2026
Image size: 14 x 20 cm Framed: 30 x 36 cm
€7,000 - 10,000
FRANK EGGINTON RCA FIAL (1908 - 1990)
Title: A Country Pathway in Autumn
Medium: Watercolour
Signature: Signed Lower Right
Provenance: Aitken Dott Fine Art, Edinburgh (Label Verso); Private Collection
Framed
Image: 37 x 52cm
Framed: 60 x 73cm
€700 - 1,000
SONJA LANDWEER (1933 - 2018)
Title: Winged (1987)
Medium: Monoprint
Signature: Signed and Inscribed Verso
Provenance: Family of the artist
Framed
Image: 11 x 20.5cm
Framed: 53 x 39cm
€500 - 800
30
MARTIN GALE RHA (B. 1949)
Title: Pump (2009)
Medium: Watercolour
Signature: Signed and Dated Lower Left; Inscribed on Label Verso Provenance: Private Collection
Framed
Image: 20 x 30cm
Framed: 42 x 50cm
€800 - 1,200
Title: Poppies
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 45 x 35cm
Framed: 65 x 53cm
€4,000 - 6,000
KENNETH WEBB RWA FRSA RUA (B. 1927)
32
BARBARA WARREN RHA (1925 - 2017)
Title: Westport, Co. Mayo
Medium: Crayon
Signature: Unsigned
Provenance: Acquired directly from the family of the artist by the present owner
Framed
Image: 25.5 x 32cm
Framed: 29.5 x 36cm
€400 - 600
33
MARKEY ROBINSON (1918 - 1999)
Title: Brian Boru
Medium: Gouache on Board
Signature: Signed Lower left
Provenance: Private Collection
Framed
Image: 34 x 18 cm
Framed: 56 x 40 cm
€1,500 - 2,500
FIDELMA MASSEY (B. 1956)
Title: Little Owl One (2003)
Medium: Limited Edition Bronze (No. 1/9)
Signature: Signed, Dated and Numbered
Provenance: Private Collection
19 cm. high; 35 cm. high on base; 11cm wide; 7.5cm deep
€1,200 - 1,500
35
GLADYS MCCABE MBE HRUA ROI FRSA (1918 - 2018)
Title: Day at the Beach Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Stables Gallery, Antrim (Label Verso); Private Collection
Framed
Image: 19.5 x 28.5cm
Framed: 53 x 63cm
€1,000 - 1,500
JAMES CAHILL (20TH / 21ST CENTURY)
Title: Girl with a Yellow Turban
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 30 x 24cm
Framed: 48.5 x 43cm
€1,000 - 1,500
37
JOHN BOYD (B. 1957)
Title: The Suitors
Medium: Pen and Ink on Paper
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 30 x 22.5cm
Framed: 55 x 45cm
€400 - 600
COLIN FLACK (B. 1973)
Title: Burren Landscape
Medium: Acrylic on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 58 x 58 cm
Framed: 80 x 80 cm
€600 - 900
CATHERINE DELANEY (B. 1965)
Title: Sugan Chair
Medium: Unique Bronze
Signature: Unsigned
Provenance: Private Collection
36 cm. high; 23 cm. wide; 23 cm. deep
€1,000 - 1,500
40
MABEL YOUNG RHA (1889 - 1974)
Title: Trees in a Wicklow Landscape
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 27 x 37 cm
Framed: 48 x 54 cm
€500 - 800
NORAH MCGUINNESS HRHA (1901 - 1980)
Title: Gossip (1948)
Medium: Watercolour and Gouache
Signature: Signed Lower Left and Inscribed on Taylor Galleries Label Verso Private Collection, UK
Bonhams, London, The Irish Sale - Vision and Voice; Private Collection
Exhibited: Norah McGuinness Exhibition, Taylor Galleries, Dublin, 9 - 27 November, 1982, Catalogue No. 55
Framed
Image: 23 x 37 cm
Framed: 54 x 64 cm
€3,000 - 5,000
MARY THERESA KEOWN (B. 1974)
Title: Landscape II - Phoenix Park in Autumn
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: The Solomon Gallery, Dublin (Label Verso), where acquired by the present owner
Framed
Image: 25 x 49.5cm
Framed: 47 x 72.5cm
€1,500 - 2,500
43
MARIE CARROLL (20TH CENTURY)
Title: Sailing Boats
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 23 x 40cm
Framed: 36 x 53cm
€400 - 600
44
ANNEMARIE BOURKE (B. 1957)
Title: Windswept
Medium: Oil on Canvas
Signature: Signed Lower Left and Titled Verso
Provenance: From the artist’s studio, Limerick
Framed
Image: 60 x 90cm
Framed: 79.5 x 109cm
€1,200 - 1,500
SONJA LANDWEER (1933 - 2018)
Title: Blistered Ovoid (C. 2010)
Medium: Earthenware, monochrome
Signature: Unsigned
Provenance: Family of the artist
Dimensions (with base): 28cm high; 25cm wide; 23cm wide
Dimensions (no base): 22cm high; 25cm wide
€3,000 - 5,000
HOLGER A. BAEHR (20TH / 21ST CENTURY)
Title: Moonlight Sonata I (2020)
Medium: Acrylic on Canvas
Signature: Unsigned
Provenance: The Artist’s Studio, Co. Longford
Framed
Image: 200 x 200cm
Framed: 207.5 x 207.5cm
€8,000 - 12,000
47
ARTHUR ARMSTRONG RHA (1924 - 1996)
Title: Autumn Landscape
Medium: Oil on Card
Signature: Signed Lower Left and Inscribed on Artist’s Label Verso
Provenance: The Artist’s Studio, 28 Chelmsford Avenue, Dublin; Private Collection
Framed
Image: 19 x 24.5 cm
Framed: 45.5 x 49 cm
€400 - 600
MARTIN MOONEY (B. 1960)
Title: Still Life with Pumpkin (1999)
Medium: Oil on Board
Signature: Signed and Dated Lower Right
Provenance: Waterman Fine Art, London (Label Verso); Private Collection
Framed Image: 76 x 55cm
Framed: 92 x 76cm
€5,000 - 8,000
49
STEVE BURGESS (CANADIAN, B. 1960)
Title: Wolf Pack Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 59 x 90cm
Framed: 75 x 106cm
€3,000 - 5,000
50
JACK BUTLER YEATS RHA (1871-1957)
Title: Marionettes (1912)
Medium: Pen and Indian Ink
Signature: Signed Lower Right & titled Lower Left
Provenance: Private Collection
Literature: Reproduced - A Broadside, No. 10, fourth year (March 1912);
Framed
Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, 1994, P. 260, Catalogue No. 1878
Jack B Yeats’s enormous reputation is built upon his oil paintings, especially the lyrical late works from the 1940s, where mythic subjects and encounters are immortalised in great bursts of incandescent colour. But his early work , starting in the late 1880s, was mostly executed in pen, ink and watercolour, produced for illustrated magazines. This enabled him to make a living from his art, following the principles instilled by his portrait-painter father John Butler Yeats, and also epitomised by his poet brother and his sisters’ embroidery and publishing enterprises.
He began to paint in oils in the early 1900s, but continued his illustrative work even after his move back to Ireland in 1910; producing, for instance cartoons for Punch under the name ‘W Bird’. Such work is more artistically conventional than the sketches of Connemara life drawn to accompany his friend J. M. Synge’s articles for the Manchester Guardian, the luminous album Life in the West of Ireland which he published in 1912, or the marvellously fluent drawings of everyday Irish life in the sketchbooks held by the National Gallery of Ireland. But in Ireland he also had a new outlet for pen-and-ink illustrations: the Cuala Press, founded by his sisters, who had anticipated him in moving back to Ireland to pursue their artistic vision. Cuala produced a much-loved series of prints designed by Jack and his wife Cottie- and also a series of publications called Broadsides, illustrated and mostly written by Jack, which is where ‘Marionettes’ appeared in 1912.
The illustration is framed by a theatrical stage (a device also used by Yeats in several later oil paintings), where an execution is taking place. The positioning and military attire of the firing-squad recall Goya’s famous Third of May painting, but their target is portrayed much more jauntily than in that horrific scene. The style of the
picture, and the fact that the figures are puppets, link it to the toy theatres which appealed to Jack Yeats all his life, discussing design issues at length with the innovative set-designer Edward Gordon Craig. Yeats himself made these miniature constructions and equipped them with plays featuring picaresque invented characters, pirates and bandits, likely to meet a bad end. ‘The Toy Theatre’, his unusual 1906 oil in the Niland Gallery, Sligo, depicts a child gazing enraptured at a miniature stage, and may well carry an autobiographical resonance.
‘Marionettes’ is a curious item, published at a key point in Jack Yeats’s artistic development (though it may have been drawn earlier); by 1912 he was attracting considerable critical interest, and five of his paintings would shortly feature in the legendary 1913 Armory Show in New York. This drawing points to the dramatic and childlike aspects of his unique vision, while also carrying a more serious implication. During the next few years he would paint haunting panoramas of the developing Irish revolution such as ‘Bachelor’s Walk: In Memory’ , ‘On Drumcliffe Strand’, ‘Communicating with Prisoners’, and ‘The Funeral of Harry Boland’. However playfully conceived, this 1912 illustration of a violent act may carry a prophetic charge, encoded within the frame of a child’s theatrical imagination.
R.F. Foster, Emeritus Professor of Irish History, University of Oxford
Authorised Biographer of W.B. Yeats February 2026
Image: 22.5 x 30 cm
Framed: 50.5 x 55.5 cm
€3,500 - 5,500
EOIN MAC LOCHLAINN (CONTEMPORARY)
Title: Nameless No. 3 (2011)
Medium: Oil on Canvas
Signature: Signed and Inscribed Verso
Provenance: Private Collection
Exhibited: ‘We are where we are’, The Paul Kane Gallery, Dublin, 2011; ‘Home’ - Bourn Vincent Gallery (University of Limerick), 2012; ‘Didean / Home’ - Cultúrlann McAdam Ó Fiaich, Belfast, 2013; ‘Didean / Home’ - Dunamaise Arts Centre, Portlaoise, 2014; ‘Didean / Home’ - Belltable, Limerick, 2014;
Notes: After the first exhibition at the Paul Kane Gallery in 2011, this body of work by Mac Lochlainn went on a tour to the venues above. It also featured on TG4 during its viewing at the University of Limerick
Unframed 91 x 81cm
€4,000 - 6,000
52
GAVIN FITZSIMONS (20TH / 21ST CENTURY)
Title: Lazy Summer Days
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 49 x 74 cm
Framed: 66 x 91 cm
€500 - 800
53
RORY BRESLIN (B. 1963)
Title: The August Mask (From the Clew Bay Series)
Medium: Bronze (No. 1 from an edition of 3)
Signature: Signed and Numbered
Provenance: The Artist’s Private Collection, Co. Mayo
The expression of the youthful August Mask is stoic and quite a bit determined. A plethora of symmetrically balanced leaves issue from the top of the work to the bottom. The first, a canopy of Twayblade orchid leaves overhang the criss-crossed leaves of the Marsh orchid and two rosettes of Spear thistle on either side of the head. Folklore of both ancient Ireland and Greece tell of mixing the roots of orchids with goat’s milk to make love potions. The thistle, James II choice of emblem for Scotland was picked because of its defensive symbolism...’Nemo me impune lacessit’, ‘Nobody touches me with impunity’. Below the thistles, leaves of the Doves tail crane bill, complete with their flowers frame the lower arc of the sculpture.
Acrobatically flying through the cascade of leaves, four blue tits fly harmoniously reflecting each other at the upper and lower sections of the sculpture. The tails of the upper birds graze flowers of the Devils Bit, named from the fact that its roots look truncated, as if bitten off, legend has it, by the Devil.
A series of plants curve inwards with the youth’s face from the chin up. Leaves of the much maligned Ragwort and the pointed buds of Goat’s Beard, whose flowers close up at noon. Seedbuds of Plaintan follow the cheekbones and lastly Patrick’s emblem, used to explain the essence of the Holy Trinity to king Aengus, the clover subtly hangs down from the forehead. 53 cm. high; 30 cm. wide; 62 cm. high on base
€4,000 - 6,000
JOHN SCHWATSCHKE (B. 1943)
Title: House Call (2021)
Medium: Oil on Canvas
Signature: Signed with Monogram and Dated Upper Left; Inscribed Verso
Provenance: Private Collection
Framed Image: 69.5 x 45cm
Framed: 77 x 62cm
€500 - 800
55
KEN MORONEY (B. 1949)
Title: Concarneau
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 28 x 22cm
Framed: 39 x 34cm
€800 - 1,200
56
TRUDIE MOONEY (B. 1961)
Title: Still Life with Topiary Bowl (2002)
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed on Labels Verso
Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the present owner
Framed
Image: 18 x 24cm
Framed: 31 x 37cm
€1,500 - 2,500
57
JARLATH DALY (B. 1956)
Title: Bust of Brendan Kennelly
Medium: Bronze - Artist’s Proof
Signature: Signed
Provenance: Private Collection
Framed
48cm high; 13cm wide; 13cm deep
€2,500 - 3,500
JAMES HUMBERT CRAIG RHA RUA (1877 - 1944)
Title: Rockport, County Down
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: The Collection of Lord Glentorran, Sir Daniel Dixon, Glencraig, Co. Down; Sir Robert Erskine, Estate Manager at Glencraig (C. 1930s), by descent; Bonhams, Knightsbridge, Modern British and Irish Art, 18 September 2012, Lot 173; Private Collection
Framed
James Humbert Craig was born in Belfast in 1877. He was largely self-taught, apart from an aborted term at the Belfast School of Art. He was predominately a landscape painter, drawn, like other northern artists, such as Frank McKelvey, to the seductive ruggedness of Donegal and Connemara as well as his beloved Glens of Antrim, where in, 1919, he purchased a cottage in Cushenden. It was later named Rockport cottage, which he also used as a studio. He was particularly active during the interwar years. His mother was Swiss, from an artistic family, and Craig travelled and painted in Europe, including the South of France. There is in his work something reminisent of the style of the French Barbizon group of painters; especially their handling of light and tonal contrasts in painting landscapes.
It may be noted that art historian Brian Kennedy detected an influence from the French artist Corot in Craig’s later works. In France, the development of industrialisation prompted more and more people to escape to the countryside as depicted by the Impressionists. In a Northern temperate climate, as in Ireland, the sky, and in turn, the land, is forever changing and often restless. Craig’s handling of tone and application of fragmented brush strokes registers this shifting landscape. John Hewitt has noted, in the artist’s works ‘…the swift notation of the insistent effect, the momentary flicker, the flash of light, the passing shadow.’ While his paintings were plotted and pieced by brush, he, at times, applied paint by palette knife for richness of texture and most of his paintings retain a classical structure and harmony as in Rockport, Co. Down.
The satisfying composition here is set in an 2:1 ratio with the billowing sky, taking up two thirds of the canvas, with the lower section of greens, blues and earthy colours anchoring the beach and the cove. As such the scene would have been observed en plein air, contributing to its freshness and mood. Paul Henry’s work, although more experimental, had an impact on Craig and others, like Frank McKelvey, not least in the depiction of the West of Ireland as a rich subject but stylistically to explore the playout of sky to land. While this painting is light and fresh: others can be more romantic with darker colours, registering a drama unfolding between shifting clouds and transitions of light and weather conditions.
Craig died in 1944, and memorial exhibitions were held in Derry, Belfast and Dublin. He was an important influence on younger Irish artists such as Maurice Wilks, and credited with being a father figure in the founding of an informal school of Irish Landscape Painting. James Humbert Craig’s work was included in an important exhibition of Irish Art in Brussels in 1930. He was a member of The Royal Hibernian Academy, and The Royal Ulster Academy. His paintings are represented in many private and public collections, including The National Gallery, Dublin, The Hugh Lane Gallery, Dublin, The Armagh County Museum and The Arts Council of Northern Ireland.
Prof. Liam Kelly, February 2026
Image: 49 x 59 cm
Framed: 67 x 78 cm
€5,000 - 8,000
MARIE CARROLL (20TH / 21ST CENTURY)
Title: Cottage in the West
Medium: Oil on Card
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 50 x 75 cm
Framed: 79 x 104 cm
€400 - 600
60
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Rocky Landscape
Medium: Watercolour
Signature: Signed with Monogram Lower Right
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist; Private Collection
Framed
Image: 12 x 13cm
Framed: 22.5 x 23cm
€500 - 800
ROBERT BALLAGH (B. 1943)
Title: Inside No. 3 After Modernisation
Medium: Limited Edition Artist’s Proof
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 84 x 59cm
Framed: 104 x 79.5cm
€1,500 - 2,500
62
GORDON KING (B. 1939)
Title: Swimming at the Pier
Medium: Watercolour
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 24 x 36cm
Framed: 49 x 58cm
€400 - 600
RODERIC O’CONOR RHA (1860 -1940)
Title: Le Verger (The Orchard)
Medium: Etching
Signature: Unsigned
Provenance: Private Collection
Framed
Image: 26 x 32cm
Framed: 65 x 72cm
€1,000 - 1,500
EDWIN HAYES RHA RI ROI (1819 - 1904)
Title: Shipping in a Heavy Swell (1867)
Medium: Oil on Board
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 15 x 25 cm
Framed: 33 x 43 cm.
€1,500 - 2,500
BASIL IVAN RAKOCZI (1908 - 1979)
Title: Still Life with Blue Jug
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 57 x 48cm
Framed: 66 x 58cm
€1,500 - 2,500
JOHN BELLANY CBE RA HRSA (1942 - 2013)
Title: Waiting by the Sea
Medium: Watercolour
Signature: Signed Lower Right
Provenance: The Solomon Gallery, Dublin, where acquired by the present owner
Exhibited: ‘John Bellany - Celtic Vision’, The Solomon Gallery, Dublin, 2006
Framed
Image: 37.5 x 27.5cm
Framed: 64 x 52cm
€3,000 - 5,000
TOM BYRNE (1962)
Title: Flowers
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 39.5 x 29.5cm
Framed: 64 x 54cm
€500 - 800
TONY O’MALLEY HRHA (1913 - 2003)
Title: Skull (C. 1950s)
Medium: Charcoal
Signature: Signed and Titled Lower Right
Provenance: The Collection of Eileen Cleary, a friend and mentor of the artist, who painted with him when he was living in Arklow, Co. Wicklow; Private Collection
Framed
Image: 17 x 22 cm
Framed: 28 x 32 cm
€700 - 1,000
SONJA LANDWEER (1933 - 2019)
Title: Tall Token (1990)
Medium: Ceramic with Slate
Signature: Unsigned; Inscribed on Label Verso
Provenance: Family of the artist
Dimensions (with base): 36cm high; 25.5cm wide; 14cm deep
Dimensions (no base): 32cm high; 31cm wide; 8cm deep
€800 - 1,200
ANDREW NICHOLL RHA (1804 - 1886)
Title: Waterfall by the Bridge
Medium: Watercolour
Signature: Signed Lower Right and Inscribed on Emer Gallery Label Verso
Provenance: The Apollo Gallery, Dublin (Stamped Verso); Emer Gallery, Belfast (Label Verso); Private Collection
Framed
Image: 33.5x 49.5cm
Framed: 53.5 x 68cm
€1,200 - 1,500
71
ANNIE ROBINSON (B. 1961)
Title: Still Life of Flowers
Medium: Pastel
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 29 x 23 cm
Framed: 51 x 44 cm
€400 - 600
72
BARBARA WARREN RHA (1925 - 2017)
Title: View of Howth
Medium: Gouache
Signature: Unsigned
Provenance: Acquired directly from the family of the artist by the present owner
Framed
Image: 36 x 49.5cm
Framed: 45.5 x 59cm
€500 - 800
JAMES HOLLAND OWS (1799 - 1870)
Title: The Royal Mile, Edinburgh (1853)
Medium: Oil on Panel
Signature: Signed and Dated Lower Left
Provenance: Christies, The Scottish Sale, 26 October, 2000, Edinburgh; Private Collection
Framed
Image: 55 x 45 cm
Framed: 68 x 58 cm
€1,500 - 2,500
74
DAVID FRENCH LE ROY (B.1971)
Title: Still Life with Eggs
Medium: Oil on Board
Signature: Signed Lower - Centre Left
Provenance: Private Collection
Framed
Image: 32 x 40cm
Framed: 60 x 68cm
€2,000 - 3,000
75
GRACE HENRY HRHA (1868
- 1953)
Title: Achill Island (C. 1915)
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Peppercanister Gallery, Dublin; Sotheby’s, London, The Irish Sale, 7 May, 2007, Lot 68, Where acquired by the present owner Framed
One of Grace Henry’s finest landscape paintings, this view looking across an inlet on Achill Island has a freshness, vibrancy and sense of open space that suggests it was almost certainly painted ‘en plein air’. The viewpoint may be from Sraheens, just west of Achill Sound, with Knocklettragh mountain in the background. In the foreground, Henry depicts a wide expanse of sea and wet sand, rendered in delicate tones of pale blue and ivory. On the shore opposite, a group of thatched cottages, nestled into the landscape, are reflected in pools of water. Henry often painted out of doors, striving to capture atmosphere and mood. There is an immediacy and intensity in her work that has long endeared her to art collectors with an eye for originality and feeling. Her ‘Evening Star, Achill’, painted in 1916, is now in the Hugh Lane Gallery.
Born in Peterhead, Aberdeen, after the death of her father, a Church of Scotland minister, Grace Henry (née Mitchell) travelled on the Continent, studying art in Brussels and at the Delecluse Academy in Paris, where she also studied with Andre Lhote. In 1910 she and her husband Paul Henry left London
to settle in the West of Ireland, on remote Achill Island, where they painted landscapes and local scenes. While Grace Henry’s still-lives, figures, portraits and landscapes are accomplished essays in colour and the expressive use of paint, her work often suggests a quality of introspection, one that led eventually to the couple leaving Achill and returning to the companionability of the Dublin art world. Henry eventually separated from her husband in 1929, to pursue an independent career. In the 1930’s she travelled extensively on the Mediterranean coast, painting in a loose Fauvist style. Henry also spent time in Chioggia, near Venice, with her lover, the writer and parliamentarian Stephen Gwynn.
Dr. Peter Murray, February 2026
Image size: 25 x 34 cm Framed 42 x 53 cm.
€12,000 - 15,000
COLIN FLACK (B. 1973)
Title: West of Ireland Landscape
Medium: Acrylic on Canvas Laid on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 58 x 76 cm
Framed: 85 x 103 cm
€700 - 1,000
77
IRISH SCHOOL
Title: James Joyce
Medium: Bronze
Signature: Unsigned
Provenance: Private Collection 17.5cm high; 6cm wide; 6cm deep
€400 - 600
ANNA AKALU (21ST CENTURY)
Title: The Meadow Medium: Acrylic on Board
Signature: Signed Verso
Provenance: Private Collection
Framed
Image; 24 x 29 cm
Framed: 44 x 49 cm
€400 - 600
EDWIN HAYES RHA RI ROI (1819 - 1904)
Title: Dutch Boats Running Free off Tantallan Castle, Isle of Wight Medium: Oil on Canvas
Signature: Signed and Dated Lower Left; Inscribed Verso Provenance: Homan Potterton - A Life of Collecting, Adam’s, 7 September, 2021, Lot 99; Private Collection
Framed
Image: 36 x 60 cm
Framed: 59 x 82 cm
€4,000 - 6,000
IAN POLLOCK (B. 1975)
Title: Aran Cat
Medium: Bronze on Black Marble Base (No. 6 from an edition of 7)
Signature: Signed and Numbered on Base
Provenance: Gor mley’s Fine Art, Dublin; Private Collection
This work was inspired by one of the artist’s numerous trips to the Aran Islands. The cat is a recurring theme in the artist’s oeuvre and is an animal that Pollock is particularly interested in, along with birds. The Cat stands proudly on an upstanding Currach, which is supported by the two oars. The animal isn’t concerned about balance as his curved tail assists with this, but more about what lies ahead as it looks into the distance.
This work, like all of his bronzes, was cast in the Liberties area of Dublin by Cast Ltd. art foundry, using a ‘cire perdue’ (lost wax) method in ceramic shell moulds. Pollock has exhibited with the Royal Hibernian Academy, as well as the Royal Ulster Academy and the Oireachtas. His work can be found in the collections of the OPW, UCD and the Beacon Hospital. 67 cm. high; 72 cm high on base; 25.5cm wide; 24cm deep
€3,500 - 5,500
MARIE CARROLL (20TH CENTURY)
Title: Cottages
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 13 x 19.5cm
Framed: 26.5 x 33cm
€400 - 600
JOHN BUTLER YEATS RHA (1839 - 1922)
Title: Portrait of a Gentleman
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Yeats Family Collection; Private Collection
Framed
Image: 18 x 10cm
Framed: 46 x 40cm
€800 - 1,200
83
NIALL CAMPION (B. 1956)
Title: Howth Harbour (2023)
Medium: Acrylic on Canvas
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 48 x 58 cm. Framed: 73 x 81 cm.
€600 - 900
JAMES MACINTYRE (RUA (1926 - 2015)
Title: Head in Profile (1952)
Medium: Watercolour
Signature: Signed and Dated Lower Left
Provenance: The Deborah Brown Collection, Adam’s, Dublin, 1 October, 2024; Private Collection
Framed
Image: 37 x 28cm
Framed: 51 x 43.5cm
€400 - 600
86
ANA DUNCAN (20TH / 21ST CENTURY)
Title: Balalaika
Medium: Limited Edition Bronze (No. 3/9)
Signature: Signed and Numbered
Provenance: Private Collection
22.5cm high; 20.5cm wide; 11.5cm deep
€2,000 - 3,000
87
MARIE CARROLL (20TH CENTURY)
Title: Trinity College
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 49.5 x 75cm
Framed: 66 x 92cm
€700 - 1,000
NEIL
Title: Nude (1989)
Medium: Watercolour
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 55 x 46cm
Framed: 76 x 67cm
€1,000 - 1,500
SHAWCROSS MBE RHA HRUA (B. 1940)
LOUIS LE BROCQUY HRHA (1916 - 2012)
Title: The Tain - Fedelm (1969)
Medium: Limited Edition Lithograph - No. 61/70
Signature: Signed, Dated and Numbered Lower Right
Provenance: Private Collection
Framed Image: 54 X 38cm
Framed: 66 x 49cm
€2,000 - 3,000
90
JOHN BELLANY CBE RA HRSA (1942 - 2013)
Title: Fisherwoman
Medium: Watercolour
Signature: Signed Lower Right
Provenance: The Solomon Gallery, Dublin, where acquired by the present owner
Exhibited: ‘John Bellany - Celtic Vision’, The Solomon Gallery, Dublin, 2006
Framed
Image: 37.5 x 27.5cm
Framed: 64 x 52cm
€2,000 - 3,000
91
JARLATH DALY (B. 1956)
Title: Galtee Mountain Boy
Medium: Unique Bronze
Signature: Signed
Provenance: Private Collection
Framed
20 cm. high; 25 cm. high on base; 7cm wide; 7cm deep
€800 - 1,200
92
BARRIE COOKE HRHA (1931 - 2014)
Title: Glacier in Norway (2000)
Medium: Oil on Board
Signature: Signed and Inscribed Verso
Provenance: Family of the artist
Framed
Image: 21 x 22cm
Framed: 25 x 26cm
€1,500 - 2,500
DESMOND CARRICK (1928 - 2012)
Title: Observing Cattle in Connemara
Medium: Oil on Canvas Board
Signature: Signed Lower Right and Inscribed on RHA Labels Verso
Provenance: Royal Hiber nian Academy, Dublin (Label Verso); Private Collection
Exhibited: Royal Hibernian Academy Annual Exhibition, Dublin, 2001, Catalogue No. 66
Framed
Image: 46 x 60cm
Framed: 62 x 78cm
€1,500 - 2,500
JAMES HUMBERT CRAIG RHA RUA (1877 - 1944)
Title: The Beach at Cushendun Bay from the Garron Road, Co. Antrim
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 52 x 72 cm
Framed: 64 x 84 cm
€4,000 - 6,000
95
BRIAN MACMAHON (B. 1955)
Title: Tracht Near Kinarva (1998)
Medium: Oil on Canvas
Signature: Signed and Dated Lower Left and Titled Verso
Provenance: The Collection of Tommy Smith, Grogan’s Pub, Dublin; Private Collection
Framed
51 x 61cm
€600 - 900
JOHN BELLANY CBE RA HRSA (1942 - 2013)
Title: Masquerade
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: The Solomon Gallery, Dublin (Exhibition Label Verso - underneath top panel), where acquired by the present owner
Exhibited: ‘John Bellany - Celtic Vision’, The Solomon Gallery, Dublin, 2006
Framed
Not that many 20th century painters could boast of a fan base that encompassed David Bowie, but the singer was a longterm fan of John Bellany extending back to his days as an art student. One can see that Bowie might have been attracted to the exuberant, carnivalesque inventiveness evident in this dazzling painting. It is typical of the later work of the gifted, charismatic Scottish painter and features many of the enduring elements of his imaginative world. It’s playful, multi-layered and full of joie de vivre, while also keeping a cool eye on the bigger questions of life, death, chance and fate. Born into a family of boat-builders and fishermen in the close-knit community of Port Seton village north of Edinburgh, the young Bellany experienced an environment shaped by the physical rigours of the North Sea and the moral rigour of Scottish Presbyterianism. His childhood drawings were of fishing boats and he later vividly recalled his first experience of being out on one: a shock to the system.
However, his clear artistic flair, matched by an aptitude for music, led him in another direction, to Edinburgh College of Art. There he found close, important friendships and the beginning of his relationship with a fellow student, Helen Percy. They married and moved to London. His early, extraordinarily accomplished work had the darkness and metaphysical preoccupations of what Robert Rosenblum termed the Northern Romantic tradition. Its apocryphal mood intensified in the 1970s. His flourishing as a painter with a strict work ethic - an ethic he never abandoned - coexisted with increasingly wild drinking sprees, leading to a marriage break-up in 1974, at which point he suffered a nervous breakdown. He
recovered and renewed himself by returning to his roots in Port Seton and rebuilding his life. He and Helen remarried in 1986. The damage had been done, however, and he was heading inexorably towards liver failure. Salvation came in the nick of time, in the form of a transplant towards the end of the decade.
It was a remarkable rebirth, physically and creatively, releasing him into a brilliant flowering of talent and dispelling the gloom of much of his earlier, moodier work. “Colour is the most important thing”, he wrote to a friend at the time, and he embraced colour with a new zeal. Max Beckmann and Oskar Kokoschka are often and rightly cited as important influences, though Bellany’s voice is distinctively his own. What they all have in common, perhaps, is an autobiographical intensity of approach and a liking for personal symbolism (with the sea and its lore usually apparent). Bellany himself and Helen, his perpetual muse, feature in myriad guises Here he’s a Captain Ahab-like magician with Helen as his straight-faced assistant in a dizzying composition with allusions to time, chance and the limitless possibilities of life. Throughout and following his life, John Bellany was the subject of numerous retrospective and survey exhibitions, and his work is included in many major collections throughout the UK, in Ireland and abroad.
Aidan Dunne, February 2026
Image: 121.5 x 91.5cm
Framed: 131.5 x 101.5cm
€25,000 - 35,000
97
VIVIEN JOHN (1915 -
1994)
Title: The Islands (1983)
Medium: Acrylic on paper
Signature: Signed and Dated Lower Left
Provenance: Private Collection
Framed
Image: 37 x 54 cm
Framed: 50 x 68 cm
€400 - 600
98
JOSEPH SLOAN (B. 1940)
Title: Curragh (2017)
Medium: Limited Edition Bronze (No. 2/3)
Signature: Signed, Dated and Numbered
Provenance: Private Collection
Framed 13cm high; 19cm wide; 13cm deep
€1,200 - 1,500
LOUIS LE BROCQUY HRHA (1916 - 2012)
Title: The Tain - Slain Men (1969)
Medium: Limited Edition Lithograph - No. 61/70
Signature: Signed, Dated and Numbered Lower Right
Provenance: Private Collection
Framed
Image: 38 x 54cm
Framed: 50 x 65cm
€2,000 - 3,000
The Gerry Cuddy Collection
LOTS 100 - 142
100 STELLA STEYN (1917 - 1987)
Title: Jesus and the Apostles
Medium: Oil on Canvas
Signature: Studio Stamp Verso
Provenance: The Artist’s Studio (Stamped Verso); The Gerry Cuddy Collection
Framed
Image: 75.5 x 60cm
Framed: 81.5 x 66.5cm
€400 - 600
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: A Discussion? (1928)
Medium: Pen and Ink on Card
Signature: Titled Lower Centre and Inscribed ‘my first attempt at black and white 1928, 20 gns’ by the artist on reverse
Provenance: The Bell Gallery, Belfast; The Collection of George and Maura McClelland The Gerry Cuddy Collection
Framed
Image: 25 x 23cm
Framed: 35 x 32.5cm
€500 - 800
102
MARKEY ROBINSON (1918 - 1999)
Title: The Regatta
Medium: Gouache
Signature: Signed Lower Left
Provenance: Acquired from Michael Flanagan, Art Consultant and friend of the artist, by Gerry Cuddy
Framed
Image: 37 x 58cm
Framed: 56.5 x 77.5cm
€4,000 - 6,000
103
MARKEY ROBINSON (1918 - 1999)
Title: On the Path Home
Medium: Gouache
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 23 x 29cm
Framed: 39 x 43.5cm
€1,500 - 2,500
104
GEORGE CAMPBELL RHA RUA (1917 - 1979)
Title: Portrait of a Girl
Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 37 x 25cm
Framed: 52 x 40cm
€500 - 800
105
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: Taking a Nap
Medium: Wax Crayon
Signature: Signed Upper Right
Provenance: The Gerry Cuddy Collection
Framed
Image: 20 x 18cm
Framed: 41.5 x 39cm
€1,000 - 1,500
106
CLAUDE HAYES RI ROI (1852 - 1922)
Title: Near Tewksbury
Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 24.5 x 53.5cm
Framed: 46.5 x 76.5cm
€400 - 600
107
BASIL BLACKSHAW HRHA RUA (1932 - 2016)
Title: Three Trees
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 22.5 x 28.5cm
Framed: 45.5 x 51.5cm
€2,500 - 3,500
108
NORMAN J. MCCAIG (1929 - 2000)
Title: Cattle Grazing by a River Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed Image: 49 x 90cm
Framed: 65 x 105cm
€500 - 800
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: At the Galway Races
Medium: Crayon
Signature: Signed Upper Right
Provenance: Private Collection, Greenisland, Co. Antrim; James Mullin Fine Art, Newtownabbey, Co. Antrim; Private Collection, Belfast; Adam’s, Important Irish Art, Dublin, 1 April, 2018, Lot 36; The Gerry Cuddy Collection
Framed
William Conor was born in north Belfast in 1881. One of seven children, he attended the Belfast Government School of Art at a young age. Martyn Anglesea observes that at this time, the art school was focused on training students in drawing and design for industry. Belfast’s principal outlets in this regard were in linen design and lithographic poster firms. During the years 1904 - 1910 he served an apprenticeship as a lithographer and poster designer with David Allen & Sons. In this context Conor created the poster designs through applying black ink and lithographic chalk directly to the lithographic stone. ‘The work was highly disciplined and instilled early a sound sense of design and balance of forms’, the composition was simplified to ensure legibility from a distance and his work with the lithographic chalk was to give the artist ‘a liking for crayon as a drawing medium which was to last the rest of his life’ (Anglesea, 1999: 11). It is likely that this early training ensured that Conor focused exclusively on the scene at hand without unnecessary background elements and it will have informed the confident black outlines that demarcate his figure groupings.
This approach is evident in the majority of his practice and can be seen in ‘At the Galway Races’, where the two women are affectionately depicted at the race day. There is a definite sense of balance and harmony in the arrangement of the composition and the viewer is invited, not only to view the race, but also to join the discussion. The lady on the right stands with her hands aloft holding binoculars before her, but instead of looking through these, her head is turned conversationally to her companion, who is placed at a lower level in the composition and we see her smiling profile. Through the angle of the first lady’s head, Conor has employed a familiar linking device of figures in his work. It can be seen
in ‘Three Singers’, where tilting the head of one figure to engage with another, unites the three. It also ensures that the viewer feels included in the composition. The draperies of the figures are sensitively represented and Conor has indicated light and shade in the long coats of the women through confident use of line and his restricted palette of colour. The background is secondary and features three horses racing, their jockeys sparsely indicated. The treatment of the background is fainter and designed simply to indicate the setting and event, as opposed to detracting from the scene of friendship in the foreground.
William Conor’s work remains important. I have previously written that ‘he has, singlehandedly, created a comprehensive social catalogue for the first half of the twentieth century featuring working class existence, street games, family life and pursuits’ (O’Kane Boal, 2017). He was a devoted artist and carried a sketchbook everywhere with him which he would keep hidden in a folded newspaper so that he could observe people without interrupting the scene. This initial sketch from life on the spot has ensured that his work has an honesty and vitality that endures. Máirín Allen has observed in the Father Mathew Record that Conor was confident that the artist should record ‘his own epoch and give expression to what was happening around him’. He was fully engaged in representing scenes from everyday life and we continue to enjoy his commitment to his practice.
Dr. Marianne O’Kane Boal, February 2026
Image: 26.5 x 18.5cm
Framed: 53 x 44cm
€2,500 - 3,500
110
DONAL MCNAUGHTON (CONTEMPORARY)
Title: Springer Spaniel
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Fine Irish Art, Co. Antrim (Label Verso); The Gerry Cuddy Collection
Framed Image: 40 x 50cm
Framed: 64 x 74cm
€400 - 600
111
BASIL BLACKSHAW HRHA RUA (1932 - 2016)
Title: English Pointer
Medium: Oil on Canvas
Signature: Signed Upper Right
Provenance: Gor mley’s Art Auctions, Belfast, 29 November, 2022, Lot 41, Where acquired by Gerry Cuddy Framed
Basil Blackshaw Is a critically respected and popular artist. Always experimenting, he explored various styles and formats, including expressionism, semi - abstraction and, in his later years, abstraction (e.g. the critically well - received ‘Windows’ Series’. He was born in Co. Antrim where he subsequently lived and worked. He studied at The Belfast College of Art, under Romeo Toogood from 1948 to 1951, where T. P. Flanagan was a fellow student.
The son of a horse trainer, he was very much a man ‘of’ the land, and those who worked it – farmers, horse trainers and so called ‘doggy’ men. His main preoccupying themes included landscapes, portraits, horses, and dogs. Painting horses was a constant and ever developing theme of his, over a number of decades - race horses exercising in the early morning mist; horse and rider taking a tumble at a fence. These developed from more strictly anatomical realistic studies to, in his later career, a more gesturally free use of paint. Degas stylistically set a precedent for horse paintings and Blackshaw would also have been aware of the work of English artist Munnings’ work, painting horses.
Dogs are usually around their owner throughout the day and a mutually affectionate relationship often develops. Blackshaw trained greyhounds for several years. In his triptych painting ‘Buaitheoirí na Straith’ (1978) three owners proudly present their greyhounds, as if at a dog show, where a painterly symbiosis is conjured up between dog and owner. In Blackshaw’s painting English Pointer, this working dog is portrayed as set to move in the ‘field’, his stance characterised by the nature of his work which is to point to the game and retrieve it. As such Blackshaw registers the powerful physical presence of the dog.
His left front leg is raised, his tail erect while his noble head is focused on the task ahead. Blackshaw has painted the animal naturalistically, whereas other dogs he painted, especially in his latter years, were painted, as with his horses, very much in a loose, more primitive and expressive and at times humorous style.
The rough heath / bogland-like hunting terrain in ‘English Pointer’ is painted thinly in a variety of earth colours: greys, browns and greens. The dog is painted in the breed’s typical colours of white and brown. The trees to the right are rendered translucent against the sky. The sky, in contrast to the land, is rendered in pastel light blue and green with wispy clouds.
In a similar painting ‘Hound’ the landscape format, as in ‘Pointer,’ is reversed in which the dog looks forward. Likewise, in this painting, the dog’s weighty presence defines the pictorial charge of the work. Basil Blackshaw had his first solo show at the Belfast Museum and Art Gallery in 1955. He was a regular exhibitor at the Exhibition of Living Art. The ACNI arranged a mid-career retrospective in 1974. He was included in Rosc 88. The Royal Hibernian Academy organised a major retrospective of his work in 2012. His paintings are included in many private and public collections, including, inter alia: The Ulster Museum, Belfast; The Hugh Lane Municipal Gallery, Dublin and IMMA, Dublin.
Prof. Liam Kelly, February 2026
Image: 35 x 45 cm
Framed: 49 x 59 cm
€4,000 - 6,000
112
HARRY KERNOFF RHA (1900 - 1974)
Title: Theatre Design
Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 31 x 23cm
Framed: 54 x 46cm
€700 - 1,000
113
ROBERT TAYLOR CARSON HRUA (1919 -
2008)
Title: Donegal
Medium: Watercolour
Signature: Signed Lower Right and Titled Verso
Provenance: The Gerry Cuddy Collection
Framed
Image: 25.5 x 36cm
Framed: 34.5 x 44.5cm
€400 - 600
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: The Violin Player
Medium: Watercolour, Ink and Charcoal
Signature: Signed Twice Upper Left
Provenance: Purchased in Belfast, Circa 1970, by the previous owner (probably from John Magee) Private Collection, North Yorkshire; The Gerry Cuddy Collection
Framed
Image: 30 x 23cm
Framed: 39 x 31.5cm
€2,500 - 3,500
115
HENRY ALBERT HARTLAND (1840
- 1893)
Title: The Bundorragha River, Co. Mayo
Medium: Watercolour
Signature: Signed and Dated Indistinctly Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 28 x 45cm
Framed: 53.5 x 67.5cm
€500 - 800
116
THOMAS PUTT (CONTEMPORARY)
Title: Seamus Heaney
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: The Gerry Cuddy Collection
Framed
Image: 34 x 24cm
Framed: 54.5 x 44cm
€400 - 600
PADRAIG MACMIADHACHAIN RWA (1929 - 2017)
Title: The Nearness of Your Love - Morocco No. 5
Medium: Mixed Media
Signature: Signed Lower Right and Titled Verso
Provenance: Gor mley’s Art Auctions, Belfast, November 20, 2012, Lot 148; The Gerry Cuddy Collection
Framed
Image: 23 x 31cm
Framed: 38 x 45.5cm
€400 - 600
BASIL BLACKSHAW HRHA RUA (1932 - 2016)
Title: Head of a Traveller
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: The Gerry Cuddy Collection
Note: This work is part of the Tinker Series, which Blackshaw completed in the mid 1980s (C. 1984 - 6) and a number of these works in the Vincent and Noeleen Ferguson Collection were exhibited at the RHA in Dublin from January - March, 1993
Framed
Image: 25.5 x 14.5cm
Framed: 45.5 x 34.5cm
€3,000 - 5,000
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: Working in the Mill
Medium: Wax Crayon and Charcoal
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Note: Oil paintings on the theme of Mill Workers by Conor were shown at the RHA, Dublin in 1919 (No. 137) and 1920 (No. 214)
Framed
John Hewitt has described William Conor as Ulster’s ‘representative artist’ for the middle decades of the twentieth century and emphasises that Conor came to epitomise ‘our best moods and impulses’ (Hewitt, 1977: 86). Born in Belfast in 1881, William Conor’s father was a sheet metal worker and the artist inherited his father’s name. This familial link to the manufacturing industry was to impact on Conor’s choice of subject matter and his depictions of Belfast life, with his compositions featuring shipyard workers, mill workers or ‘shawlies’. The ‘shawlie’ was a working-class woman who wore a shawl to protect her from the elements. In Belfast they were associated with the linen mills, such as Brookfield Mill on the Crumlin Road. A bronze sculpture ‘The Mill Worker’ (2010) by Ross Wilson, located at the top of Cambrai Street, takes William Conor’s painting ‘Going to the mills, Crumlin Road, 1914’, as inspiration for the sculpture.
The information board that accompanies the work provides context for the importance of this industry at the time, ‘Belfast was one of the fastest growing urban centres in Europe in the nineteenth - century, with the linen industry a major driver. The city’s status as the world’s biggest linen producer came about partly as a result of the cotton shortages in the 1860s caused by the American Civil War. In 1896, 96,000 people worked in linen in Belfast, making it the city’s biggest employer. The profits enabled other industries to grow, including engineering, shipbuilding, tobacco, whiskey and rope - making. Belfast became a world leader in all of these industries.’
In his depictions of millworkers, Conor tended to depict small groups of women travelling to or from work. These ranged from intimate studies in charcoal, crayon or oil, to pairs in conversation, and wider groups. Examples include: ‘In the Morning, Mill Girls Going to Work’, ‘The Mill Girls’, ‘Belfast Mill Girls’, 1907, and ‘Going to the Mills, Crumlin Road’, 1914. The subject is also addressed in Conor’s large scale painting ‘Ulster Past and Present’, commissioned in 1931 for the Belfast Museum and Art Gallery and measuring 2.8m by 7.4m. The painting features ancient Irish warriors
marching into battle to represent the past and the present is denoted by a group of Belfast mill and shipyard workers coming from work, with the mill buildings and cranes featured in the background. It was the largest mural in Ireland at the time. Unlike these works that focus on the active work journey, this composition ‘Working in the Mill’ in wax crayon and charcoal is a distinctive work in Conor’s oeuvre as it constitutes a detailed interior scene and one of the few examples of this working environment. The treatment of materials is interesting. He uses charcoal to indicate the vast industrial interior and the monochrome upper half of the work underlines its utilitarian focus. Within the lower half of the composition, he incorporates colour, predominantly green, blue, black and light red.
The colour enlivens the figures, lending rhythm and a productive focus to the women’s work. They sit at long tables with sewing machines before them. The figures on the left and right of the composition are treated differently. Two women stand engaged in conversation on the far right. To their left is a woman seated at the table with her back to them and she is working intently. These three figures have heightened definition in line and colour creating a scene within the overall scene. This serves to mark the passage of time, the three figures signifying a present moment and the remaining crowd of women having a lighter ethereal quality that suggests the nostalgic past. Conor is perhaps commenting on the recession between the world wars that signalled a dramatic reduction in the demand for linen internationally. This artwork is essentially a piece of social history and it also celebrates the textile heritage of Belfast. It invites and holds the eye through the colour and dynamic activity of the composition.
Dr. Marianne O’Kane Boal, February 2026
Image: 41.5 x 38cm
Framed: 54 x 60cm
€3,500 - 5,500
DANIEL O’NEILL (1920 - 1974)
Title: The Down and Outs (C. 1950)
Medium: Oil on Board
Signature: Signed Upper Left
Provenance: Alfred Rive BA, M. Litt, PhD, LLD (1898 - 1970) (Canadian Ambassador to Ireland, 1955 - 1964), by Descent; Adam’s - In Association with Bonhams, Dublin, Important Irish Art, 7 December, 2005, Lot 71; Christie’s, London, The Irish Sale, 10 May, 2007, Lot 126; The Gerry Cuddy Collection
Literature: Karen Reihill, ‘Daniel O’Neill: Romanticism and Friendships’, Frederick Gallery Bookshop, 2020, Illustrated on Pg 94, Fig. 187 Framed
There is more than a slight element of autobiography in this complex work by Daniel O’Neill. Painted probably around 1950, The Down and Outs conveys a sense of the desperation felt by the artist, as he struggled with alcoholism, spurred on by the disintegration of his marriage to Eileen Lyle. Gathered around the central figure, who stands, arms outstretched, are the marginalised and dispossessed of society. The scene may be set in the tenements of Dublin, or more likely the ruins of houses in Belfast. The artist had been deeply traumatised years before, in 1941, when hundreds of houses in Belfast were destroyed in a German air raid. Two of O’Neill’s nieces were killed, an event that left the artist psychologically scarred. With its complex composition and use of colour, The Down and Outs acts as a counterfoil to O’Neill’s more optimistic 1952 Birth, where a woman lies in bed, surrounded by family members and a midwife. The pose of the man in The Down and Outs relates to the figure of Christ in O’Neill’s Crucifixion Scene, also painted around this time. The figure’s stance is equally reminiscent of James Larkin, who was photographed, arms outstretched, while addressing a crowd in Dublin in 1923. O’Neill employed techniques learned during his 1948 visit to Paris, scratching and scarring the paint surface, to create a work that expresses deep feeling and a sombre mood.
Significantly, given its subject-matter, The Down and Outs was acquired by Alfred Rive, who
served as Canadian Ambassador to Ireland between 1955 and 1964. A brilliant diplomat and intellectual, Rive’s understanding of the end of colonialism, and his support for emerging nations, reveal a personality that responded to the humanitarian issues depicted in O’Neill’s painting. Also, Rive was married to Harriet Hopkinson, daughter of the portrait painter Charles Hopkinson, so there would have been an appreciation of art in the family. The connection between O’Neill and Canadian collectors was strengthened when George Waddington, brother of Victor, set up a branch of the Waddington Gallery in Montreal, with O’Neill showing his work there in the early 1960s. Always a restless spirit, thereafter O’Neill moved between Dublin, Belfast and London. A successful exhibition of his work, held at the McClelland Galleries in 1970, prompted him to return to Belfast, but not long afterwards the gallery was forced to close as a result of ‘The Troubles’. O’Neill died in 1974, aged just 54. A retrospective exhibition of his work, curated by Karen Reihill, was held at Farmleigh House in 2022.
Dr. Peter Murray, February 2026
Image: 64 x 85cm
Framed: 85 x 106cm
€8,000 - 12,000
121
GEORGE K. GILLESPIE (1924 - 1995)
Title: Horn Head from Bloody Foreland, Co. Donegal
Medium: Oil on Canvas
Signature: Signed Lower Left and Inscribed on Label Verso
Provenance: DeVeres, Dublin, Major Irish Art Auction, 17 April, 2018, Lot 70, Where acquired by Gerry Cuddy
Framed
Image: 50 x 59cm
Framed: 74 x 84cm
€2,000 - 3,000
122
LOUIS LE BROCQUY (1916 - 2012)
Title: Head Study III (Francis Bacon, C. 1988)
Medium: Limited Edition Coloured Aquatint (30/75)
Signature: Signed and Numbered Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 58 x 46cm
Framed: 80.5 x 68.5cm
€1,200 - 1,500
123
PAUL WILSON (CONTEMPORARY)
Title: Looking Across the Lough (1996)
Medium: Pastel on Paper
Signature: Signed with Monogram and Dated Lower Right
Provenance: The Gerry Cuddy Collection
Framed Image: 25 x 30cm
Framed: 50 x 53.5cm
€400 - 600
124
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: Portrait of a Young Lady (1944)
Medium: Pastel and Pencil on Paper
Signature: Signed and Dated Upper Right
Provenance: The Gerry Cuddy Collection
Framed
Image: 42 x 32cm
Framed: 69.5 x 59.5cm
€800 - 1,200
MAURICE
C. WILKS RUA ARHA (1920 - 1984)
Title: Courtyard, Antrim Castle Grounds
Medium: Watercolour
Signature: Signed Lower Left and Inscribed on Label Verso
Provenance: The Bell Gallery, Belfast (Label Verso); The Gerry Cuddy Collection
Framed
Image: 36 x 47cm
Framed: 57 x 65.5cm
€500 - 800
126
PATRICIA O’BRIEN (CONTEMPORARY)
Title: The Pink Tulips (1996)
Medium: Oil on Canvas
Signature: Signed and Dated Lower Left; Inscribed on Solomon Gallery Label Verso
Provenance: Solomon Gallery, Dublin (Label Verso); The Gerry Cuddy Collection
Framed
Image: 29.5 x 34.5cm
Framed: 36 x 41cm
€400 - 600
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: The Old County Down Railway Office (1930)
Medium: Crayon
Signature: Signed and Dated Lower Left; Inscribed Verso
Provenance: The Bell Gallery, Belfast (Label Verso); The Collection of George and Maura McClelland; The Gerry Cuddy Collection
Exhibited: The Bell Gallery, Belfast, 1964
Framed
Image: 24.5 x 20cm
Framed: 45 x 37.5cm
€2,000 - 3,000
128
MARKEY ROBINSON (1918 - 1999)
Title: Spain II
Medium: Gouache
Signature: Signed Lower Left
Provenance: The Collection of the Artist’s Family; Whyte’s, Dublin, Irish and British Art, October 4, 2010, Lot 234; The Gerry Cuddy Collection
Framed
Image: 52 x 79cm
Framed: 67 x 96cm
€2,500 - 3,500
PADRAIG MACMIADHACHAIN RWA (1929 - 2017)
Title: The White Cottage
Medium: Gouache
Signature: Unsigned
Provenance: The Gerry Cuddy Collection
Framed
Image: 51 x 81cm
Framed: 69 x 99.5cm
€500 - 800
130
ROBERT D. BEATTIE (20TH CENTURY)
Title: Off to Market
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 39 x 49.5cm
Framed: 57 x 67cm
€400 - 600
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: The Ballad Singer (1909)
Medium: Watercolour, Ink and Charcoal
Signature: Signed Upper Right and Inscribed on John Magee Label Verso
Provenance: John Magee, Belfast (Label Verso), where purchased Circa 1970; Private Collection, North Yorkshire; The Gerry Cuddy Collection
Framed
Image: 23.5 x 19.5cm
Framed: 32.5 x 28.5cm
€2,000 - 3,000
132
FERGUS O’RYAN RHA (1910 -
Title: The Cathedral at Salamanca
Medium: Oil on Board
Signature: Signed and Titled Lower Left
1989)
Provenance: Combridge Fine Arts, Dublin (Label Verso); Gallery 1999, Torquay (Label Verso); The Gerry Cuddy Collection
Framed
Image: 21 x 28cm
Framed: 33 x 40.5cm
€400 - 600
ANTHONY ROBERT KLITZ (1917 - 2000)
Title: Oxford
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: The Gerry Cuddy Collection
Framed
Image: 50 x 75cm
Framed: 67 x 92cm
€800 - 1,200
134
COLIN MIDDLETON MBE RHA RUA (1910 - 1983)
Title: Mother and Child
Medium: Charcoal
Signature: Signed with Monogram Lower Right
Provenance: The Gerry Cuddy Collection
Framed
Image: 26 x 20cm
Framed: 52.5 x 46cm
€500 - 800
135
JOHN FAULKNER RHA (1835 - 1894)
Title: An Old Tollgate Medium: Watercolour
Signature: Signed and Titled Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 42.5 x 71.5cm
Framed: 61 x 91cm
€800 - 1,200
MAURICE C. WILKS RUA ARHA (1911 - 1984)
Title: Lough Fee, Co. Galway
Medium: Oil on Canvas
Signature: Signed Lower Right and Titled Verso
Provenance: The Gerry Cuddy Collection
Framed Image: 40 x 49cm
Framed: 48 x 57.5cm
€1,200 - 1,500
WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)
Title: A Chat on the Park Bench
Medium: Pen, Ink and Watercolour Wash
Signature: Signed Lower Left
Provenance: John Magee, Belfast (Label Verso); The Gerry Cuddy Collection
Framed
Image: 26 x 16cm
Framed: 40 x 28cm
€1,000 - 1,500
138
HENRY ALBERT HARTLAND (1840 - 1893)
Title: Capel Cuig (1878)
Medium: Watercolour
Signature: Signed Lower Left and Inscribed Verso
Provenance: The Gerry Cuddy Collection
Framed
Image: 16.5 x 34.5cm
Framed: 31 x 48cm
€400 - 600
139
GLADYS MACCABE MBE HRUA ROI FRSA (1918 - 2018)
Title: Beach Rides
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed on Eakin Gallery Label Verso
Provenance: The Eakin Gallery, Belfast (Label Verso); The Gerry Cuddy Collection
Framed
Image: 29 x 39cm
Framed: 60 x 70cm
€1,200 - 1,500
BASIL BLACKSHAW HRHA RUA (1932 - 2016)
Title: Looking along Great Victoria Street, Belfast (C. 1950)
Medium: Pencil on Paper
Signature: Unsigned; Inscribed on Labels Verso
Provenance: The Artist’s Sketchbook; The Collection of Kenneth Jamison, former director of the Arts Council of Northern Ireland from 1968 - 1991; The Gerry Cuddy Collection
Framed
Image: 18.5 x 27.5cm
Framed: 40 x 49cm
€700 - 1,000
141
ARTHUR ARMSTRONG RHA (1924 - 1996)
Title: The Artist’s Studio
Medium: Mixed Media
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 43 x 41cm
Framed: 73 x 70cm
€500 - 800
142
MAURICE CANNING WILKS RUA ARHA (1911 - 1984)
Title: Garron Point
Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Gerry Cuddy Collection
Framed
Image: 25.5 x 37.5cm
Framed: 47 x 58cm
€500 - 800
143
BARRIE COOKE HRHA (1931 - 2014)
Title: Cill Rialaig
Medium: Watercolour
Signature: Signed and Inscribed Lower Left
Provenance: Family of the artist
Framed
Image: 24 x 24cm
Framed: 45.5 x 45.5cm
€700 - 1,000
ANDREW NICHOLL RHA (1804 - 1886)
Title: The Giant’s Causeway
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 30 x 47cm
Framed: 50 x 63cm
€1,200 - 1,500
145
ROBERT MUNN (20TH / 21ST CENTURY)
Title: Fisherman’s Cottages
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 29 x 50 cm
Framed: 45 x 65 cm
€400 - 600
BARBARA WARREN RHA (1925 - 2017)
Title: On the Beach Medium: Charcoal
Signature: Signed Lower Right
Provenance: Acquired directly from the family of the artist by the present owner
Framed Image: 26 x 34.5cm
Framed: 29 x 38cm
€400 - 600
147
GEORGE DUNNE (1945 - 2023)
Title: Musicians
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 48 x 44cm
Framed: 71 x 66.5cm
€600 - 900
148
WILLIAM CUNNINGHAM (B. 1946)
Title: Evening Lillies
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Eakin Gallery, Belfast (Label Verso); Private Collection
Framed
Image: 42 x 42cm
Framed: 70 x 70cm
€400 - 600
149
JOHN MORRIS (B. 1958)
Title: Along the Shore
Medium: Oil on Board
Signature: Signed Lower Left and Titled Verso
Provenance: Private Collection
Framed
Image: 37 x 37cm
Framed: 57 x 57cm
€500 - 800
CHARLES VINCENT LAMB RHA
RUA (1893 - 1964)
Title: Connemara Cottages
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: The Dr. Kevin Moynihan Collection, Macroom, Co. Cork; Private Collection
Framed
Charles Lamb was born in Portadown in Northern Ireland in 1893. He studied life drawing at evening classes at Belfast College of Art and in 1917 he became a full time student at the Metropolitan School of Art in Dublin. Like Henry, Keating and other artists, he had a deep affinity with the West of Ireland, especially the area around Carraroe, Connemara. He settled there in 1935. Paul Henry in, many respects, opened up the west of Ireland as a subject for engagement by artists, including northern artists like James Humbert Craig et al. It was believed that Irish national identity was somehow invested in its rugged terrain, as a cultural repository, removed from industrialisation. There was also the notion that there was dignity in land - related work and self-sufficiency. Precedents in this regard include Van Gogh and Millet. In many ways, light is an important protagonist in Connemara Cottages: the expansive sky with its light greens, rustic pinks and creamy whites. The generous proportion of sky to land recalls Henry. The colours of the sky are reflected in the water which, with a slight shift of tone, registers the volume and spate of the river. Brian Kennedy has
noted that ‘Henry discovered the west of Ireland in 1910 and almost single - handedly forged a school of Irish painting based on landscape there which in the hands of Lamb, Craig and McKelvey, dominated the period between the wars’. ‘Connemara Cottages’ is a fine example of Lamb’s work in terms of his sensory craft skills and structuring of a scene. While It would seem to be dusk, the remaining light still emphasises form. The river embankment’s exposed edging is painted with generously loaded brush strokes in variations of brown, receding to greens, somewhat reminiscent of Jack B. Yeats. In Yeats’ ‘Riverside Long Ago,’ an all - pervading pink glow lights up the mis-en-scene. The meandering river, which is the scene stealer, in the painting, leads the eye to the cottages which are placed against a blue grey horizon line at the junction of land and sky.
There is another Lamb painting titled ‘River Scene’ which depicts a similar river, also with cottages, to those in ‘Connemara Cottages’, and which is painted with broad brushstrokes in similar colours and creating a serene atmosphere and
mood. What drew Lamb to work in Connemara was the rural and colourful lifestyle of the people, it also drew him to live and work in Brittany for a time during the 1920s and the Aran Islands where he would have known artists Sean Keating, Elizabeth Rivers and Maurice MacGonagle. His work is in many private and public collections. He exhibited in London, Boston and New York and he regularly contributed to the RUA and RHA exhibitions, where he became a member in 1930 and 1938 respectively. In 1947 a solo show was arranged at CEMA, Belfast, and a retrospective of his work was held in 1969 at the Hugh Lane Gallery, Dublin. His work is in many private and public collections, including in the National Gallery of Ireland, The Hugh Lane Gallery, Armagh County Museum and The Ulster Museum.
Prof. Liam Kelly February 2026
Image: 49.5 x 59.5 cm
Framed: 76 x 84 cm
€8,000 - 12,000
151
JOHN FRANCIS SKELTON (B. 1954)
Title: St. Stephen’s Green, Dublin
Medium: Oil on Canvas Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 29.5 x 40cm
Framed: 48.5 x 58cm
€400 - 600
152
KEN HAYES (20TH / 21ST CENTURY)
Title: Quiet Harbour
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 37 x 47 cm
Framed: 47 x 57 cm
€400 - 600
KENNETH WEBB RWA FRSA RUA (B. 1927)
Title: Sweet Pea in a Black Pot
Medium: Oil on Canvas
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 29 x 24cm
Framed: 52.5 x 47cm
€3,000 - 5,000
154
ROBERT BALLAGH (B. 1943)
Title: Raft of the Medusa
Medium: Limited Edition Artist’s Proof
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 74 x 96cm
Framed: 94 x 116cm
€1,500 - 2,500
155
JOAN THORNTON (20TH / 21ST CENTURY)
Title: Lane to the Farm
Medium: Oil on Canvas Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 39 x 49 cm
Framed: 59 x 69 cm
€400 - 600
156
TONY O’MALLEY HRHA (1913 - 2003)
Title: Summer Evening, Ferrybank, Arklow, Co. Wicklow (C. 1950s)
Medium: Oil on Linoleum
Signature: Signed Lower Centre
Provenance: The Collection of Eileen Cleary, a friend and mentor of the artist, who painted with him when he was living in Arklow, Co. Wicklow; Private Collection
Note: With Original Sketches by Eileen Cleary Verso
Framed
Image: 23 x 33 cm
Framed: 36 x 45 cm
€1,200 - 1,500
157
BRIDGET FLINN (20TH / 21ST CENTURY)
Title: Into the Purple Mountains
Medium: Acrylic on Paper
Signature: Signed Lower Left and Inscribed on Label Verso
Provenance: Solomon Fine Art, Dublin (Label Verso), Where acquired by the present owner
Framed
Image: 20 x 20cm
Framed: 34.5 x 34.5cm
€1,400 - 1,800
158
JOSEPH MALACHY KAVANAGH RHA (1856 - 1918)
Title: Evening Light (C. 1880s)
Medium: Oil on Canvas
Signature: Unsigned; Inscribed on Typed Label Verso
Provenance: Private Collection
Framed
We are grateful to Dominic Milmo - Penny for his assistance in cataloguing this lot
Painted during Kavanagh’s final years in Brittany in the 1880s, probably around 1886 - 1887, Evening Light is a calm and peaceful composition, where two sheep are perched on a hillside adorned with muted greens and earthy greys. One of them looks towards the viewer, while the other grazes, and invites them to look and look again at his surroundings - a french farmhouse below the rushing clouds floating across the sky. Kavanagh uses patches of light from the clouds cleverly by allowing it to bounce off the walls and roofs, illuminating the foreground, sheep and part of the farmhouse, while at the same time, maintaining a darker atmosphere around the right side of the farmhouse and walls. He uses fine line work to depict the natural stoney wall, which leads the eye into a Golden field behind the farmhouse, encouraging the viewer to look beyond the field and imagine the captivating scenery of Brittany past the farmhouse.
Joseph Malachy Kavanagh was born in Dublin in 1856 and was trained at the Metropolitan School
of Art from 1877 - 1878 and the Royal Hibernian Academy under Augustus Burke. In 1881, he travelled to Antwerp with Nathaniel Hill and Walter Osborne to study under Charles Verdat at the Academie Royale and in 1883, they travelled to Brittany together, particularly Quimperle, Mont - Saint - Michel, Pont - Aven, and Dinan. He remained there until 1887 and exhibited at the RHA while in France. When he returned to Ireland, he continued to paint landscapes and took an interest in Seascapes and continued to paint lane ways and country scenes. In 1910, he was appointed keeper at the RHA. During the 1916 Rising, his life’s work - entire studio contents and unsold paintings, were destroyed when the RHA building on Abbey Street burnt down in a fire, leading to significant distress and his subsequent death in 1918.
Image: 46.5 x 64cm
Framed: 58 x 65cm
€2,000 - 3,000
159
HARRY KERNOFF RHA (1900 - 1974)
Title: Portrait of a Gentleman
Medium: Charcoal
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 50 x 58cm
Framed: 53 x 65 cm
€1,000 - 1,500
160
STELLA STEYN (1907 - 1987)
Title: Self - Portrait
Medium: Oil on Canvas
Signature: Unsigned
Provenance: The Artist’s Studio Sale, Thomson Roddick and Medcalf, Carlisle; Private Collection
Framed
Image: 57 x 43 cm
Framed: 81 x 67 cm
€800 - 1,200
161
HOLGER A. BAEHR (20TH / 21ST CENTURY)
Title: Summer Fields (2021)
Medium: Acrylic on Canvas
Signature: Unsigned
Provenance: The Artist’s Studio, Co. Longford
Framed
Image: 200 x 200cm
Framed: 208.5 x 208.5cm
€8,000 - 12,000
162
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Cubist Studies (1943)
Medium: Pencil Sketch (Second Image Verso)
Signature: Unsigned; Dated Upper Centre
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist; Private Collection
Framed
Image: 25 x 20cm
Framed: 35 x 30cm
€400 - 600
163
EOIN MAC LOCHLAINN (CONTEMPORARY)
Title: Through the Archway (2011)
Medium: Oil on Canvas
Signature: Signed and Dated on Underside
Provenance: Private Collection
Exhibited: ‘We are where we are’, The Paul Kane Gallery, Dublin, 2011; ‘Home’ - Bourn Vincent Gallery (University of Limerick), 2012; ‘Didean / Home’ - Culturlann McAdam O Fiaich, Belfast, 2013; ‘Didean / Home’ - Dunamaise Arts Centre, Portlaoise, 2014; ‘Didean / Home’ - Belltable, Limerick, 2014;
Notes: After the first exhibition at the Paul Kane Gallery in 2011, this body of work by Mac Lochlainn went on a tour to the venues above. It also featured on TG4 during its viewing at the University of Limerick
Unframed
50.5 x 50.5cm
€2,500 - 3,500
164
JULIUS OLSSON RA (1864 -
1942)
Title: Sunset on Donegal Bay
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 62 x 73cm
Framed: 80 x 99cm
€2,500 - 3,500
DONAL O’SULLIVAN (1945 - 1991)
Title: Mystic
Medium: Pastel on Paper
Signature: Unsigned
Provenance: Collection of the Artist, by descent; Private Collection
Framed
Image: 98 x 63cm
Framed: 115 x 80.5cm
€600 - 900
167
GERALD DAVIS (1938 - 2005)
Title: In the Park (1979)
Medium: Oil on Board
Signature: Signed and Dated Lower Left
Provenance: The Artist’s Studio, 11 Capel Street, Dublin (Label Verso); Private Collection
Framed
Image: 13.5 x 18cm
Framed: 22.5 x 27.5cm
€400 - 600
168
RORY BRESLIN (B. 1963)
Title: The July Marine Mask (From the Clew Bay Series)
Medium: Bronze and Stainless Steel (No. 1 from an edition of 3)
Signature: Signed and Numbered
Provenance: The Artist’s Private Collection, Co. Mayo
The Clew Bay Marine Series are a series of bronze ‘seascapes’, chronicling by month the wealth and variety of sea life in Clew Bay.
A great dusk - hunting Thornback Ray glides forward, its wings elegantly upcurved. Running externally underneath this Raja and flowing to a bow at the base of the work, the intertidal Bladderwrack, used as fertiliser of potato ‘lazy beds’ and in folklore for protection against mental derangement; encapsulates the remainder of the marine iconography.
From the top the blind and regimental razor fish are arranged like strata in formation to the lower jawline. Below these and foraging in the Wrack, two shore crabs at odds with each other on either side of the seaweed, Dead Man’s fingers, Codium Fragile, that curl up below the chin.
Perwinkles, an ancient human food source, adorn the seaweed while the inquisitive and open-mouthed youths countenance is decorated in the spiralling curls of the Lugworms castings.
But while he passed before a plashy place, A lug-worm with its grey and muddy mouth Sang that somewhere to north or west or south There dwelt a gay, exulting, gentle race Under the golden or the silver skies
W.B. Yeats
61 cm. high; 36 cm. wide; 68 cm. high on base
€4,000 - 6,000
169
TOM BYRNE (B. 1962)
Title: Flowers
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Unframed 20 x 20cm
€400 - 600
170
MARY THERESA KEOWN (B. 1974)
Title: Landscape I - Phoenix Park
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: The Solomon Gallery, Dublin (Label Verso), where acquired by the present owner
Framed
Image: 25 x 45cm
Framed: 47 x 67.5cm
€1,500 - 2,500
171
JAMES ARTHUR O’CONNOR (1792 - 1841)
Title: Figures on a Mountainous Path, Co. Wicklow (C. 1835)
Medium: Oil on Panel
Signature: Remnants of the artist’s signature ‘J.A.O.C’ indistinctly Lower Right
Provenance: Private Collection
Framed
Note: O’Connor painted this scene several times and is most likely a scene near the Dublin-W icklow Mountains. A strikingly similar lot to this was sold at Adam’s ‘Country House Collections’ sale on October 16, 2018, Lot No. 202
Image: 22.5 x 29.5cm
Framed: 35 x 42.5cm
€3,000 - 5,000
SONJA LANDWEER (1933 - 2019)
Title: Irish Landscape Vessel (C. 1981)
Medium: Earthenware
Signature: Unsigned; Inscribed on Label Verso
Provenance: Family of the artist
Dimensions (with base): 14.5cm high; 12cm wide
Dimensions (no base): 10cm high; 12cm wide
€500 - 800
173
BOOK
OF
KELLS FACSIMILE AND COMMENTARY VOLUME
Publisher: Faksimile Verlag Luzern
Year: 1990
Binding: Fine Binding
Provenance: Private Collection
Accompanied by the original commentary volume edited by Peter Fox, which serves as a scholarly guide to the manuscript’s history, iconography, materials, and production. Limited edition no. 82/1480
Presentation Case: 38 cm high; 33cm wide; 12.5cm deep
Book: 35 cm high; 26.5cm wide; 11.5cm deep
€4,000 - 6,000
174
GRAHAM KNUTTEL (1954 - 2023)
Title: Deep Sea Dive
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 30.5 x 35.5cm
Framed: 69.5 x 69.5cm
€2,400 - 2,800
175
EVELINA VINE (CONTEMPORARY)
Title: Through the Sandunes
Medium: Acrylic on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 19 x 24 cm
Framed: 38 x 43 cm
€400 - 600
176
MARKEY ROBINSON (1918 - 1999)
Title: Still Life
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Acquired directly from the artist by the present owner
Framed
Image: 32 x 50cm
Framed: 60 x 77cm
€3,000 - 5,000
177
FORTUNATO DEPERO (ITALIAN, 1892 - 1960)
Title: The Offering Medium: Charcoal
Signature: Signed Lower Left
Provenance: Estate of the Artist’s Family; Private Collection
Framed Image: 35.5 x 35.5cm
Framed: 60.5 x 58.5cm
€800 - 1,200
178
KEN MORONEY (B. 1949)
Title: Plaza Italia
Medium: Oil on Board
Signature: Signed Lower Right and Titled Verso
Provenance: Private Collection
Framed
Image: 18 x 23cm
Framed: 34 x 39cm
€700 - 1,000
179
MILDRED ANNE BUTLER RA RWS (1858 - 1941)
Title: The Garden at Kilmurry
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 35 x 51cm
Framed: 67 x 84cm
€3,000 - 5,000
180
FRANK MCKELVEY RHA RUA (1895 - 1974)
Title: Loading the Turf Cart, Belfast
Medium: Watercolour
Signature: Signed Lower Left
Provenance: W illiam Mol, Belfast (Label Verso); Private Collection
Framed
Image: 27 x 37 cm
Framed: 59 x 69 cm
€2,000 - 3,000
181
BRIDGET FLINN (20TH / 21ST CENTURY)
Title: Mayo Rain
Medium: Acrylic on Paper
Signature: Signed Lower Left
Provenance: Solomon Fine Art, Dublin (Label Verso), Where acquired by the present owner
Framed
Image: 20 x 20cm
Framed: 34.5 x 34.5cm
€1,400 - 1,800
182
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Knockbracken (1945)
Medium: Pencil Sketch
Signature: Unsigned
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist, by descent; Private Collection
Framed
Image: 11.5 x 14cm
Framed: 21.5 x 24cm
€400 - 600
183
JAMES HUMBERT CRAIG RHA RUA (1877 - 1944)
Title: Glenveagh, Co. Donegal
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: The Collection of Phyllis Michael Ar nold, Belfast; Private Collection
Framed
Image: 28 x 41.5cm
Framed: 53 x 66cm
€2,000 - 3,000
184
JACK BUTLER YEATS RHA (1871 - 1957)
Title: The Old Cart in Museum
Medium: Pencil on Paper
Signature: Unsigned; Inscribed Lower Left and Upper Right
Provenance: The Artist’s Sketchbook; Private Collection
Framed
Image: 18 x 12 cm
Framed; 37 x 41 cm
€1,500 - 2,000
185
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: A Quiet Cove (C. 1945)
Medium: Pencil Sketch
Signature: Unsigned
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist; Private Collection
Framed
Image: 10.5 x 12.5cm
Framed: 21 x 22.5cm
€400 - 600
186
JOHN SHINNORS (B. 1950)
Title: Storm at Banna Strand
Medium: Oil on Canvas Laid on Board
Signature: Signed and Dated Lower Right; Inscribed on Label Verso
Provenance: DeVeres, Dublin, Irish Art and Literature, 26 November 2002, Lot 107; Private Collection
Framed
Image: 31 x 24cm
Framed: 52 x 45cm
€4,000 - 6,000
188
SONJA LANDWEER (1933 - 2019)
Title: Token (C. 1989)
Medium: Ceramic with Slate
Signature: Unsigned
Provenance: Family of the artist
Dimensions (with base): 28cm high; 23.5cm wide; 15.5cm deep
Dimensions: (no base): 24cm high; 23cm wide; 11cm deep
€800 - 1,200
189 IRISH SCHOOL
Title: Madonna
Medium: Bronze
Signature: Unsigned
Provenance: Private Collection
19cm high; 5cm wide; 5cm deep
€400 - 600
190
SEAN LORINYENCO
(20TH / 21ST CENTURY)
Title: Western
Medium: Oil on Canvas
Signature: Signed Lower Left
Framed
Image: 60 x 20 cm. Framed: 77 x 27 cm.
€400 - 600
191
MARY SWANZY HRHA (1882 -
1978)
Title: Czech Landscape (1957)
Medium: Watercolour
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 19 x 15cm
Framed: 46.5 x 51cm
€800 - 1,200
192
ABDULLAH QANDEEL (B. 1988)
Title: Padi, Blood Sword of Colossal Victory
Medium: Oil on Paper
Signature: Signed with Monogram Lower Left and Inscribed Lower Right
Provenance: Private Collection
Framed Image: 74 x 56cm
Framed: 88 x 69.5cm
€1,000 - 1,500
193
MARKEY ROBINSON (1918 - 1999)
Title: Shawlie
Medium: Bronze
Signature: Signed
Provenance: Private Collection 37 cm. high; 14cm wide; 13cm deep
€1,400 - 1,800
194
KEVIN SHARKEY (B. 1961)
Title: The Family
Medium: Mixed Media
Signature: Signed Lower Right
Provenance: Private Collection
Framed Image: 68 x 48 cm
Framed: 82 x 62 cm
€500 - 800
195
JOHN BEHAN (B. 1938)
Title: Shakespearean Bull (2025)
Medium: Unique Bronze
Signature: Signed and Dated on Underside
Provenance: Private Collection 22cm high; 32cm wide; 12cm deep
€5,000 - 8,000
196
JEAN DUFY (FRENCH, 1888 - 1964)
Title: The House Amongst the Trees
Medium: Watercolour
Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection
Framed
Image: 38.5 x 47.5cm
Framed: 54.5 x 64.5cm
€3,000 - 5,000
SIR
ROBERT PONSONBY
STAPLES
Title: Portrait of Lily Dudley Lindsay (1909)
Medium: Watercolour Heightened with White
RBA (1853 - 1943)
Signature: Signed and Inscribed Lower Right; Signed by Sitter Lower Left
Provenance: Royal Hiber nian Academy, Dublin; Private Collection
Exhibited: Royal Hibernian Academy, Dublin, 1910, Catalogue No. 362
Framed
Image: 35 x 25 cm
Framed: 60 x 50 cm
€4,000 - 6,000
JARLATH DALY (B. 1956)
Title: Luke Kelly
Medium: Unique Bronze
Signature: Signed
Provenance: Private Collection
53 cm. high; 14cm wide; 14cm deep
€1,500 - 2,500
199
JOSEF TOMKO (20TH / 21ST CENTURY)
Title: Pregnant Woman
Medium: Bronze
Signature: Unsigned; Inscribed Label Verso
Provenance: Private Collection 23cm high; 7cm wide; 7cm deep
€400 - 600
200
BRIDGET FLANNERY (20TH / 21ST CENTURY)
Title: Cuan, Port na mBad (1995)
Medium: Acrylic on Paper
Signature: Signed and Dated Lower Left
Provenance: Private Collection
Framed
Image: 50 x 41cm
Framed: 91 x 77cm
€800 - 1,200
201
BINGHAM MCGUINNESS RHA (1849 - 1928)
Title: Fisherman on a Quiet Lough
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Sean Thomas, Donegal Town (Label Verso); Private Collection
Framed
Image: 25 x 37cm
Framed: 43.5 x 55.5cm
€400 - 600
202
JARLATH DALY (B. 1956)
Title: A Pair of GAA All Star Prototypes (2024)
Medium: Bronze
Signature: Signed
Provenance: Private Collection 27 cm. high; 35 cm. high on base; 10cm wide; 10cm deep
€2,500 - 3,500
203
GERARD MARJORAM (1936 - 2024)
Title: Glenmalure
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 36 x 46cm
Framed: 56 x 66cm
€400 - 600
204
MAINIE JELLETT (1897 - 1944)
Title: Female Nude
Medium: Pencil and Charcoal on Paper
Signature: Unsigned
Provenance: The Collection of Bruce Ar nold; Private Collection
Framed Image: 48 x 38cm
Framed: 66.5 x 56.5cm
€800 - 1,200
205
ALVIN SEXTON (B. 1976)
Title: Natural Embellishment (2024)
Medium: Mixed Media
Signature: Monogrammed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 50 x 76
Framed: 65 x 90 cm
€400 - 600
206
HENRY MCGRANE (B. 1969)
Title: Passage East, Waterford
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 30 x 24cm
Framed: 50 x 44cm
€700 - 1,000
207
BARRIE COOKE HRHA (1931 - 2014)
Title: Nude, Cill Rialaig (2009)
Medium: Monotype on Paper
Signature: Signed and Inscribed Lower Centre
Provenance: Kerlin Gallery, Dublin (Label Verso); Family of the artist
Framed
Image: 57 x 66cm
Framed: 85 x 90cm
€2,000 - 3,000
208
JACK PAKENHAM (B. 1938)
Title: Bikini (1967)
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 44 x 34 cm
Framed: 58 x 48 cm
€400 - 600
209
GERALD DAVIS (1938 - 2005)
Title: What Lies Beneath
Medium: Oil on Board
Signature: Unsigned
Provenance: Acquired directly from the family of the artist by the present owner
Framed
Image: 62.5 x 51cm
Framed: 72 x 60cm
€400 - 600
210
TONY O’MALLEY HRHA (1913 - 2003)
Title: Old Place, Kilkenny (1981)
Medium: Charcoal and Graphite
Signature: Signed Lower Left; Titled (in Irish) and Dated Lower Right
Provenance: David Hendricks Gallery, Dublin (Framing Label Verso); Canice Gallery, Kilkenny (Label Verso); Friend of the artist, from whom acquired by the present owner
Framed
Image: 40 x 30 cm
Framed: 54 x 44 cm
€700 - 1,000
211
CIARAN CLEAR (1920 - 2000)
Title: Turf Cart
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 24 x 34cm
Framed: 34 x 44cm
€2,000 - 3,000
212
RONALD KEEFER (20TH / 21ST CENTURY)
Title: Flowers
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 60 x 60 cm
Framed: 72 x 72 cm
€400 - 600
213
KEN MORONEY (B. 1949)
Title: Sailing Boats
Medium: Oil on Board
Signature: Signed Lower Right and Titled Verso
Provenance: Private Collection
Framed Image: 14 x 19cm
Framed: 26 x 31cm
€500 - 800
214
JOHN SCHWATSCHKE (B. 1943)
Title: Between Ourselves
Medium: Oil on Canvas
Signature: Signed with Monogram Upper Left and Inscribed Verso
Provenance: Private Collection
Framed
Image: 45 x 59cm
Framed: 62.5 x 77.5cm
€500 - 800
215
SEAN O’CONNOR ARHA (1909 - 1992)
Title: Mahony’s Point, Killarney
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 24.5 x 34.5cm
Framed: 42 x 51cm
€1,200 - 1,500
216
DANIEL O’NEILL (1920 - 1974)
Title: Donegal Coast Medium: Watercolour
Signature: Signed Lower Right and Titled on Artist’s Label Verso Provenance: Private Collection
Framed
Image: 17 x 25cm
Framed: 38 x 48cm
€1,200 - 1,500
217
JOHN FRANCIS SKELTON (B. 1954)
Title: The Harbour Medium: Oil on Canvas Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 24 x 59.5cm
Framed: 40 x 75.5cm
€400 - 600
218
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Mountain Landscape (1945)
Medium: Pencil Sketch
Signature: Unsigned; Dated Lower Right
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist; Private Collection
Framed
Image: 12 x 14cm
Framed: 22 x 24cm
€400 - 600
Depicting a cottage on the grounds of Kilmurry, this wonderful watercolour illustrates Butler’s skill in depicting the rural Irish countryside in her local Thomastown. A woman gardening, possibly the artist herself, wears a red headscarf that blends with the calmness of the path leading up to the peachy - coloured cottage. The steps and overall scene are adorned with wild trees, bushes, flowers and leaves. The steps lead the viewer into the smooth green field with windswept trees and a stony wall descending down the right hand - side of the frame. She cleverly uses the bare branches of the tree on the left to make the viewer engage with the scene, as it looks as if the tree is popping out of the frame, causing the viewer to react. Exhibited twice, in the Crawford Art Gallery and the Ulster Museum, this watercolour serves as a quietly composed example of the rural Irish landscape in, and from the garden of her home, which she loved so much.
Mildred Anne Butler was born at Kilmurry House in Thomastown in 1858 to Captain Henry Butler, a painter, who encouraged her to paint, and Ciara
219
MILDRED ANNE BUTLER
RA RWS (1858 - 1941)
Title: An Irish Cottage Medium: Watercolour
Signature: Unsigned
Provenance:
The Artist’s Studio Sale, Christie’s, London, October, 1981; DeVeres, 20 November 2001, Lot 229; Private Collection Exhibited:
Mildred Anne Butler - Crawford Municipal Art Gallery (Crawford Art Gallery), Cork, August 1987, Catalogue No. 36 (Label Verso); Mildred Anne Butler ExhibitionUlster Museum, Belfast, 29 April - 12 June, 1988 (Label Verso) Framed
Butler (nee Taylor), who had come over to Ireland from Leicester. She was trained in the late 1880s and 1890s at the Westminster School of Art under Frederick Brown and William Frank Calderon, specialising in depictions of animals. She then further studied with watercolourist Paul Jacob Naftel in London, Henri Gervex in Paris, and Norman Garstin in Cornwall from 1894 to 1895. Her first public exhibition was in 1884 at the Irish Fine Art Society in Cork. She then exhibited her art at the Dudley Gallery in London in 1888, as well as the Royal Hibernian Academy in 1891, the Watercolour Society of Ireland in 1892 and the Royal Academy and Royal Watercolour Society in London in 1896. She was elected a member of the Royal Academy in 1893 and the Royal Watercolour Society in 1937. She died in 1941 at Kilmurry House at the age of 83.
Image: 26 x 17cm
Framed: 38 x 29cm
€2,500 - 3,500
220
RODERIC O’CONOR RHA (1860 - 1940)
Title: Seated Nude
Medium: Charcoal on Paper
Signature: Unsigned
Provenance: Goxe - Belaisch, Hotel des Ventes D’Enghien, 22 September 2024, Lot 62; Private Collection
Framed
Image: 63 x 45 cm. (approx)
Framed: 84.5 x 66.5 cm.
€800 - 1,200
221
CORINA SCOTT (CONTEMPORARY)
Title: Stepping Out - The Grass is always Greener (2024)
Medium: Mixed Media
Signature: Signed Lower Left and Inscribed Verso
Provenance: Private Collection
Framed
Image: 40 x 40cm
Framed: 43 x 43cm
€800 - 1,200
222
COLIN FLACK (B. 1973)
Title: Flowers
Medium: Acrylic on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 38 x 17 cm. Framed: 49 x 38 cm.
€400 - 600
223
JOHN BUTLER YEATS RHA (1839 - 1922)
Title: By the Waterfall (Second Image of a Young Lady Verso)
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Yeats Family Collection; Private Collection
Framed
Image: 17 x 12 cm
Framed: 41 x 36 cm
€800 - 1,200
224
CONSTANCE GORE - BOOTH, COUNTESS MARKIEVICZ (1868 - 1927)
Title: Portrait of the Artist’s Niece, Bridget Mary Gore - Booth (1911 - 1992)
Medium: Pencil on Paper
Signature: Unsigned; Titled ‘Bridget’ Lower Right
Provenance: The Gore - Booth Family Collection, Lisadell House, Co. Sligo; Lisadell Collection, Mealy’s, Castlecomer, Co. Kilkenny, May 2002; Private Collection
Framed
Image: 55.5 x 37.5cm
Framed: 59.5 x 41.5cm
€800 - 1,200
225
WILLIAM P. ROGERS (FL. 1846 - 1872)
Title: Sailing Boats
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 31 x 47cm
Framed: 44 x 60cm
€400 - 600
226
ANNIE ROBINSON (B. 1961)
Title: Annie
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 24.5 x 44.5cm
Framed: 49.5 x 44.5cm
€400 - 600
227
ANNEMARIE BOURKE (B. 1957)
Title: Connemara Landscape
Medium: Oil on Board
Signature: Signed Lower Left and Titled Verso
Provenance: From the artist’s studio, Limerick
Framed
Image: 90 x 90cm
Framed: 91.5 x 91.5cm
€1,500 - 2,500
228
JOHN BUTLER YEATS RHA (1839 - 1922)
Title: Seated Lady
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Yeats Family Collection; Private Collection
Framed
Image: 16 x 11 cm
Framed: 49 x 42 cm
€800 - 1,200
229
CON CAMPBELL (B. 1946)
Title: Deer
Medium: Pastel
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 26 x 12 cm
Framed: 42 x 29 cm
€400 - 600
230
IVAN SUTTON (B. 1944)
Title: Running the Wind, Galway Hookers, Roundstone Bay, Co. Galway Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed Image: 50 x 75cm
Framed: 70 x 95cm
€1,500 - 2,500
231
MARTIN MOONEY (B. 1960)
Title: Architectural Detail of the Interior of a Cathedral, San Sebastian, Spain (1984)
Medium: Oil on Canvas
Signature: Signed and Inscribed Verso
Provenance: The Solomon Gallery, London (Label Verso); Private Collection
Notes: This work was executed during the artist’s Masters Degree at the Slade School of Fine Art, London. Three Other Paintings based on Cathedral architecture by Mooney, were chosen by Brian Sewell, the eminent British Art Critic, for the British Government Art Collection
Framed
We are grateful to the artist for his assistance in cataloguing this lot Image: 37.5 x 33cm
Framed: 36 x 31cm
€1,500 - 2,500
232
GRAHAM KNUTTEL (1954 - 2023)
Title: The Devil in Disguise
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 40 x 35.5cm
Framed: 74.5 x 69.5cm
€2,400 - 2,800
233
BARBARA WARREN RHA (1925 - 2017)
Title: The Lighthouse
Medium: Charcoal
Signature: Unsigned
Provenance: Acquired directly from the family of the artist by the present owner
Framed
Image: 50.5 x 37cm
Framed: 62.5 x 49cm
€400 - 600
234
PATRICK HICKEY HRHA (1927 - 1998)
Title: Cruit, Co. Donegal (1990)
Medium: Pastel
Signature: Unsigned; Inscribed Lower Right
Provenance: The Collection of the artist, by descent; Private Collection
Framed
Image: 28.5 x 41cm
Framed: 33 x 45.5cm
€400 - 600
235
MICHAEL MULCAHY (B. 1952)
Title: Symbols
Medium: Oil on Paper
Signature: Unsigned
Provenance: Private Collection
Framed
Image: 54.5 x 71.5cm
Framed: 70.5 x 87.5cm
€400 - 600
236
ALVIN SEXTON (B. 1976)
Title: Colour Interactions (2025)
Medium: Acrylic on Board
Signature: Signed with Monogram Lower Right And Inscribed Verso
Provenance: Private Collection
Framed
Image: 46 x 56cm
Framed: 63.5 x 73.5cm
€400 - 600
237
GRAHAM KNUTTEL (1954 -
2023)
Title: Reclining Female Nude
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Unframed
If talk of mysteries and riddles in art whet your interest, this extraordinary painting, ‘Reclining Nude’ has it all. But first I would like you to let me fill you in on the artist who created it. I met Graham Knuttel in Duke Street, Dublin in the mid - nineties. His hair was bleached white and his face was corn yellow and he just sat and stared at me with a kind of imperious boredom. The late Hugh Charlton, his mentor and the owner of the Apollo Gallery in Duke Street had wanted me to write some catalogues for Knuttel’s work. I was intrigued. It was Charlton’s tireless devotion that caused Knuttel to suddenly emerge as the ‘Enfant terrible’ of the Irish art world. Within what seemed like months, Graham had an internationally growing reputation. Sylvester Stallone, Robert de Niro and several Hollywood moguls had bought a hell of a lot of his work. Knuttel himself seemed amazed and told me he couldn’t believe that “Managers of fucking baseball teams, surgeons from Mount Sinai and movie stars wanted his work.”
It was bright in the sunny Apollo Gallery in Dublin that day, in contrast to Graham’s uneasy pallor. It
occurred to me that this lad might need a large dose of iron tablets. I have to say at first, I found him remote, aloof and by God he made me fierce uncomfortable. He had an air of dissipation and people who didn’t like him said he looked shifty. (We eventually became friends). His muse of many years, the talented artist Rachel Strong, was also present. Recovering from a decline hastened by booze and drugs, she sat like a shadow in the background. With her alabaster face and bloodless lips, she seemed like a woman who feared a frowsy demise. They had both survived a desolate existence of what one could only call noble ruin.
On that day, Graham and Rachel were arguing fiercely. Rachel had painted a large, fantastic, but rather unflattering nude portrait of Graham which he loathed. Hugh, a marketing genius who could be a tad cunning, wanted to place it in the front window of the gallery. Immediately. Disgusted, Graham stormed out of the gallery. The painting was never exhibited and remained hidden in the
back behind canvases. This incident started a flurry of reclining, harsh female nudes in Knuttel’s work. “It’s revenge,” he would say gleefully, and it was. I suspect this nude, like many of his nudes is Rachel.
In this extraordinary painting, Knuttel portrays the female subject as a frozen freeze of human life. It’s not just the way she is posed. It’s her identity. If this painting was a book, it would be a page turner. She is depicted as a series of curves. Even the cushions have been fluffed and exaggerated to resemble those curves, but don’t be fooled, this is no sleeping nymph. That sullen stare, the smoldering glare, the inscrutable defiance, and of course, the almost psychopathic colour makes this unique painting enigmatic.
Brighid McLaughlin, January 2026
91 x 183cm
€6,000 - 9,000
238
GERARD DILLON (CONTEMPORARY)
Title: Galway Hookers
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: From the Artist’s Studio, Dingle, Co. Kerry
Framed
Image: 19 x 19 cm
Framed: 36 x 36 cm
€400 - 600
239
IVAN SUTTON (B. 1944)
Title: Launching Currach, Inisheer Island, Co. Galway
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Private Collection
Framed
Image: 50 x 75cm
Framed: 74.5 x 99.5cm
€1,500 - 2,500
Title: Towards the Blasket Islands (Study)
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed Image: 116 x 77cm
Framed: 138 x 100cm
€7,000 - 10,000
ARTHUR K. MADERSON (B. 1942)
241
MARK O’NEILL (B. 1963)
Title: Young Girl on a Pony (1993)
Medium: Oil on Board
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 23.5 x 30cm
Framed: 44 x 49cm
€1,500 - 2,500
JOSEPHINE GUILFOYLE (20TH / 21ST CENTURY)
Title: Mootown Ladies (2025)
Medium: Oil on Board
Signature: Signed and Dated Lower Right
Provenance: Private Collection
Framed
Image: 74 x 74 cm
Framed: 92 x 92 cm
€400 - 600
243
MICHAEL HALES (B. 1971)
Title: Industrial Reverie - From the Dublin Series (2025)
Medium: Encaustic, Oils and Mixed Media on Canvas Laid on Board
Signature: Monogrammed Lower Left and Inscribed Verso
Provenance: The Artist’s Studio, Co. Tipperary
Unframed
Image: 81 x 60 cm.
€800 - 1,200
DESMOND MONROE (B. 1943)
Title: Shawlies, West of Ireland
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 19 x 50 cm
Framed: 51 x 83 cm
€400 - 600
245
SANDRA BELL (B. 1954)
Title: Spirit of the Forest Medium: Unique Bronze
Signature: Signed
Provenance: Private Collection
Framed
80 cm. high; 30 cm. diameter
€2,000 - 3,000
246
LOUIS LE BROCQUY HRHA (1916 - 2012)
Title: Dubliners - Ballast Office Clock (1986)
Medium: Limited Edition Lithograph No. 14/35
Signature: Signed, Dated and Numbered Lower Left
Provenance: Private Collection
Framed
Image: 46 x 30cm
Framed: 68 x 54cm
€1,200 - 1,500
247
TONY O’MALLEY HRHA (1913 - 2003)
Title: The Artist’s Easel (Used between 1953 and 1957) by Winsor and Newton Ltd., London
Medium: Beech Wood
Signature: Signed by Eileen Cleary on side; London Maker Label on Back
Provenance: Gifted by the artist to Eileen Cleary, a friend and mentor of the artist, who painted with him in Arklow, Co. Wicklow; Private Collection
€3,000 - 5,000
248
NIALL CAMPION (20TH / 21ST CENTURY)
Title: Near Dungloe, Co. Donegal
Medium: Pastel on Board
Signature: Signed Lower Left and Titled Verso
Provenance: The Green Gallery, Dublin (Label Verso); Private Collection
Framed
Image: 28.5 x 39cm
Framed: 48 x 58cm
€400 - 600
249
RONALD KEEFER (20TH / 21ST CENTURY)
Title: Daisy
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 59 x 59 cm
Framed: 76 x 76 cm
€400 - 600
250
GERALD DAVIS (1938 - 2005)
Title: Firestarter (1987)
Medium: Oil on Board
Signature: Signed and Dated Lower Centre
Provenance: Acquired directly from the family of the artist by the present owner
Framed Image: 62.5 x 51
Framed: 67 x 55.5cm
€400 - 600
251
BRETT MCENTAGGART RHA (B. 1939)
Title: Reflections, France (2002)
Medium: Watercolour
Signature: Signed and Dated Lower Left; Inscribed on Label Verso
Provenance: Private Collection
Framed Image: 34 x 49.5cm
Framed: 54 x 68cm
€400 - 600
252
JOHN BUTLER YEATS RHA (1839 - 1922)
Title: Portrait of a Lady
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Yeats Family Collection; Private Collection
Framed
Image: 17 x 12cm
Framed: 45 x 41cm
€800 - 1,200
253
JOHN FAULKNER RHA (1835 - 1894)
Title: Gathering Flowers by the Pond Medium: Watercolour
Signature: Signed Lower Left Provenance: Private Collection
Framed
Image: 43 x 74 cm
Framed: 70 x 100 cm
€800 - 1,200
254
MARKEY ROBINSON (1918 - 1999)
Title: Shawlie
Medium: Bronze
Signature: Signed
Provenance: Private Collection
40 cm. high; 16cm wide; 11cm deep
€1,400 - 1,800
EVIE HONE HRHA (1894 - 1955)
Title: Seated Lady
Medium: Watercolour
Signature: Unsigned
Provenance: The Collection of Hugh Charlton, Apollo Gallery, Dublin; Private Collection
Framed
Image: 33.5 x 24.5cm
Framed: 51.5 x 42.5cm
€800 - 1,200
256
DES MURRIE (20TH / 21ST CENTURY)
Title: Nearing the End
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Note: This work won the Moyglare Stud Stakes Art Competition in 1992
Framed
Image: 75 x 80cm
Framed: 96.5 x 101.5cm
€700 - 1,000
257
ANNIE ROBINSON (B. 1961)
Title: Cottages
Medium: Oil on Canvas
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 11.5 x 17cm
Framed: 30.5 x 35.5cm
€400 - 600
MELANIE LE BROCQUY HRHA
(1919 - 2018)
Title: Spring and Summer
Medium: Limited Edition Bronze (No. 2/6)
Signature: Signed and Numbered
Provenance: Royal Hiber nian Academy, Dublin; Private Collection
Exhibited: Royal Hiber nian Academy Annual Exhibition, 2001, Catalogue No. 11
28.5cm high; 21cm wide; 17.5cm deep
€1,200 - 1,500
PATRICK COLLINS HRHA (1910 - 1994)
Title: Glass with Cut Flowers (1990)
Medium: Oil on Board
Signature: Signed and Dated Lower Left
Provenance: Duke Street Gallery, Dublin (Label Verso); The Apollo Gallery, Dublin, Where acquired by the present owner
Framed
Image: 24 x 17 cm (approx)
Framed: 53 x 45 cm
€1,200 - 1,500
260
EVELINA VINE (CONTEMPORARY)
Title: Wild Flowers
Medium: Acrylic on Board
Signature: Unsigned
Provenance: Private Collection
Framed
Image: 19 x 19 cm
Framed: 37 x 37 cm
€400 - 600
261
DEBORAH BROWN
(1927 - 2023)
Title: Head of a Man Medium: Wax, Wire and Hessian
Signature: Unsigned
Provenance: The Artist’s Private Collection, Adam’s, Dublin, 1 October, 2024; Private Collection
Height: 17cm
Width: 14cm
Depth: 21cm
€400 - 600
MAURICE CANNING WILKS ARHA RUA (1910 - 1984)
Title: Still Life
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 35 x 51.5cm
Framed: 51 x 68cm
€400 - 600
ABDULLAH QANDEEL (B. 1988)
Title: Green Chalice (2021)
Medium: Acrylic on Paper
Signature: Signed with Monogram Lower Right and Inscribed Lower Centre
Provenance: Private Collection
Framed Image: 77 x 51cm
Framed: 99.5 x 73.5cm
€1,000 - 1,500
PABLO PICASSO (SPANISH, 1881 - 1973)
Title: Dove of Peace Medium: Lithograph
Signature: Unsigned Provenance: Private Collection
Framed
Image: 46 x 60 cm
Framed: 63 x 78 cm
€800 - 1,200
265
MARTIN MOONEY (B. 1960)
Title: Architectural Detail of the Interior of a Cathedral, San Sebastian, Spain (1984)
Medium: Oil on Canvas
Signature: Signed and Inscribed Verso
Provenance: The Solomon Gallery, London (Label Verso); Private Collection
Notes: This work was executed during the artist’s Masters Degree at the Slade School of Fine Art, London. Three Other Paintings based on Cathedral architecture by Mooney, were chosen by Brian Sewell, the eminent British Art Critic, for the British Government Art Collection Framed
We are grateful to the artist for his assistance in cataloguing this lot Image: 36 x 31cm
Framed: 37.5 x 33cm
€1,500 - 2,500
EUGENE JOSEPH VERBOECKHOVEN (1798 - 1881)
Title: The Shepherd
Medium: Pencil Sketch
Signature: Studio Stamp Lower Right
Provenance: The Artist’s Studio; Private Collection
Framed Image: 43 x 31cm
Framed: 62 x 50
€400 - 600
267
MAJELLA O’NEILL COLLINS (B. 1964)
Title: Ebbing Tide (2003)
Medium: Oil on Board
Signature: Signed and Inscribed Verso
Provenance: Private Collection
Framed
Image: 25.5 x 43cm
Framed: 40 x 58cm
€600 - 900
268
PATRICK HICKEY HRHA (1927 - 1998)
Title: Cruit, Co. Donegal (1990)
Medium: Pastel
Signature: Unsigned; Inscribed Lower Right
Provenance: The Collection of the artist, by descent; Private Collection
Framed
Image: 28.5 x 41.5cm
Framed: 33 x 45.5cm
€400 - 600
269
MARIE CARROLL (20TH CENTURY)
Title: On the Beach
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 21.5 x 18cm
Framed: 34.5 x 31cm
€400 - 600
270
JOHN KINGERLEE
Title: Pot (2003)
Medium: Mixed Media
Signature: Monogrammed Lower Left
Provenance: Private Collection
Framed
Image: 24 x 31 cm
Framed: 41 x 44 cm
€400 - 600
JO BAER (B. 1929) AND BRUCE ROBBINS (B. 1946)
Title: Female Figure (1980)
Medium: Charcoal on Paper
Signature: Signed and Dated Lower Left and Lower Right
Provenance: Private Collection
Framed
Image: 101 x 72cm
Framed: 107 x 77cm
€2,000 - 3,000
272
MARTIN MOONEY (B. 1960)
Title: Architectural Detail of the Interior of a Cathedral, San Sebastian, Spain (1984)
Medium: Oil on Canvas
Signature: Signed and Inscribed Verso
Provenance: The Solomon Gallery, London (Label Verso); Private Collection
Notes: This work was executed during the artist’s Masters Degree at the Slade School of Fine Art, London. Three Other Paintings based on Cathedral architecture by Mooney, were chosen by Brian Sewell, the eminent British Art Critic, for the British Government Art Collection
Framed
We are grateful to the artist for his assistance in cataloguing this lot
Image: 36 x 31cm
Framed: 37.5 x 33cm
€1,500 - 2,500
273
LOUIS LE BROCQUY HRHA (1916 - 2012)
Title: The Tain - The Birth of Conchobar (1969)
Medium: Limited Edition Lithograph - No. 61/70
Signature: Signed, Dated and Numbered Lower Right
Provenance: Private Collection
Framed
Image: 39 x 55cm
Framed: 50 x 65cm
€2,000 - 3,000
274
MICHAEL FARRELL (1940 - 2000)
Title: Union Jacques (1975)
Medium: Mixed Media
Signature: Signed and Dated Lower Right; Inscribed on Dawson Gallery Label Verso
Provenance: The Dawson Gallery (Label Verso); Private Collection
Framed Image: 74.5 x 55.5cm
Framed: 81.5 x 62.5cm
€800 - 1,200
275
JOHN STEWART (B. 1973)
Title: Quiet Harbour
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 39 x 50 cm
Framed: 53 x 63 cm
€400 - 600
276
NICK MILLER (B. 1962)
Title: Path, Autumn Rain (2000)
Medium: Oil on Canvas
Signature: Signed and Dated Lower Left; Inscribed Verso
Provenance: Private Collection
Framed
Image: 41 x 46cm
Framed: 57 x 62cm
€2,500 - 3,500
277
JOHN BUTLER YEATS RHA (1839 - 1922)
Title: Lady Standing (Second Image Verso of a Lady Reading)
Medium: Pencil Sketch
Signature: Unsigned
Provenance: Yeats Family Collection; Private Collection
Framed
Image: 16 x 11 cm
Framed: 46 x 39 cm
€800 - 1,200
278
BARRIE COOKE HRHA (1931 - 2014)
Title: Cill Rialaig (2008)
Medium: Watercolour
Signature: Signed and Inscribed Lower Right
Provenance: Family of the artist
Framed
Image: 24 x 24 cm
Framed: 45.5 x 45.5 cm
€700 - 1,000
279
FR. JACK P. HANLON (1913 - 1968)
Title: Mother and Child
Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: The Dawson Gallery, Dublin (Framing Label Verso); Private Collection
Framed Image: 92 x 70.5 cm
Framed: 105 x 86.5 cm
€3,000 - 5,000
280
ROBERT MCINTYRE (20TH / 21ST CENTURY)
Title: Wild Meadow
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 39 x 50 cm
Framed: 58 x 68 cm
€400 - 600
281
RICHARD KINGSTON RHA (1922 - 2003)
Title: White Stone in Grass Medium: Mixed Media on Paper
Signature: Signed Lower Right and Titled Lower Left
Provenance: Private Collection
Framed
Image: 30 x 42cm
Framed: 52 x 62cm
€400 - 600
282
JOE MORAN (B. 1937)
Title: Reclining Female Figure - Homage to Henry Moore OM CH FBA (1898 - 1986)
Medium: Bronze
Signature: Unsigned
Provenance: Acquired directly from the artist by the present owner
Framed
Height: 11cm
Width: 32cm
Depth: 9cm
€500 - 800
283 MARY LOU (CONTEMPORARY)
Title: Returning Home Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 19 x 49 cm
Framed; 39 x 70 cm
€400 - 600
284
WILLIAM PERCY FRENCH (1854 - 1920)
Title: Heather and Gorse (1901)
Medium: Watercolour
Signature: Signed and Dated Lower Right
Provenance: The Ravenbour ne Galleries, Kent (Label Verso); Private Collection
Framed Image: 18 x 29cm
Framed: 36.5 x 47cm
€3,000 - 5,000
285
HELEN FARRELL (B. 1961)
Title: Node (2005)
Medium: Oil on Panel
Signature: Signed and Inscribed on Artist’s Label Verso
Provenance: The Paul Kane Gallery, Dublin (Label Verso), Where acquired by the present owner
Exhibited: ‘Helen Farrell - New Work’, The Paul Kane Gallery, Dublin, 2006
Framed
Image: 54.5 x 55cm
Framed: 61.5 x 60.5cm
€2,000 - 3,000
286
PETER CURLING (B. 1955)
Title: Aherlow
Medium: Watercolour
Signature: Signed and Titled Lower Left
Provenance: Private Collection
Framed
Image: 34 x 44.5cm
Framed: 52.5 x 61.5cm
€1,500 - 2,500
287
RONALD KEEFER (20TH / 21ST CENTURY)
Title: Prize Bull
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed Image: 59 x 59 cm
Framed: 82 x 82 cm
€400 - 600
288
FERGUS O’RYAN RHA (1911 - 1989)
Title: Spanish Landscape with Windmills and Figures
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 45 x 57.5cm
Framed: 61.5 x 75cm
€400 - 600
289
WILLIAM CUNNINGHAM (B. 1946)
Title: Lakeside Bluebells
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: Eakin Gallery, Belfast (Label Verso); Private Collection
Framed Image: 42 x 42cm
Framed: 70 x 70cm
€400 - 600
290
PAMELA MATTHEWS (B. 1931)
Title: Greek Island
Medium: Oil on Board
Signature: Signed Lower Left
Provenance: The Dawson Gallery, Dublin (Label Verso); Private Collection
Framed
Image: 67.5 x 92.5cm
Framed: 84 x 109cm
€800 - 1,200
291
PATRICK DAVID LIVINGSTONE (B. 1956)
Title: Watering Hole
Medium: Watercolour
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 36 x 53 cm
Framed: 55 x 72 cm
€400 - 600
292
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Hole in the Wall
Medium: Watercolour
Signature: Signed with Monogram Lower Right
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist; Private Collection
Framed
Image: 10 x 10.5cm
Framed: 20.5 x 20.5cm
€500 - 800
293
FERGUS SHANNON (B. 1965)
Title: The Church of the Carmelites, Poland (2020)
Medium: Oil on Canvas Board
Signature: Signed and Inscribed Verso
Provenance: Private Collection
Framed Image: 51 x 102cm
Framed: 65 x 116cm
€400 - 600
294
TRUDIE MOONEY (B. 1961)
Title: Still Life with Fuchsia Bowl (2002)
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed on Labels Verso
Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the present owner
Framed
Image: 18 x 24cm
Framed: 31 x 37cm
€1,500 - 2,500
295
PAT PHELAN (1927 - 2011)
Title: The Swan
Medium: Oil on Board
Signature: Signed Lower Right and Titled Verso
Provenance: Private Collection
Framed
Image: 43 x 58cm
Framed: 50.5 x 65.5cm
€500 - 800
296
MARIE CARROLL (20TH / 21ST CENTURY)
Title: Connemara
Medium: Oil on Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 14 x 19 cm
Framed: 39 x 44 cm
€400 - 600
297
DESMOND CARRICK (1928 - 2012)
Title: Women on the Beach Medium: Oil on Canvas Board
Signature: Signed Lower Right
Provenance: Private Collection
Framed Image: 40 x 50cm
Framed: 59 x 69cm
€1,200 - 1,500
298
ROSE MAYNARD BARTON RWS (1856 - 1929)
Title: Children by the Shore Medium: Watercolour
Signature: Signed Lower Left
Provenance: The Neptune Gallery, Dublin (Framing Label Verso); Private Collection
Framed
Image: 12.5 x 21.5cm
Framed: 30 x 37.5cm
€1,400 - 1,800
299
GRETTA O’BRIEN (20TH CENTURY)
Title: The Road to Kenmare
Medium: Oil on Board
Signature: Signed Lower Right and Inscribed Verso
Provenance: Lincoln Gallery, Dublin (Framing Label Verso); Private Collection
Framed
Image: 40 x 49cm
Framed: 60 x 70cm
€400 - 600
300
CECIL KING (1921 - 1986)
Title: Aslant (1984)
Medium: Oil on Paper
Signature: Signed Lower Right and Inscribed on Exhibition Label Verso
Provenance: Oliver Dowling Gallery, Dublin (Exhibition Label Verso); Private Collection
Exhibited: Cecil King 1921 - 1986: Paintings, Oliver Dowling Gallery, Dublin, 11 - 26 October, 1991, Catalogue No. 10
Framed
Image: 40 x 35.5cm
Framed: 64.5 x 58.5cm
€1,000 - 1,500
301
COLIN MIDDLETON RHA RUA MBE (1910 - 1983)
Title: Knockbracken (1945)
Medium: Pencil Sketch
Signature: Unsigned; Titled Lower Left and Dated Lower Right
Provenance: The Artist’s Sketchbook; The Collection of Cecil McCartney, friend of the artist, by descent; Private Collection
Framed
Image: 11.5 x 14cm
Framed: 21.5 x 24cm
€400 - 600
302
DEBORAH BROWN (1927 - 2023)
Title: Maquette for a Chair (C. 1982)
Medium: Wire and Papier Mache
Signature: Unsigned
Provenance: The Artist’s Private Collection, Adam’s, Dublin, October 1, 2024; Private Collection
Height: 12cm
Width: 22cm
Depth: 6cm
€400 - 600
303
GEORGE CAMPBELL RHA RUA (1917 - 1979)
Title: Cubist Warrior
Medium: Mixed Media
Signature: Signed Upper Right
Provenance: The Collection of Barbara Warren; Private Collection
Framed
Image: 36.5 x 23.5cm
Framed: 40 x 27cm
€400 - 600
304
THOMAS RYAN PPRHA (1929 - 2021)
Title: Windswept Trees
Medium: Watercolour and Gouache
Signature: Signed Lower Left
Provenance: Private Collection
Framed
Image: 35 x 38cm
Framed: 57 x 59cm
€400 - 600
305
MAINIE JELLETT (1897 - 1944)
Title: Male Nude
Medium: Pencil and Charcoal on Paper
Signature: Unsigned
Provenance: The Collection of Bruce Arnold; Private Collection
Framed
Image: 31 x 22cm
Framed: 56.5 x 46cm
€800 - 1,200
306
JOHN MORRIS (B. 1958)
Title: Into the Light Medium: Oil on Board
Signature: Signed Lower Left and Titled Verso
Provenance: Private Collection
Framed
Image: 19 x 19cm
Framed: 39 x 39cm
€400 - 600
307
RAY DELANEY (B. 1972)
Title: The Green Voyager Medium: Unique Bronze
Signature: Signed
Provenance: Private Collection
29cm high; 34cm wide; 10cm deep
€1,200 - 1,500
CHARLO QUAIN (20TH / 21ST CENTURY)
Title: Beachcomber (2000)
Medium: Oil on Board
Signature: Signed and Dated Lower Right; Inscribed Verso
Provenance: The United Arts Club, Dublin (Labels Verso); Private Collection
Framed Image: 58 x 15cm
Framed: 74 x 31cm
€400 - 600
309
MARY DONNELLY (B. 1964)
Title: Freedom is in the Hills Medium: Oil on Board
Signature: Signed Lower Right and Titled on Label Verso
Provenance: Private Collection
Framed
Image: 18 x 28cm
Framed: 49 x 59cm
€400 - 600
310
GRAHAM KNUTTEL (1954 - 2023)
Title: Still Life with Fish Medium: Oil on Canvas
Signature: Signed Lower Right
Provenance: Private Collection
Framed
Image: 85 x 85cm
Framed: 95 x 95cm
€5,000 - 8,000
311
GRETTA O’BRIEN (20TH CENTURY)
Title: Down Town
Medium: Oil on Board
Signature: Signed Lower Right and Titled Verso
Provenance: Private Collection
Framed
Image: 38 x 30cm
Framed: 57.5 x 49.5cm
€400 - 600
312
GERALD DAVIS (1938 - 2005)
Title: Rock Forms (1981)
Medium: Oil on Board
Signature: Signed and Dated Lower Left
Provenance: The Artist’s Studio, 11 Capel Street, Dublin (Label Verso); Private Collection
Framed Image: 15 x 15 cm
Framed: 23.5 x 23.5 cm
€400 - 600
CONDITIONS OF SALE
1. DEFINITIONS IN THESE CONDITIONS, SHEPPARD’S, WHO ACT ONLY AS AUCTIONEERS AND AGENTS FOR THE VENDOR, ARE CALLED ‘THE AUCTIONEERS’ AND THE REPRESENTATIVES OF SHEPPARD’S CONDUCTING THE AUCTION IS CALLED ‘THE AUCTIONEER’.
2. GENERAL: WHILST SHEPPARD’S MAKE EVERY EFFORT TO ENSURE THE ACCURACY OF THEIR CATALOGUE AND THE DESCRIPTION OF ANY LOT.
(A) EACH LOT AS SET OUT IN THE CATALOGUE OR AS DIVIDED OR COMBINED WITH ANY OTHER LOT OR LOTS IS SOLD BY THE VENDOR WITH ALL FAULTS, IMPERFECTIONS AND ERRORS OF DESCRIPTIONS.
(B) SHEPPARD’S DO NOT ACCEPT RESPONSIBILITY FOR THE AUTHENTICITY, ATTRIBUTION, GENUINENESS, ORIGIN, AUTHORSHIP, DATE, AGE, PERIOD, CONDITION OR QUALITY OF ANY LOT, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY, AND IN SUCH CASE THE AUCTIONEERS DO SO AS AGENTS OF THE VENDOR ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS.
(C) ALL STATEMENTS, WHETHER PRINTED IN THE CATALOGUE OR MADE ORALLY, AS TO ANY OF THE MATTERS SET OUT IN (B) ABOVE ARE STATEMENTS OF OPINION ONLY AND ARE NOT TO BE TAKEN AS BEING OR IMPLYING ANY WARRANTIES OR REPRESENTATIONS OF FACT BY SHEPPARD’S, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY AND IN SUCH CASE THE AUCTIONEERS DO SO AS AGENTS OF THE VENDOR AND ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS.
3. THE AUCTION:
(A) THE AUCTIONEER HAS ABSOLUTE DISCRETION TO DIVIDE ANY LOT, TO COMBINE ANY TWO OR MORE LOTS OR TO WITHDRAW ANY LOT OR LOTS FROM THE SALE, TO REFUSE BIDS, REGULAR BIDDING OR CANCEL THE SALE WITHOUT IN ANY CASE GIVING ANY REASON OR WITHOUT PREVIOUS NOTICE. HE MAY BID ON BEHALF OF THE VENDOR FOR ALL GOODS WHICH ARE BEING OFFERED SUBJECT TO RESERVE OR AT THE AUCTIONEER’S DISCRETION.
(B) THE HIGHEST BIDDER SHALL BE THE BUYER EXCEPT IN THE CASE OF A DISPUTE. IF DURING THE AUCTION THE AUCTIONEER CONSIDERS THAT A DISPUTE HAS ARISEN, HE HAS ABSOLUTE DISCRETION TO SETTLE IT OR RE-OFFER THE LOT. THE AUCTIONEER MAY AT HIS SOLE DISCRETION DETERMINE THE ADVANCE OF BIDDING OR REFUSE A BID.
(C) ALL CONDITIONS, NOTICES, DESCRIPTIONS, STATEMENTS AND OTHER MATTERS IN THE CATALOGUE AND ELSEWHERE CONCERNING ANY LOT ARE SUBJECT TO ANY STATEMENTS MODIFYING OR AFFECTING THE SAME MADE BY THE AUCTIONEER FROM THE ROSTRUM PRIOR TO ANY BID BEING ACCEPTED FOR THE LOT.
4. RECISSION: NOTWITHSTANDING ANY OTHER FORMS OF THESE CONDITIONS. IF WITHIN FOURTEEN DAYS AFTER THE SALE SHEPPARD’S HAVE RECEIVED FROM THE BUYER OF ANY LOT NOTICE IN WRITING THAT IN HIS VIEW THE LOT IS A DELIBERATE FORGERY AND WITHIN TWENTY-ONE DAYS AFTER SUCH NOTIFICATION THE BUYER RETURNS THE SAME TO SHEPPARD’S IN THE SAME CONDITION AS AT THE TIME OF SALE AND BY PRODUCING EVIDENCE, THE BURDEN OF PROOF TO BE UPON THE BUYER, SATISFIES SHEPPARD’S THAT CONSIDERED IN THE LIGHT OF THE ENTRY IN THE CATALOGUE THE LOT IS A DELIBERATE FORGERY THEN THE SALE OF THE LOT WILL BE RESCINDED AND THE PURCHASE PRICE OF THE SAME REFUNDED.
5. DEFAULT: SHEPPARD’S DISCLAIM RESPONSIBILITY FOR DEFAULT BY EITHER THE BUYER OR THE VENDOR BECAUSE THEY ACT AS AGENTS FOR THE VENDOR ONLY AND THEREFORE DO NOT PAY OUT TO THE VENDOR UNTIL PAYMENT IS RECEIVED FROM THE BUYER. INSTRUCTIONS GIVEN BY TELEPHONE ARE ACCEPTED AT THE SENDER’S RISK AND MUST BE CONFIRMED IN WRITING FORTHWITH.
6. IN THE EVENT OF A SALE BY PRIVATE TREATY BOTH THE VENDOR AND THE BUYER AGREE TO BE BOUND BY THE GENERAL AND ANY SPECIAL CONDITIONS OF SALE.
7. INSPECTION: EACH BUYER BY MAKING A BID FOR A LOT ACKNOWLEDGES THAT HE HAS SATISFIED HIMSELF FULLY BEFORE BIDDING BY INSPECTION OR OTHERWISE AS TO ALL THE SALE CONDITIONS THE PHYSICAL CONDITION OF AND DESCRIPTION OF THE LOT INCLUDING BUT NOT RESTRICTED TO WHETHER THE LOT IS DAMAGED OR HAS BEEN REPAIRED OR RESTORED.
8. PROPERTY AND RISK LEGAL TITLE WILL NOT PASS TO THE BUYER UNTIL THE LOT(S) HAS BEEN PAID FOR IN FULL AND THE AUCTIONEERS SHALL HE ENTITLED TO A LIEN ON ANY LOT SOLD UNTIL THE PURCHASE PRICE (AS DEFINED IN 11 BELOW) IS PAID IN FULL BUT EACH LOT IS AT THE SOLE RISK OF THE BUYER FROM THE FALL OF THE HAMMER. EACH BUYER SHALL FORTHWITH GIVE HIS FULL NAMES AND PERMANENT ADDRESS AND IF CALLED UPON TO DO SO BY THE AUCTIONEER SHALL FORTHWITH PAY TO SHEPPARD’S SUCH PROPORTION OF THE PURCHASE PRICE AS THE AUCTIONEER MAY REQUIRE. IF THE BUYER FAILS TO DO SO, THE LOT MAY AT THE AUCTIONEER'S SOLE DISCRETION BE PUT UP AGAIN AND RE-SOLD.
9. EVERY BIDDER SHALL BE DEEMED TO ACT AS PRINCIPAL UNLESS THERE IS IN FORCE A WRITTEN ACKNOWLEDGMENT BY SHEPPARD’S THAT HE ACTS AS AGENT ON BEHALF OF A NAMED PRINCIPAL.
10. REMOVAL OF GOODS.
(A) NO PURCHASE SHALL BE CLAIMED UNTIL IT HAS BEEN PAID FOR AND THE SALE HAS BEEN CONCLUDED. ALL PURCHASES SHALL BE PAID FOR AND REMOVED AT THE BUYER’S RISK AND EXPENSE, FAILING WHICH THE AUCTIONEER SHALL NOT BE RESPONSIBLE IF THE SAME ARE LOST, STOLEN, DAMAGED, OR DESTROYED AND ALL LOTS NOT SO REMOVED SHALL REMAIN AT THE RISK OF THE BUYER AND SUBJECT TO A MINIMUM WAREHOUSING CHARGE OF €5 PER ITEM PER DAY. IF THEY ARE NOT PAID FOR AND REMOVED WITHIN SEVEN DAYS OF THE SALE THE AUCTIONEER MAY RE-SELL THEM BY AUCTION OR PRIVATELY WITHOUT NOTICE TO THE BUYER. ANY LIABILITY WHICH THERE MAY BE ON THE PART OF THE AUCTIONEER IN RESPECT OF ANY LOSS SHALL BE RESTRICTED TO A MAXIMUM OF THE PRICE PAID BY THE BUYER OF THE LOT.
(B) IN THE EVENT OF ANY FAILURE OF THE BUYERS TO COMPLY WITH ANY OF THE CONDITIONS THE DAMAGES RECOVERABLE BY THE SELLER OR THE AUCTIONEERS FROM THE DEFAULTER SHALL INCLUDE ANY LOSS ARISING ON ANY RE-SALE OF THE LOT, TOGETHER WITH THE CHARGES AND EXPENSES IN RESPECT OF BOTH SALES, AND ANY MONEY DEPOSITED IN PART PAYMENT SHALL BE HELD BY THE AUCTIONEERS ON ACCOUNT OF ANY LIABILITY OF THE DEFAULTER TO THEM OR TO THE SELLER. THE AUCTIONEERS ARE UNABLE TO ACCEPT PAYMENT FROM SUCCESSFUL BIDDERS OTHER THAN IN CASH OR BY THE BIDDER’S OWN CHEQUE. CHEQUES DRAWN BY THIRD PARTIES WHETHER IN THE AUCTIONEER’S FAVOUR OR REQUIRING ENDORSEMENT, CANNOT BE ACCEPTED.
11. PURCHASE PRICE: THE PURCHASER SHALL PAY THE HAMMER PRICE TOGETHER WITH A PREMIUM OF 25% ( INCLUDING VAT). THE PREMIUM ATTRACTS VAT AT THE STANDARD RATE AND IS PAYABLE BY ALL PURCHASERS. THE VENDOR AUTHORISES THE AUCTIONEER TO DEDUCT COMMISSION AND EXPENSES AT THE STATED RATES FROM THE HAMMER PRICE AND ACKNOWLEDGES THE AUCTIONEER’S RIGHT TO RETAIN THE PREMIUM PAYABLE BY THE PURCHASER. PAYMENT BY CASH OR GUARANTEED CHEQUE.
ALTHOUGH EVERY EFFORT IS MADE TO REPORT DAMAGE AND RESTORATION TO LOTS IN THIS CATALOGUE, ABSENCE OF CONDITION DOES NOT IMPLY A LOT IS FREE FROM DAMAGE, AND PROSPECTIVE PURCHASERS MUST IN ALL CASES BE RESPONSIBLE FOR DETERMINING CONDITION THEMSELVES.
COMMISSION BIDS: IF INSTRUCTED WE WILL EXECUTE BIDS AND ADVISE INTENDING PURCHASERS. THE SERVICE IS FREE. LOTS WILL ALWAYS BE BOUGHT AS CHEAPLY AS IS ALLOWED BY OTHER BIDS AND RESERVES. BIDS, WHEN PLACED BY TELEPHONE, ARE ACCEPTED ONLY AT THE SENDER’S RISK, AND MUST BE CONFIRMED BY LETTER.
IMPERFECTIONS NOT STATED
SPECIAL CONDITION: ALL PURCHASES TO BE PAID FOR THE EVENING OF SALE.
EXPLANATION OF CATALOGUING PRACTICE: A WORK CATALOGUED WITH THE NAME(S) OR RECOGNISED DESIGNATION OF AN ARTIST, WITHOUT ANY QUALIFICATION, IS, IN OUR OPINION, A WORK BY THE ARTIST IN OTHER CASES.
THE FOLLOWING EXPRESSIONS, WITH THE FOLLOWING MEANINGS ARE USED:
“ATTRIBUTED TO . . .’’ IN OUR OPINION PROBABLY WORK BY THE ARTIST IN WHOLE OR IN PART.
“STUDIO OF . . .” IN OUR OPINION A WORK EXECUTED IN THE STUDIO OR WORKSHOP OF THE ARTIST, POSSIBLY UNDER HIS SUPERVISION.
“CIRCLE OF . . .’’ IN OUR OPINION A WORK OF THE PERIOD OF THE ARTIST AND SHOWING HIS INFLUENCE.
“FOLLOWER OF . . . ” IN OUR OPINION A WORK EXECUTED IN THE ARTIST’S STYLE BUT NOT NECESSARILY BY A PUPIL.
“MANNER OF . . . ’’ IN OUR OPINION A WORK EXECUTED IN THE ARTIST’S STYLE BUT OF A LATER DATE.
“AFTER . . .’’ IN OUR OPINION A COPY (OF ANY DATE) OF A WORK OF THE ARTIST.
“SIGNED . . .’’ IN OUR OPINION THE WORK HAS BEEN SIGNED/DATED/INSCRIBED BY THE ARTIST.
“WITH SIGNATURE . . ’’ IN OUR OPINION THE SIGNATURE/DATE/INSCRIPTION IS BY A HAND OTHER THAN THAT OF THE ARTIST.
“WITH DATE . . .’’
“WITH INSCRIPTION . . .’’
ABSENTEE BID FORM
Fax: 057 873 6546 ∙ Email: bids@sheppards.ie
Telephone Bids: +353 (0)57 874 0000
Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s premium. These bids are to be executed as cheaply as is permitted by other bids, or reserves, if any, and subject to the conditions of sale printed in the catalogue.
AUCTION: 24 FEBRUARY @ 6PM
PREVIEW: 20 – 24 FEBRUAR Y
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