21 May 2012

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UNTITLED, 1986
UNTITLED, 1986
Felim Egan (b.1952)

Auction Date / Lot No.: 21 May 2012 / 8

Reserve: €2000

  • Signature: signed and dated on reverse
  • Medium: oil with mixed media element on canvas
  • Dimensions: 36 by 36in., 91.44 by 91.44cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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WATER ON A PLOUGHED FIELD, c.1976
WATER ON A PLOUGHED FIELD, c.1976
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 21 May 2012 / 9

Reserve: €10000

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 28.5 by 36in., 72.39 by 91.44cm.
  • Provenance: Tom Caldwell Galleries, Dublin
  • Exhibited: 'Patrick Collins', Tom Caldwell Galleries, Dublin, until 30 November 1976, catalogue no. 23
  • Although Patrick Collins sometimes paints other subjects, landscape dominates his art. He had an affinity with nature that began in his Sligo childhood and which eventually formed the foundation for his painting. Boyhood memories fed his art; he saw the bogs, earth, rocks and stones of the landscape as a physical link with his own youth as well as uniting the contemporary Celt with the ancients.
    Collins always interpreted the landscape in an abstractly poetic way, but in the late 1960s excessive sentimentality and formlessness began to creep into the work. However, after working for nine months digging drainage ditches in Connemara he produced a remarkable series of austere bog pictures in 1970 which demonstrated a newly-found vigour. Although Water on a Ploughed Field was first exhibited in 1976, its style suggests that it may have been painted around the same time as the bog pictures rather than during his stay in France from 1971-76. This painting strips away inessentials with the exceptional boldness that characterised his work of 1970. It shows an elemental absorption with land, with moisture impregnating the entire picture and light bouncing off the surface water. The restrained composition sets a few strong lines against an animated void - Collins wanted to make empty spaces 'talk.' Water on Ploughed Field does talk to the viewer, poignantly expressing the loneliness and isolation Collins felt during this period.
    Frances Ruane HRHA
    April, 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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STUDY 90, 1990
STUDY 90, 1990
Samuel Walsh (b.1951)

Auction Date / Lot No.: 21 May 2012 / 11

Reserve: €600

  • Signature: signed and dated in pencil lower right; with typed Oliver Dowling Gallery exhibition label on reverse
  • Medium: oil on paper
  • Dimensions: 24 by 30in., 60.96 by 76.2cm.
  • Provenance: Oliver Dowling Gallery, Dublin
  • Exhibited: 'Samuel Walsh', Oliver Dowling Gallery, Dublin, 1990
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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IRISH INSCAPE - STUDIO, PHYSICIANSTOWN, CALLAN, 1984
IRISH INSCAPE - STUDIO, PHYSICIANSTOWN, CALLAN, 1984
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 13

Reserve: €20000

  • Signature: signed with initials lower left; dated [November] lower right; signed again, titled and dated on reverse; also with artist's archival number [No. 832] on reverse; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on wood with collage element
  • Dimensions: 48 by 36in., 121.92 by 91.44cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, October 1986, no. 18
  • After many years in Cornwall Tony O'Malley began extensive visits back to Ireland in the late 1970s, establishing a studio at Physicanstown, near to Callan Co. Kilkenny where he was born. This, like his studios in the Bahamas and St. Ives, often formed the subject of his paintings. The work is not a representation of an actual location but an 'inscape'. This word, which recurs in a number of O'Malley's titles, comes from the writings of Gerard Manley Hopkins. Inscape is a term used to describe 'individually-distinctive beauty' or in visual art terms an interior landscape, a poetic evocation of the artist's thoughts and responses to a place or object rather than a conventional outward view. O'Malley's introspective practice came from his early isolation as a self-trained artist but it was also informed by his years of working with English modernist artists in Cornwall. Through the St. Ives school he developed a sophisticated understanding and engagement with modern art which is reflected in the distinctive language of forms found in this work.

    The pale blue of the painting contained within a darker blue frame suggests space and light. But the seeming simplicity of the blue expanse and its floating birdlike forms is disrupted by its rich, three dimensional surface. As in his other work O'Malley adds material to his paint to create thick lines that project up from the surface. Elsewhere paint is scraped back so that the underlying board is visible. The resulting rhythmic lines compliment the painted floating grid of colourful forms. The simple and direct treatment of the work in conjunction with its exotic elements and colours evoke a primitive space while its marked surface anchors it within the physical world of the artist's studio.
    Dr. Róisín Kennedy
    April 2012



    We are grateful to the Taylor Galleries for their assistance in cataloguing this lot.
    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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SWITZERLAND, 1972
SWITZERLAND, 1972
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 21 May 2012 / 18

Reserve: €800

  • Signature: signed, titled and dated lower right
  • Medium: coloured pencil on paper
  • Dimensions: 19 by 13.75in., 48.26 by 34.925cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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POND REVERIE I, 1994
POND REVERIE I, 1994
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 19

Reserve: €25000

  • Signature: signed, titled and dated on reverse; with typed Taylor Galleries exhibition label also on reverse
  • Medium: oil on board
  • Dimensions: 48 by 48in., 121.92 by 121.92cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, April - May, 1996, catalogue no. 9
  • Literature: Ed. Lynch, Brian, Tony O'Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 290 (full page illustration)
  • This work is part of a series of pond paintings made by O'Malley over the later years of his life. In 1977 he and his wife Jane had bought a cottage at Physicanstown in Co. Kilkenny which became their permanent home in 1990. The garden was carefully cultivated and its pond provided the inspiration for an ongoing cycle of works that signal the stability of O'Malley's domestic surroundings and its impact on his artwork. Thinly painted on board Pond Reverie I explores the changing effects of sunlight on water. Reflections of light on the surface and on the fish and plant life below are picked out in bright oranges and blues. Flecks of impasto across the composition along with dots of flickering colourful forms suggest the vigorous organic life of the pond and create a rich and absorbing work of art.

    Dr. Róisín Kennedy
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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NORTH STAR AND VENUS, 1982
NORTH STAR AND VENUS, 1982
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 21 May 2012 / 20

Reserve: €15000

  • Signature: signed lower right; with typed label of The Scottish Gallery [Edinburgh & London] on reverse
  • Medium: oil on canvas
  • Dimensions: 42 by 45in., 106.68 by 114.3cm.
  • Provenance: The Scottish Gallery, Edinburgh & London
  • This nocturnal landscape was painted after a period spent in New York in 1979 which had a profound effect on Crozier's work. It shows the impact of the vigorous colours and design of modernist art, such as that found in the work of Henri Matisse and Edvard Munch, on the artist.
    The composition is dominated by the strong green of the ground. Above the high horizon line two tiny circles of red and white indicate the planet Venus and the North Star. The scene is intensified by the dark ambiguous forms of the shadows cast by the tree and other unseen elements across the ground. Small lines and dots of pale blue and red enliven the surface suggesting the effect of starlight on the landscape. From a simple motif of a tree at night, Crozier creates a complex and evocative landscape in the grand tradition of modernist painting.

    Dr. Róisín Kennedy
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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FIGURE IN DOWNWARD FACING POSE, 1978
FIGURE IN DOWNWARD FACING POSE, 1978
Pat Connor (b.1948)

Auction Date / Lot No.: 21 May 2012 / 30

Reserve: €400

  • Signature: signed and dated on reverse; also with artist's name, location [Schull, W. Cork] and year [1984] on reverse
  • Medium: ceramic on white marble base
  • Dimensions: 8.5 by 7 by 4.5in., 21.59 by 17.78 by 11.43cm.
  • Dimensions of base: 6 by 4 by 1.5ins.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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ELEPHANT, 1995
ELEPHANT, 1995
Pat Connor (b.1948)

Auction Date / Lot No.: 21 May 2012 / 31

Reserve: €400

  • Signature: signed and dated beneath the base
  • Medium: ceramic
  • Dimensions: 9 by 8.25 by 6in., 22.86 by 20.955 by 15.24cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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CHIEFTAIN WITH EARRINGS
CHIEFTAIN WITH EARRINGS
Vincent Browne (b.1947)

Auction Date / Lot No.: 21 May 2012 / 32

Reserve: €600

  • Medium: copper with mixed media element on cylindrical black marble base
  • Dimensions: 7.5 by 4 by 3in., 19.05 by 10.16 by 7.62cm.
  • Dimensions of base: 4 by 3.25 (diameter). We are grateful to Leo Higgins, Cast Foundry, Dublin, for his assistance in cataloguing this lot.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

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CONWAY'S BOG, 2004
CONWAY'S BOG, 2004
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 35

Reserve: €3000

  • Signature: signed and dated in pencil lower left; signed, with title and with artist's archival number [04-67] on reverse; with typed Taylor Galleries exhibition label also on reverse
  • Medium: acrylic on paper
  • Dimensions: 23 by 30in., 58.42 by 76.2cm.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited: 'Seán McSweeney', Taylor Galleries, Dublin, October - November 2004, catalogue no. 31
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EVENING BOGLAND, 2005
EVENING BOGLAND, 2005
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 36

Reserve: €3000

  • Signature: signed and dated lower left; signed again, titled and dated on reverse; with artist's archival number on reverse; with Vangard Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Vangard Gallery, Cork; Private collection
  • Exhibited: 'Seán McSweeney, New Works', Vangard Gallery, Cork, 13 October - 5 November 2005
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THE PENITENT THIEF, 1988
THE PENITENT THIEF, 1988
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 21 May 2012 / 37

Reserve: €3000

  • Signature: signed and dated lower centre; with inscribed Caldwell Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 25in., 76.2 by 63.5cm.
  • Provenance: Caldwell Galleries; Where purchased by Vincent Ferguson
  • Exhibited: 'Patrick Collins', Caldwell Galleries, Dublin, until 30 November 1989, no. 6; 'Patrick Collins', Clifford Street Fine Art, London, 6 February to 3 March 1990 (illustrated on front cover of exhibition catalogue & backcover of private viewing invite); 'Patrick Collins HRHA, Last Daylight, the late cut-out paintings of Patrick Collins', RHA, Dublin, 14 January – 27 March 2011 (illustrated p.22 of exhibition catalogue)
  • "Someone once asked me why didn't I teach - pass on my experience to somebody else? In reply, I said I would have to start by saying, I can teach you nothing because I know nothing and that's after a lifetime of working for artistic completion, reading, writing, researching, discussing and observing. I broke all the rules in an effort to get at the truth of something and landed back on my own two feet with the conclusion that nobody else knows anything either. So there are no teachers, no pundits, only yourself.

    I started by trying to wed the thing and some hidden meaning of it and instinctively demanding a shape that overall accommodated both. Now I've arrived at a logical development of this idea with the blanks substituting or suggesting what I didn't know."

    Patrick Collins, from the exhibition catalogue to his solo show at the Caldwell Galleries, Dublin, November, 1989

    The recent RHA exhibition of Collins' 'cut outs' in 2011 brought into focus this controversial series from the mid-eighties. While these works show the artist employing a new technique, the brutal cutting of canvas with a scissors, they tie in with his earlier preoccupation of relating the painted image to the edge of the picture plane. For earlier works by the artist see lots X and X.

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DIDYMO, N.Z.I., 2006
DIDYMO, N.Z.I., 2006
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 21 May 2012 / 38

Reserve: €3000

  • Signature: signed, titled, dated and with artist's archival number [BC28506] on reverse; with typed Kerlin Gallery exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 27.5 by 33.5in., 69.85 by 85.09cm.
  • Provenance: Kerlin Gallery, Dublin; Private collection
  • Exhibited: 'Barrie Cooke', Kerlin Gallery, Dublin, 5 May - 3 June 2006
  • The Kerlin exhibition in 2006 marked the artist's 75th birthday and featured several reoccurring themes in his oeuvre. The present work represent his preoccupation with water pollution and an algae called Didymosphenia geminata discovered in New Zealand in 2004.

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TERRIBLE DAY, LOOP HEAD, COUNTY CLARE
TERRIBLE DAY, LOOP HEAD, COUNTY CLARE
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 39

Reserve: €8000

  • Signature: signed in the lower right panel lower left; signed and titled on reverse; with Leinster Gallery label on reverse
  • Medium: oil on panel; (in four parts)
  • Dimensions: 24 by 26.75in., 60.96 by 67.945cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
  • Dimensions of each panel: 11.5 by 13ins.

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OVER LOOP, COUNTY CLARE, JANUARY
OVER LOOP, COUNTY CLARE, JANUARY
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 42

Reserve: €6000

  • Signature: signed lower right; with title on reverse; also with Leinster Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 18.5 by 19.75in., 46.99 by 50.165cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
  • Exhibited: 'John Shinnors - Paintings & Drawings', Limerick City Gallery of Art, September to November, 2002
  • LiteraturePROFILE 18 - John Shinnors, Gandon Editions, Cork, 1996, p.47 (illustrated)
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STUDY FOR RECONSTRUCTED HEAD OF S. B. (SAMUEL BECKETT), 1965
STUDY FOR RECONSTRUCTED HEAD OF S. B. (SAMUEL BECKETT), 1965
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 43

Reserve: €25000

  • Signature: signed and dated lower left
  • Medium: watercolour
  • Dimensions: 22 by 15in., 55.88 by 38.1cm.
  • Provenance: Gimpel Fils Gallery, London; Whence purchased by Bruce Arnold in 1968; Sold to the present owner, May 1975
  • Exhibited: 'Louis le Brocquy Paintings', Gimpel Fils, London, 1-26 March 1966, catalogue no. 67; 'The Irish Imagination 1959-1971, an exhibition in association with Rosc', Municipal Gallery of Modern Art, Dublin, 23 October to 31 December 1971, catalogue no. 11 in 'The Literary Influence' section (Lent by Bruce Arnold); 'Irish Art 1943-1973: an exhibition in association with Rosc', Crawford Municipal Gallery of Art, Cork, 24 August to 7 November 1980, toured to the Ulster Museum, Belfast, January to February 1981, catalogue no. 66 (Lent by the present owner)
  • Artist's archive number W.51.

    Over a period of thirty or so years, from 1965 when this work was painted, Louis le Brocquy carried out numerous images of Samuel Beckett, mainly in oils but also, as in this case, in watercolour. The Head series began with the early experimental works, known collectively as the Ancestral Heads (1964-1975), followed by the Portrait Heads (c.1975-2005). It is thought that the present Study is the first watercolour in the series, and the artist himself confirmed this on a visit to Whyte's in 2007.1. Study for Reconstructed Head of S.B. (Samuel Beckett) belongs to the early experimental phase when the artist was searching for a distinctive method for representing the intellect, imagination and creativity of a range of individuals chosen for their historical significance or exceptional literary and artistic achievements. Mostly, though not exclusively, Irish, the figures included James Joyce, WB Yeats, Louis' wife - artist Anne Madden - and his friends Francis Bacon and Seamus Heaney, as well as Beckett.
    The Head series was a remarkable development for le Brocquy, emerging after a period of struggle for direction. A visit to the Musée de l'Homme in Paris in the winter of 1964 brought him into contact with the Polynesian heads in that collection, which touched a chord in the artist. As he explained "Like the Celts I tend to regard the head as this magic box containing the spirit. Enter that box, enter behind the billowing curtain of the face, and you have the whole landscape of the spirit." 2.
    In attempting to convey the elusive presence of the person within, the heads are presented as touches and swathes of colour, devoid of defining outlines, and variously ethereal. While he knew Beckett, le Brocquy did not paint the images from life, but from photographs or memory, preferring to respond to the afterimage rather than the literal presence of the individuals. Typically, each head in the series is shown floating, disembodied, on a muted background, thereby focusing attention on the essential individuality of the character, as well as the ultimate reality of human isolation.
    The Study presented here shows one of the earliest experiments in this genre. Composed in blues, red and brown, the head is modelled to give an overall form, but limited detail: there are no visible eyes, and little external description - it is not intended as literal and mimetic, though some later works of Beckett are more recognizable. This work, however, while referencing the distinctive brow, high cheekbones, and strongly cleft chin, is less concerned with the surfaces of his appearance than with the interior abstract complexities of his imagination.

    Dr Yvonne Scott
    April, 2012

    1. My thanks to Whyte's for this observation.
    2. Michael Peppiatt, 'Interview with Louis le Brocquy', Art International, Vol. XXIII/7, October, 1979, pp.60-66. Reproduced in Pierre le Brocquy (ed.), Louis le Brocquy, The Head Image, Gandon Editions, Kinsale, 1996, p.23.

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OWENNAMARVE, COUNTY DONEGAL,1976
OWENNAMARVE, COUNTY DONEGAL,1976
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 21 May 2012 / 57

Reserve: €5000

  • Signature: signed in monogram lower right; titled and signed [Colin] and with monogram again on reverse; also with typed David Hendriks Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 24 by 24in., 60.96 by 60.96cm.
  • Provenance: David Hendriks Gallery, Dublin; Whence purchased by the previous owner; From whom acquired by the present owner
  • Exhibited: 'Group Show', David Hendriks Gallery, Dublin, January 1976
  • During the period of the mid-1970s Middleton was sixty-six and at the peak of his career. The year this work was painted he was the subject of a major retrospective exhibition at Ulster Museum, Belfast and Municipal Gallery of Modern Art, Dublin hosted by the Arts Council.

    The Owennamarve River drains a dozen small loughs into the sea south of Dungloe.

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DARK COMPOSITION, 2, 1964
DARK COMPOSITION, 2, 1964
Anna Ritchie (1937-2010)

Auction Date / Lot No.: 21 May 2012 / 58

Reserve: €500

  • Signature: signed in pencil lower right; with typed Ritchie Hendriks Gallery label on reverse; inscribed in pencil on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 32in., 91.44 by 81.28cm.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Where purchased by Miss Hilary Herron (Sculptress), 1964; From whom gifted to the present owner
  • Exhibited: 'Anna Ritchie', Ritchie Hendriks Gallery, Dublin, May 1964, catalogue no. 4
  • Anna Ritchie studied art at the Melbourne National Gallery in her native Australia before moving to England to pursue further studies. Her work had figurative beginnings in her early years but later developed a more abstract approach much like her husband Basil Blackshaw whom she met in Ireland after a period of travel on the Continent. Their marriage broke up by the 1970s. During her career she held solo shows at the Ritchie Hendriks Gallery, Dublin, Arts Council Gallery and Queens University, Belfast among other venue in Ireland and abroad. Her work is represented in the Ulster Museum, the Arts Council of Ireland and Northern Ireland, Trinity College Dublin as well as other public and private collections in Ireland and Britain.

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THREE FIGURES
THREE FIGURES
Markey Robinson (1918-1999)

Auction Date / Lot No.: 21 May 2012 / 61

Reserve: €1500

  • Signature: signed with initials lower right; with inscribed Caldwell Galleries label on reverse
  • Medium: oil on paper
  • Dimensions: 8 by 11in., 20.32 by 27.94cm.
  • Provenance: Caldwell Galleries, Dublin; Private collection
  • A rare early work probably from the 1950s.

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DOCKERS, c.1920s
DOCKERS, c.1920s
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 66

Reserve: €25000

  • Signature: signed lower right
  • Medium: crayon and pastel on buff-coloured card
  • Dimensions: 22 by 27in., 55.88 by 68.58cm.
  • Provenance: Emer Gallery, Belfast; Where purchased by the present owner
  • In the 1920s William Conor was a member of the Dublin Painters' Society and held one-man shows there in 1924 and 1925. This picture, with its prominent tricolour flag flying in the background, may date from those years. Certainly the subject matter and its handling, with its evident debt to Conor's early work as a lithographer in David Allen & Sons in Belfast, are characteristic of the artist's mature style, which compels one to read the image in almost purely malerisch terms. Conor's view of art was that the artist should interpret 'his own epoch and give expression to that which is happening around him', as Máirín Allen recorded ('Contemporary Irish Artists XIV, William Conor', Father Mathew Record, October 1942).
    Some years later, writing in the catalogue of Conor's retrospective exhibition at the Belfast Museum & Art Gallery (later Ulster Museum) in 1957, John Hewitt, who at the time was Keeper of Art at the Museum, saw Conor 'placed with Paul Henry and Jack B. Yeats, as one of the first to record the life of the people in painterly terms, without the trappings of stage-Irishry.' George Russell (Æ) in the 1920s also saw him as 'a Belfast counterpart to Jack Yeats' (Irish Statesman, 3 May 1924, p. 242). Conor, Hewitt noted, 'was the first exponent of the same kind of material Sean O'Casey used in his Juno period; without the political passion or the tragic sense, but with as warm a humanity and as kindly an eye.' As Hewitt detected, Dockers is rich in its suggestion of observation, character and dialogue among those depicted drinking by the Dublin docks. Yet, too, as with O'Casey there is in their jollity a sense of the tragic stasis of the times in Ireland. Commenting on the characteristics of art such as Conor's, Kenneth Clark said that it always 'tells a story, takes pleasure in facts, is lyrical and achieves a visionary intensity.' Dockers well illustrates his thoughts.

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EVENING IN ACHILL, 1930-1938
EVENING IN ACHILL, 1930-1938
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 May 2012 / 70

Reserve: €90000

  • Signature: signed lower left; with faint inscriptions in pencil on board on reverse detailing title ["Village by the Lake, Achill"] and price [£21-0-0]; also with newspaper cutting and inscribed label with title [Achill] and artist's name preserved on reverse
  • Medium: oil on canvas
  • Dimensions: 19 by 23in., 48.26 by 58.42cm.
  • Provenance: Gorry Gallery, Dublin; From whom acquired by Mrs Anne Ledwith, 1957; Thence by descent; Adam's, 23 March 2003, lot 26; Private collection
  • Literature: Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, catalogue no. 772, p.253 (illustrated)
  • This quintessential western landscape is one of several compositions (cf. The Village by the Lake, 1924-5, West of Ireland Landscape with Cottages, 1924-5, The Village by the Lake, 1925-30 and Connemara Scene, 1935-40, Kennedy, 2007, catalogue numbers 613, 614, 632 and 933 respectively) painted by Henry in the mid-1920s and 1930s. In each case the setting is the same and although it cannot be identified with certainty it is clearly Connemara. The treatment of the terrain is characteristic of Henry's mature style as it had evolved by the 1930s. The handling of the strip of land in the middle distance, with its tiny habitation, is masterly, as is the almost minimalist treatment of the foreground. As with many of Henry's compositions, the true glory of the picture is in the sky, with its menacing cumulus clouds. Moderate impasto has been employed throughout.

    An inscription in pencil on the reverse reads 'Village by the Lake, Achill' with a price of £21.0.0. There is also on the reverse an unidentified newspaper cutting referring to Henry's eightieth birthday exhibition held at the Ritchie Hendrik's Gallery, Dublin, in 1957. Writing in the catalogue of that show, Arthur Power said that Henry, notwithstanding his Parisian training, was 'a classicist' for whom 'the thing seen' was of prime importance. 'But perhaps it was the loneliness of the West which appealed to him most,' he went on, 'that country which to the imagination seems to contain so much secret presence, whose silence is more impressive than any sound,' qualities that are so strongly expressed in this picture. Also on the reverse is a label reading 'Achill' and with the artist's name. Evening in Achill is dated 1930-1938 on stylistic grounds.
    Dr. S.B. Kennedy April 2012

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PAINTING IN A GARDEN
PAINTING IN A GARDEN
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 93

Reserve: €20000

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 27 by 21in., 68.58 by 53.34cm.
  • Provenance: Dawson Gallery, Dublin; Private collection, Dublin; Whyte's, 16 September 2003, lot 87; Private collection
  • Exhibited: RHA, 1955, catalogue no. 85 (Where it was priced at £219-0-0, making it the most expensively priced painting Leech ever exhibited at the RHA, up until his final year of exhibiting there, in 1967)
  • Painting in a Garden is one of a series of self portraits that Leech painted from the 1920s until his death in 1968. Inscribed in Leech’s handwriting on the reverse of this work is “No. 3 Painting in a Garden, W. J. Leech 20 Abbey Road, London, NW8”. This was the address of the fifth floor apartment that his future wife, Mrs May Botterell, had rented in Hampstead from 1938. Leech based himself in the apartment after his own studio space at Steele’s Studios was bombed in 1941. Even after Steele’s Studio was partially patched up, he remained at 20 Abbey Road, until 1958 when he and May moved to West Clandon, outside Guildford in Surrey. Painting in a Garden was thus probably painted during the 1940s when Leech was in his sixties. His annual extended trips to France were no longer possible and his subject matter focused on still-life, flower studies, portraits of his family and friends and his self portraits, which were painted outside in the sunlit garden of his studio. In this portrait Leech’s personality is portrayed in his attention to detail in his dress: his polished shoes, ironed trousers and white shirt – similar clothes to those he is wearing in Self Portrait (Painting in a Garden)1. However, in the present work, Leech has his shirt sleeves rolled up, he is tieless and hatless and his gaze is focusing on the canvas instead of looking out at his reflection in the mirror. In most of his self portraits Leech is formally dressed and in the series he painted in the last ten years of his life he is wearing his overcoat over his open necked white shirt. This work is similar in pose to his Self Portrait, painted in Steele’s Studios on the back of the canvas, Flowers in a Vase, except for the fact that there Leech is wearing a black jacket, a handkerchief in his top pocket, white shirt and tie and holding additional paint brushes in his left hand. In Painting in a Garden he adopts a happier, more relaxed pose as he leans towards his canvas, his right arm extended and his left arm loosely dropped at his side. He captures the sunlight on the grass in vivid greens and yellows framed by the frieze of darker trees in the top one third of the picture. The canvas deckchair, with stripes in Indian red, echoes the diagonal of Leech’s body and is the same deckchair seen in Steps to the Studio, painted outside his studio at Candy Cottage, West Clandon, Surrey, where he spent the final ten years of his life.

    1. Illustrated on page 235 of Denise Ferran, William John Leech: An Irish Painter Abroad, National Gallery of Ireland, Dublin, 1996, pp.234-235.

    Denise Ferran

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SET OF TWELVE PRINTS ILLUSTRATING THE IRISH LINEN INDUSTRY, 1791
SET OF TWELVE PRINTS ILLUSTRATING THE IRISH LINEN INDUSTRY, 1791
William Hinks (fl.1773-1797)

Auction Date / Lot No.: 21 May 2012 / 95

Reserve: €4000

  • Signature: each with artist's name in the plate lower right; with plate number lower left; with title and publisher's details lower centre
  • Medium: hand-coloured and stipple engraving; (contained in leather and cloth bound album)
  • Dimensions: 11.5 by 15.75in., 29.21 by 40.005cm.
  • Sheet size:14.25 by 20.5ins., dimensions of presentation album 18 by 24ins.

    Born in Waterford, Hincks was self taught as an artist, and exhibited at the Society of Artists, Dublin, in the 1780s, as well as at the RA, London. The present series depicts the progress of the Linen Industry in Northern Ireland in all its different stages from sowing the seed to the arrival of the webs at the Linen Hall.

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A STORMY EVENING OFF THE BAILEY, HOWTH, 1889
A STORMY EVENING OFF THE BAILEY, HOWTH, 1889
Archibald McGoogan (1860-1931)

Auction Date / Lot No.: 21 May 2012 / 98

Reserve: €500

  • Signature: signed and dated lower left; with title inscribed on reverse
  • Medium: watercolour
  • Dimensions: 6.75 by 10.75in., 17.145 by 27.305cm.
  • Provenance: The Collection of Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin
  • Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland's greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland.

    He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown.

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A BREEZY DAY, SUTTON (HOWTH), 1889
A BREEZY DAY, SUTTON (HOWTH), 1889
Archibald McGoogan (1860-1931)

Auction Date / Lot No.: 21 May 2012 / 99

Reserve: €500

  • Signature: signed and dated (beneath the mount) lower left; with title inscribed on reverse
  • Medium: watercolour heightened with white
  • Dimensions: 6.5 by 10.5in., 16.51 by 26.67cm.
  • Provenance: RHA, Dublin; Whence purchased by Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin
  • Exhibited: RHA, Dublin, 1889 catalogue no. 426 [£1-10-0]
  • Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland's greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland.

    He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown.

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CUALA PRESS, A BROADSIDE, 1908-1912
CUALA PRESS, A BROADSIDE, 1908-1912
Jack Butler Yeats RHA (1871-1957) and others

Auction Date / Lot No.: 21 May 2012 / 106

Reserve: €3000

  • Medium: hand-coloured letterpress; each an edition of 300
  • Dimensions: 11.5 by 7.75in., 29.21 by 19.685cm.
  • Cuala Press, A Broadside. Churchtown & Dublin, 1908-1912. First years nos. 2, 4, 5, 7, 8, 9; second year nos. 1, 2, 4, 6, 7, 8, 9; Third year nos. 3, 6, 9, 10, 11, 12; Forth year nos. 1 to 12. Each an edition 1 of 300, colour illustrated. Thirty-one issues. Also included are 17 illustrated sheets printed for Flying Fame 15 of the 17 include poems by Ralph Hodgson, 1 by Richard Honeywood and Lovat Fraser, plain and coloured (7), 1st and 2nd impressions (some duplication). (42 items).

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THE RIVER LIFFEY AT BUTT BRIDGE, DUBLIN
THE RIVER LIFFEY AT BUTT BRIDGE, DUBLIN
Henry C. O'Donnell (1900-1992)

Auction Date / Lot No.: 21 May 2012 / 107

Reserve: €600

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Provenance: Gorry Gallery, Dublin; Whence purchased by the present owner
  • Exhibited: 'Henry C. O'Donnell 1900-1992 Retrospective Exhibition', Gorry Gallery, Dublin, 22 April - 5 May 1994, catalogue no. 27
  • The original retrospective catalogue accompanies this lot.

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HORSE DRINKING AT POND IN ACHILL
HORSE DRINKING AT POND IN ACHILL
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 109

Reserve: €3000

  • Signature: signed lower right; with Jorgensen retrospective exhibition label on on reverse
  • Medium: oil on board
  • Dimensions: 11 by 14in., 27.94 by 35.56cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Exhibited: Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.43); Cruickshank J.G., 'Grace Henry', Irish Arts Review, Vol 9, 1993, p.178 (illustrated)
  • Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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MOONLIGHT ON LAKE
MOONLIGHT ON LAKE
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 111

Reserve: €3000

  • Signature: signed lower right; with original Wiseman's Fine Art [Southampton] label on reverse; with Jorgensen retrospective exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 20in., 45.72 by 50.8cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated on back cover and p.52); Cruickshank J.G., 'Grace Henry', Irish Arts Review, Vol 9, 1993, p.177 (illustrated)
  • Contained in its original frame.

    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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BLUE LANDSCAPE
BLUE LANDSCAPE
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 115

Reserve: €3500

  • Signature: signed lower right; with Jorgensen retrospective exhibition label on reverse
  • Medium: oil on canvas board
  • Dimensions: 13.25 by 19.25in., 33.655 by 48.895cm.
  • Provenance: Whyte's, 30 November 2004, lot 104; Whence purchased by the present owner
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.39)
  • Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.

    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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CONVERSATION - ON BOARD THE "CORINA"
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 118

Reserve: €700

  • Signature: signed lower right; with title and number [6] on reverse
  • Medium: charcoal on buff-coloured paper
  • Dimensions: 9.25 by 12.5in., 23.495 by 31.75cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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ROSES
ROSES
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 120

Reserve: €2000

  • Signature: signed lower left; signed again and with title on reverse; numbered [15 & 22] on reverse
  • Medium: oil on board
  • Dimensions: 16 by 12.5in., 40.64 by 31.75cm.
  • Provenance: Whyte's, 28 April 2008, lot 70; Whence purchased by the present owner
  • Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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ROSES IN A VASE
ROSES IN A VASE
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 121

Reserve: €2000

  • Signature: signed lower right; with Jorgensen retrospective exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 13.5 by 17.5in., 34.29 by 44.45cm.
  • Provenance: de Vere's, Dublin, 25 November 2003, lot 54; Whence purchased by the present owner
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.53)
  • Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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FLOODS IN ENNIS
FLOODS IN ENNIS
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 122

Reserve: €3000

  • Signature: signed lower right; with Jorgensen Fine Art label and their retrospective label on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 20in., 60.96 by 50.8cm.
  • Provenance: Sotheby's, London, 6 December 2000, lot 94; Private collection; Jorgensen Fine Art, Dublin; Whence purchased by the present owner
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.41)
  • Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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MOUNTAIN, CARAGH LAKE, COUNTY KERRY
MOUNTAIN, CARAGH LAKE, COUNTY KERRY
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 123

Reserve: €3000

  • Signature: signed lower right; inscribed on reverse; with original Reeves' "Dalston" label on reverse; also with Jorgensen retrospective exhibition label on reverse
  • Medium: oil on canvas board
  • Dimensions: 14 by 11.75in., 35.56 by 29.845cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.51)
  • Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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ARRANGING FLOWERS
ARRANGING FLOWERS
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 126

Reserve: €1500

  • Signature: signed lower right; with Jorgensen retrospective exhibition label on reverse; with number [6] on label on reverse
  • Medium: oil on canvas board
  • Dimensions: 13.5 by 10.75in., 34.29 by 27.305cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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FLOWERS
FLOWERS
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 128

Reserve: €1500

  • Signature: with inscribed Dawson Gallery label affixed on reverse
  • Medium: oil on board
  • Dimensions: 14 by 11in., 35.56 by 27.94cm.
  • Provenance: Dawson Gallery, Dublin
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.44)
  • Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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THE INN KEEPER
THE INN KEEPER
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 21 May 2012 / 131

Reserve: €2000

  • Signature: signed lower right; with title in pencil on reverse
  • Medium: oil on canvas board
  • Dimensions: 16 by 13.5in., 40.64 by 34.29cm.
  • Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots.
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.54)
  • Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.
    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

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HOUSE AMONG THE OLIVE GROVES, PROVENCE
HOUSE AMONG THE OLIVE GROVES, PROVENCE
Phoebe Donovan (1902-1998)

Auction Date / Lot No.: 21 May 2012 / 137

Reserve: €800

  • Signature: signed lower left
  • Medium: oil on canvas board
  • Dimensions: 20 by 24in., 50.8 by 60.96cm.
  • Provenance: Whyte's, 22 February 2005, lot 142; Private collection
  • Painted c.1960s-1970s in Provence, where the artist had a cousin with whom she used to holiday. For a biography of this Wexford-born artist, see Snoddy, pp. 142-143.

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STILL LIFE WITH VASE OF FLOWERS
STILL LIFE WITH VASE OF FLOWERS
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 21 May 2012 / 141

Reserve: €500


LILIES AND ROSCOEAS, 1950
LILIES AND ROSCOEAS, 1950
Ralph Cusack (1912-1965)

Auction Date / Lot No.: 21 May 2012 / 144

Reserve: €800

  • Signature: with Irish Exhibition of Living Art [1950] label on reverse
  • Medium: oil on board
  • Dimensions: 36 by 28in., 91.44 by 71.12cm.
  • Provenance: The Collection of Robert Fermor-Hesketh; His sale, Christie's, 3 June 1999, lot 201; Private collection
  • Exhibited: Irish Exhibition of Living Art, Dublin, 16 August - 10 September, 1950, catalogue no. 14 as Lilies and Roscoeas [£30-0-0]
  • In 1950 Ralph Cusack exhibited two works at the IELA, the present work and another entitled Path Through my Wood, no. 73 (illustrated in exhibition catalogue). He was on the first executive committee for the IELA in 1943 and during his involvement his own works were described as 'ultra-revolutionary' for their time.
    Cusack was a first cousin of Mainie Jellett. Largely self-taught, he lived on the continent from the mid 1930s and exhibited in the Salon de Monaco in 1937. He returned to Dublin on the outbreak of the war and had his first solo show in the Dublin Painters' Gallery in 1940. He later showed with the WCSI and designed stage sets for the Olympia Theatre alongside Anne Yeats and Thurloe Conolly. In the 1950s Cusack lived with his wife Nancy in Roundwood, Wicklow where he managed a nursery for rare bulbs. He later relocated to France again in the mid 1950s and exhibited in a group show entitled 'Artistes Étrangers en France' in the Petit Palais, Paris, 1955. The artist wrote his autobiography between 1955 and 1957 and died in the summer of 1965.

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MEXICAN TAPESTRY, 1983
MEXICAN TAPESTRY, 1983
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 21 May 2012 / 147

Reserve: €4000

  • Signature: signed on label sewn at rear
  • Medium: wool tapestry on cotton warp; unique
  • Dimensions: 85 by 51in., 215.9 by 129.54cm.
  • Provenance: Gift from the artist to the present owner
  • Literature: Walker, Dorothy, 'Contemporary Irish Tapestry', Irish Arts Review, Vol. 1, no. 2, 1984, pp. 14-19; Peter Lamb, 'Patrick Scott Tapestries', Irish Arts Review, Vol. 19, no. 1, 2002, pp. 48-53
  • Hand woven by Benito Hernandez y Hermanos, Teotitlán del Valle, Oaxaca, Mexico.
    Patrick Scott’s tapestry designs are a highly significant part of his oeuvre. The designs vary according to the tapestry technique employed, taking into account attributes such as the depth of pile and method of tufting. Thus, as Dorothy Walker once noted, ‘his tapestry is no mere transference of his paintings to a woollen surface’ (Irish Arts Review, 1984, pp. 18-9). Scott has also embraced a rainbow-coloured palette of colours for his tapestry designs. He has worked with the famed Aubusson firm of Tabard Frères et Soeurs, in addition to the Irish firm V’Soske Joyce in Galway and individual weaver designers such as Alice Roden and Leonora Fowler. In 1980 he was introduced to a family of weavers in Mexico, resulting in a series of rugs, wall hangings and tapestries being produced over the following four years. Peter Lamb has described this series as follows: The Oaxacan weavers of Mexico operate a cottage industry version of Aubusson. They also produce a fine product, but one which is much looser and more rustic in character. Unlike both V’Soske Joyce and Tabard Frères et Soeurs, which both use chemical dyes, the Oaxacans use mostly animal and vegetable dyes, particularly indigo and cochineal, which are locally produced. Scott worked with Benito Hernandez, a Zapotec Mexican, and his extended family in the weaving village of Teotitlán del Valle from 1981 to 1984 and some of the work was subsequently exhibited in the Museo del Arte Contemporaneo in the city of Oaxaca. (Irish Arts Review, 2002, p. 52)

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DOLLY MIXTURES 9, 1971
DOLLY MIXTURES 9, 1971
Robert Ballagh (b.1943)

Auction Date / Lot No.: 21 May 2012 / 148

Reserve: €2000

  • Signature: signed in pencil on reverse; with typed David Hendriks Gallery exhibition label on reverse; with Compass Gallery, Glasgow, exhibition label on reverse; also with Gorry Gallery exhibition label on reverse
  • Medium: mixed media with collage
  • Dimensions: 13.25 by 19in., 33.655 by 48.26cm.
  • Provenance: David Hendriks Gallery, Dublin; Private collection;
  • Exhibited: David Hendriks Gallery, Dublin, 1971; 'Three-man Show (Cecil King, Patrick Collins & Robert Ballagh), Compass Gallery, Glasgow, until November 1971; 'Robert Ballagh Works from the Studio 1959-2006', Gorry Gallery, Dublin, in association with Damien Matthews Fine Art, 20 September - 5 October 2006, catalogue no. 20
  • Literature: The Gorry Gallery in association with Damien Matthews Fine Art, Robert Ballagh Works from the Studio 1959-2006, Damien Matthews Fine Art Publications, 2006, p. 40 (illustrated)
  • "Tea Cakes and Dolly Mixtures were part of a series commenting on mass culture and popular taste, using very sweet subject matter. Other subject from 1971 included gob stoppers, liquorice comfits, iced caramels, chocolate beans and liquorice allsorts, all painted as literal examples of monumental contemporary kitsch against patterned backgrounds. Although these works may now appear to have a 'retro style', at the time they were quite shocking in their vulgarity, using as they did materials not yet appreciated for their kitsch qualities. The quite hallucinatory intensity with which Ballagh has portrayed his sweet subject is both amusing and disquieting."
    From Robert Ballagh Works from the Studio 1959-2006, p.39

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WILD DUCK OVER CARAGH LAKE, KERRY
WILD DUCK OVER CARAGH LAKE, KERRY
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 152

Reserve: €1000

  • Signature: signed with initials lower right; with title inscribed on reverse; with inscribed Dawson Gallery label also on reverse
  • Medium: oil on board
  • Dimensions: 12 by 9in., 30.48 by 22.86cm.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: 'Pauline Bewick, New Works', Dawson Gallery, Dublin, 1-14 May 1975, catalogue no. 45
  • The artist relocated to Caragh Lake, Kerry in 1973 with her family and worked from her cottage studio there. The present work was included in a large show comprising 51 works; oils, drawings, sculptures and miniatures.

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PENNANT
PENNANT
John Kelly RHA (1932-2006)

Auction Date / Lot No.: 21 May 2012 / 153

Reserve: €800

  • Signature: signed lower right; with original typed Taylor Galleries label on reverse
  • Medium: watercolour and pastel
  • Dimensions: 22 by 14in., 55.88 by 35.56cm.
  • Provenance: Taylor Galleries, Dublin; Guinness Peat Aviation; de Vere's, 2 October 2001, lot 112; Private collection
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END OF THE TRACK, 1994
END OF THE TRACK, 1994
Veronica Bolay RHA (b.1941)

Auction Date / Lot No.: 21 May 2012 / 156

Reserve: €2000

  • Signature: signed, titled and dated on reverse; with Rubicon exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 31 by 36in., 78.74 by 91.44cm.
  • Provenance: Rubicon Gallery, Dublin; Private collection
  • Exhibited: 'Veronica Bolay, New Work', Rubicon Gallery, Dublin, 13-30 April, 1994, exhibtion no. 17
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BRIDE'S ENCOUNTER, MENORCA
BRIDE'S ENCOUNTER, MENORCA
Jack Pakenham RUA (b.1938)

Auction Date / Lot No.: 21 May 2012 / 157

Reserve: €300

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on board
  • Dimensions: 17.75 by 14in., 45.085 by 35.56cm.
  • The Clown and the Bride have been recurring images in the artist's oeuvre since the early seventies when he first encountered the singer Leo Sayer dressed as a white-faced Clown on the television programme 'The Old Grey Whistle Test'. Later, the Clown in the poetic narratives of Gerard Dillon, a supporter of Pakenham in his early years, would become a source of inspiration for the Dublin born artist. The Clown has played several roles in the imagined, theatrical narratives the artist has produced since that period, thus the Clown with his partner the Bride and their surrogate son the Ventriloquist's Doll appear honeymooning in Swanage Dorset, holidaying in Connemara, Scotland, Southern Spain and Menorca and trying to survive in the war-torn streets of Belfast in a poetical theatre of enigmatic encounters.

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CRYING WOMAN - DANCE VI, 1989
CRYING WOMAN - DANCE VI, 1989
Michael Cullen RHA (b.1946)

Auction Date / Lot No.: 21 May 2012 / 159

Reserve: €2000


NUDE, 2005
NUDE, 2005
Noel Murphy (b.1970)

Auction Date / Lot No.: 21 May 2012 / 161

Reserve: €3000


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FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.