Charles Brady-STUDY FOR HOMAGE TO NATHANIEL HONE, 1991 oil on linensigned lower right; with typed Taylor Galleries exhibition label on reverse 8 by 12in., 20.32 by 30.48cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: 'Charles Brady', Taylor Galleries, Dublin, 11-27 July, 1991, catalogue no. 26 Literature: Notes: 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.

Charles Brady-A WRAPPED-UP BRONZE, 1987 oil on boardsigned lower right; with typed Taylor Galleries label on reverse 16.5 by 24.5in., 41.91 by 62.23cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: 'Charles Brady, New Paintings and A Few Painted Bronzes', Taylor Galleries, Dublin, 28 May - 13 June, 1987, catalogue no. 30 Literature: Notes: 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.

Camille Souter-STRANGFORD QUARRY, 1994 oil on paperinscribed ["Camille Souter 1994"] on reverse, a copy of same visible on reverse of frame; also with exhibition number [34] on reverse 9.25 by 7.5in., 23.495 by 19.05cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: 'Camille Souter /Nano Reid Retrospective Exhibition', Droichead Arts Centre, Drogheda, Co. Louth, 5-29 May; (touring), Linen Hall Arts Centre, Castlebar, Co. Mayo, 3-26 June, 1999, catalogue no. 34 Literature: Cormican, Garrett, Camille Souter, The Mirror in the Sea, Whyte's Dublin 2006, catalogue no. 459, p.311 (listed) & 316 (illustrated in colour) Notes: In Camille Souter, The Mirror in the Sea Cormican notes that the artist also refers to this work as: "Gabbro Quarry Strangford Lough". 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.

Gerard Dillon-PIERROT AND EASEL pen and ink with gouache and pastel and collage element on papersigned lower right; with inscribed Taylor Galleries label on reverse 16 by 21.25in., 40.64 by 53.975cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: Literature: Notes: 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.

Gerard Dillon-ABSTRACT CITYSCAPE oil with sand on board 24.25 by 36in., 61.595 by 91.44cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: Literature: Notes: 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.

Patrick Collins-DRUID'S MOON, 1981 oil on canvassigned and dated lower left; with inscribed Arts Council exhibition label on reverse; also with typed Sligo Art Gallery exhibition label on reverse 32 by 38in., 81.28 by 96.52cm. Orientation of Image: L Provenance: Collection of the artist Exhibited: ’Patrick Collins: Retrospective Exhibition’, Arts Council/An Chomhairle Ealaíon and the Arts Council of Northern Ireland, touring exhibition, Cork, Dublin and Belfast, 1982, catalogue no. 84 (loaned by the Artist); 'Patrick Collins', Sligo Art Gallery, 27 March - 21 April, 1985 Literature: Frances Ruane, Patrick Collins, An Chomhairle Ealaíon/The Arts Council, Dublin; The Arts Council of Northern Ireland, Belfast , 1982, pp.92 (illustrated) pp.113 (listed) Notes: After living in France for six years, Collins returned to Ireland in 1977 and produced some remarkable work for an exhibition in 1979. The canvases increased in size, the colour became more complex and the gestures became rounder and more active. After a brief period when personal and financial difficulties made it impossible for him to paint, he received assistance from the Arts Council and from friends in 1980 and was able to pick up where he left off. The dynamism and sweeping movement typical of paintings done around this time can be seen in Druid's Moon. Collins pivots the composition around a central point, the paint is applied with gusto and the serenity of the 1960s and '70s has given way to a livelier, more ebullient mood. In Druid's Moon Collins returns to using a 'frame within a frame' device, the main body of the painting hovering within a rectangle. It has the effect of isolating the subject from the reality of its surroundings, a self-contained vignette abstracted from a specific moment and place. However, in this painting the rectangle is incomplete and, together with the head-like moon, it suggests a figure whose arms are open in a comforting embrace. Collins had certainly achieved some stability in his life around this time and, with a major retrospective of his work planned for the following year, had finally received institutional approbation. It is not surprising to find this sense of security reflected in paintings like this one. 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.

Charles Tyrrell-UNTITLED, 1981 oil over acrylic and mixed media on woodsigned, inscribed and dated on reverse; with inscribed Taylor Galleries exhibition label on reverse 39 by 39in., 99.06 by 99.06cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: 'Charles Tyrrell, paintings + drawings', Taylor Galleries, Dublin, 19 June - 4 July, 1981, catalogue no. 9 Literature: Notes: The artist's inscription on reverse reads, "reworked in oil March 2003 Charles Tyrrell '03". The National Irish Visual Artist's Library's copy of this exhibitIon catalogue records that paintings numbered "4" and "8" (diptych) from this series were purchased by AIB. Untitled, 1981 is an example of the artist's early work after graduating from the National College of Art and Design in 1974. It shows the influence of his trips to the United States in both its subject matter and scale, both of which were a break from the norm for Irish audiences at the time. In his note in May 2010, Aidan Dunne remarked on the artist's distinctive style in reference to Slow Turn, 1987, formerly in the O'Driscoll collection. "He developed a personal, grid-based pictorial vocabulary based on rhythmic subdivisions of the picture plane, combining textural painting with lines, angles and arcs..." 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.

Felim Egan-UNTITLED, 1986 oil with mixed media element on canvassigned and dated on reverse 36 by 36in., 91.44 by 91.44cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Patrick Collins-WATER ON A PLOUGHED FIELD, c.1976 oil on canvassigned lower left; inscribed with title on reverse 28.5 by 36in., 72.39 by 91.44cm. Orientation of Image: L Provenance: Tom Caldwell Galleries, Dublin Exhibited: 'Patrick Collins', Tom Caldwell Galleries, Dublin, until 30 November 1976, catalogue no. 23 Literature: Notes: 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.

Tony O'Malley-ÓRZOLA, 1988 acrylic with collage on papersigned with initials and dated lower left; titled lower right; with inscribed Taylor Galleries exhibition label on reverse 11.5 by 16.5in., 29.21 by 41.91cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, October 1990, catalogue no. 4 Literature: Notes: Órzola is a village in the Las Palmas province of northern Lanzarote in the Canary Islands. It is the departure point for the ferry to La Graciosa. For an example by O'Malley of La Graciosa see lot 21.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.

Samuel Walsh-STUDY 90, 1990 oil on papersigned and dated in pencil lower right; with typed Oliver Dowling Gallery exhibition label on reverse 24 by 30in., 60.96 by 76.2cm. Orientation of Image: L Provenance: Oliver Dowling Gallery, Dublin Exhibited: 'Samuel Walsh', Oliver Dowling Gallery, Dublin, 1990 Literature: Notes: 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.

Michael Mulcahy-INIS OIRR, 1990 oil on canvassigned and numbered [16] on reverse 26 by 24in., 66.04 by 60.96cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: Literature: Notes: In 1990 Mulcahy's work was included in 'Images from Ireland, Brussels', Banquet Exhibition at the RHA, Dublin and Oireachtas. 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.

Tony O'Malley-IRISH INSCAPE - STUDIO, PHYSICIANSTOWN, CALLAN, 1984 oil on wood with collage elementsigned with initials lower left; dated 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 48 by 36in., 121.92 by 91.44cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, October 1986, no. 18 Literature: Notes: 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 2012We 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.

Seán McSweeney-FILLING TIDE, 1998 oil on canvassigned, titled and with artist's archival number [98.46] inscribed on reverse; also with typed Taylor Galleries exhibition label on reverse 24 by 32in., 60.96 by 81.28cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin Exhibited: 'Boglana Shoureline, Sligo', Taylor Galleries, Dublin, October, 1998, catalogue no. 46 Literature: Notes: 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.

William Crozier-GARDEN, 1997 gouache on papersigned and dated lower centre; with title and catalogue number [32] on typed label on reverse 14.5 by 14.5in., 36.83 by 36.83cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

William Crozier-THE RIVER IN THE WOOD, 1991 oil on canvassigned lower left; signed again, titled and dated on reverse; with inscribed label also on reverse 24 by 30in., 60.96 by 76.2cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: The River in the Wood shows William Crozier engaging with two of his favourite motifs - the tree and the river. Scottish by birth, later becoming an Irish citizen, Crozier's landscapes avoid any of the characteristics of national stereotype. Crozier settled in West Cork in 1983 although he continued to travel and work abroad. His vibrant, almost abstract paintings of the landscape of West Cork, such as this example, were a revelation when they came to wider public attention in Ireland after a retrospective of Crozier's work at the RHA Gallery in 1991. Jim O'Driscoll, a native of West Cork, clearly recognised the novelty of Crozier's engagement with the locality. He was an important collector of his work. In The River in the Wood strong vivid colours are applied directly onto the white primed canvas, visible in the red branches of the trees to the right. Using a flattened perspective, Crozier creates a rich varied surface of competing forms, juxtaposing the rushing flow of the river and the vertical shapes of the trees. The blue water severs the composition separating an island of deep red and green trees from a sunlit group of pale green and orange woods to the left. The latter introduce a subtle sense of movement into the composition in contrast to the more dynamic form of the river. This work, like other paintings by Crozier, is deceptively simple in its construction. However the careful selection of colours and control of form reflect a deep understanding of both historical and modern European art. It evokes the iridescence of Gothic stained glass as well as the expressionist vigour of French Fauvism. The work is a direct response to nature. As Crozier declared, 'I cannot invent anything. I've got to see it'. The painting is then made in the studio directly on the canvas, without preliminary drawings. Through this intuitive approach, the final work becomes an internalised response to not just a specific location but to a particular moment and to the combination of psychological and physical forces which influenced Crozier while painting it. One of his stated aims in creating a painting was to 'invest it with an epic quality'. The understated yet dramatic combinations of forms and colours make The River in the Wood such an epic landscape. Dr. Róisín Kennedy April 2012 1. Quoted in P. Vann., 'A Man of Imagination', in ed. C. Crouan, William Crozier, Lund Humphries, 2007, p.20. 2. Ibid, p.39. 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.

Barrie Cooke-TAMAK'S CLEARING (EDGE OF THE JUNGLE), 1975 oil on canvassigned, titled and dated on reverse; with descriptive passage by the artist inscribed on reverse; also with David Hendriks exhibition and framing labels on reverse 39.75 by 39.75in., 100.965 by 100.965cm. Orientation of Image: P Provenance: David Hendriks Gallery, Dublin; Whence purchased by Mr & Mrs W. O'Sullivan, May 1976;Adam's, 27 September, 2001, lot 84 as Edge of the Jungle Exhibited: 'Barrie Cooke', David Hendriks Gallery, Dublin, 22 April - 15 May, 1976, catalogue no. 11 (as Tamak's Clearing) Literature: Notes: Artist's descriptive passage verso reads: "Edge of the jungle (Tamak's clearing). This is just as you step up out of black. Where Sinak & Tamak had made a hole, a plantation. On the way to Pa Umor. A log track over. His grove of the ubi cayu. (All chickens killed by leopard so we ate mushrooms!) & ubi! More difficult to walk out jungle than inside it." 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.

Brian Bourke-SWITZERLAND, 1972 coloured pencil on papersigned, titled and dated lower right 19 by 13.75in., 48.26 by 34.925cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Tony O'Malley-POND REVERIE I, 1994 oil on boardsigned, titled and dated on reverse; with typed Taylor Galleries exhibition label also on reverse 48 by 48in., 121.92 by 121.92cm. Orientation of Image: P 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) Notes: 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.

William Crozier-NORTH STAR AND VENUS, 1982 oil on canvassigned lower right; with typed label of The Scottish Gallery [Edinburgh & London] on reverse 42 by 45in., 106.68 by 114.3cm. Orientation of Image: L Provenance: The Scottish Gallery, Edinburgh & London Exhibited: Literature: Notes: 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 2012Jim 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.

Tony O'Malley-PEDRO BARBA - ISLA DE GRACIOSA, 1993 oil on boardsigned with initials and dated lower left; signed again, titled and dated on reverse; also with artist's archival number [no. 2466] on reverse; with typed Taylor Galleries exhibition label on reverse 48 by 36in., 121.92 by 91.44cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: 'Tony O'Malley at 80. Recent Work', Taylor Galleries, Dublin, 21 October - 6 November 1993, catalogue no. 17 (illustrated on front cover of catalogue); 'An Advocate For Art : A Tribute To Jim O'Driscoll SC', Irish Museum of Modern Art, Dublin, 6 July - 15 August, 2010 Literature: Ed. Lynch, Brian, Tony O'Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 310 (full page illustration) Notes: Pedro Barba, on the island of Graciosa, is close to Lanzarote in the Canary Islands. The island is surrounded by an uninhabited archipelago which is a nature reserve. It has formed the subject of another work by O'Malley's now in the collection of IMMA. The painting, like much of O'Malley later oeuvre, can be considered joyful in mood. This is largely due to the light tonality, bright colours and almost playful juxtaposition of forms that appear to float across the space of the wood. O'Malley preferred to paint on wood or board as opposed to canvas. The former enabled him to carve and scrap into the surface and to create almost sculptural work rather than being restricted to conventional painting. In Pedro Barba, Isla de Graciosa, O'Malley's interventions into the wood are very evident. He has drilled sequences of holes into various parts of the painting. For example such lines are visible in the large blue rectangular element in the upper part of the composition and along the edge of the yellow element in the lower right. The holes, which appear to be made by a screwdriver or nail are highlighted in different coloured paints. Elsewhere scratch marks make what could almost be described as existential marks which disrupt the painterly surface and introduce a more tangible quality into the work. 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.

Patrick Scott-CHINESE LANDSCAPE, SILVER PAINTING I, 1986 silver leaf and tempera on canvas 24 by 24in., 60.96 by 60.96cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin Exhibited: 'Patrick Scott, Chinese Landscapes', Taylor Galleries, Dublin, July, 1986 (ex-catalogue) Literature: Notes: 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.

James Mac Carthy-GIRL READING, 1986 bronze with green patina on wooden base (no. 3 from an edition of 6)signed and numbered on seat 10 by 5 by 5in., 25.4 by 12.7 by 12.7cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Dimensions of base: 6.5 by 5.5 by 1ins. This work was cast by the artist in Dunmanway, Cork in 1986 and sold to the present owner the following year. We are grateful to the artist 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.

John Shinnors-MAYO MOON, BLACK SCARECROW AND BADGER, 1996 oil on canvaswith inscribed RHA exhibition label on reverse 36 by 38in., 91.44 by 96.52cm. Orientation of Image: L Provenance: RHA , Dublin, 1996 Exhibited: RHA Annual Exhibition, Dublin, 1996, catalogue no. 436 Literature: Notes: John Shinnors was among the artists Jim O'Driscoll knew personally and his works hold a prominent place within his collection. This outstanding example by the Limerick artist displays all the characteristics one would associate with his work. As with many of his paintings the title guides the viewer into the narrative. Mayo Moon, Black Scarecrow and Badger, all familiar motifs in Shinnors' oeuvre, are shown here from an askew aerial perspective. The moon in the extreme left-hand corner casts a theatrical light on the scene hitting the figure of the scarecrow first, picking up accents of colour in the field, before resting on the striped back of the nocturnal creature lower right. The soft light cast off the Mayo moon lightens the mood of the canvas providing relief to the unsettling tone sometimes associated with the artist's work. Mayo Moon, Black Scarecrow and Badger was accepted to the RHA in 1996 from where it was sold to the present owner. 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.

Juan Miró-COMPOSITION WITH GREEN BACKGROUND, 1950 chromolithograph (no. 140 from an edition of 300)signed and dated in the margin lower right; numbered lower left; with Dawson Gallery framing label on reverse 13.5 by 18.25in., 34.29 by 46.355cm. Orientation of Image: L Provenance: Whyte's, 29 April 2003, lot 48 Exhibited: Literature: Notes: Sheet size: 16.5 by 21ins.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.

Gerard Dillon-TWO MONKS gouache and ink on papersigned lower left; with title on reverse 8.25 by 5.25in., 20.955 by 13.335cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: This work was created on a 'ready-made' sheet of paper. Beneath image is printed text which reads "Top Dogs / MacDonald Dalys Crufts Week."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.

Francis Bacon-STUDY FOR PORTRAIT OF POPE INNOCENT X, 1989 lithograph in colour; (épreuve d'artiste, artist's proof)signed lower right; with edition ["E.A."] lower left 37.5 by 27in., 95.25 by 68.58cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Study for Portrait of Pope Innocent X was created in an edition of 60. Sheet size: 46 by 30.25in. In 1953, Bacon painted Study after Velázquez's Portrait of Pope Innocent X also known as The Screaming Pope based on the Spanish master's portrait of the same subject from 1650. The subject as depicted by both artists is considered a masterpiece from their respective oeuvres. Bacon was fixated with the image and painted numerous versions of the subject. The present work mirrors the composition and palette of Velázquez's painting but is imbued with a characteristically Bacon quality.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.

Maurice Desmond-MOVEMENT IN SUMMER, 1991-1993 acrylic on woodsigned lower right; with title, medium and dates on reverse 13.25 by 16.5in., 33.655 by 41.91cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: 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.

Maurice Desmond-BATHING NUDE, 1980 oil on boardsigned and dated lower right; with La Galerie Cork label on reverse 36 by 23in., 91.44 by 58.42cm. Orientation of Image: P Provenance: La Galerie, Cork Exhibited: Literature: Notes: 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.

Pat Connor-FIGURE IN DOWNWARD FACING POSE, 1978 ceramic on white marble basesigned and dated on reverse; also with artist's name, location [Schull, W. Cork] and year [1984] on reverse 8.5 by 7 by 4.5in., 21.59 by 17.78 by 11.43cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Pat Connor-ELEPHANT, 1995 ceramicsigned and dated beneath the base 9 by 8.25 by 6in., 22.86 by 20.955 by 15.24cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Vincent Browne-CHIEFTAIN WITH EARRINGS copper with mixed media element on cylindrical black marble base 7.5 by 4 by 3in., 19.05 by 10.16 by 7.62cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Francis Bacon-STUDY FOR A PORTRAIT OF JOHN EDWARDS, 1987 lithograph in colour; (no. 145 from an edition of 180)signed in the margin lower right; numbered lower left 26.75 by 20in., 67.945 by 50.8cm. Orientation of Image: P Provenance: Marlborough Gallery, London; Where purchased by the present owner Exhibited: Literature: Notes: Francis Bacon met John Edwards at the infamous Colony Club in London's Soho in 1974. He became Bacon's companion from then on. Edwards was the subject of some of his most significant portraits and later sole heir to his estate. He donated the entire contents of the artist's Reece Mews Studio to the Dublin City Gallery, the Hugh Lane in 1998.

Sean Scully-DESIRE, 1985 etching with aquatint on Arches paper; (no. 21 from an edition of 25)signed and dated in the margin lower right; titled centre; numbered lower left 16.75 by 23.75in., 42.545 by 60.325cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Sheet size: 22.25 by 29.75ins.

Seán McSweeney-CONWAY'S BOG, 2004 acrylic on papersigned 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 23 by 30in., 58.42 by 76.2cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private collection Exhibited: 'Seán McSweeney', Taylor Galleries, Dublin, October - November 2004, catalogue no. 31 Literature: Notes:

Seán McSweeney-EVENING BOGLAND, 2005 oil on boardsigned 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 16 by 20in., 40.64 by 50.8cm. Orientation of Image: L Provenance: Vangard Gallery, Cork; Private collection Exhibited: 'Seán McSweeney, New Works', Vangard Gallery, Cork, 13 October - 5 November 2005 Literature: Notes:

Patrick Collins-THE PENITENT THIEF, 1988 oil on canvassigned and dated lower centre; with inscribed Caldwell Galleries label on reverse 30 by 25in., 76.2 by 63.5cm. Orientation of Image: P 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) Literature: Notes: "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.

Barrie Cooke-DIDYMO, N.Z.I., 2006 oil on canvassigned, titled, dated and with artist's archival number [BC28506] on reverse; with typed Kerlin Gallery exhibition label also on reverse 27.5 by 33.5in., 69.85 by 85.09cm. Orientation of Image: L Provenance: Kerlin Gallery, Dublin; Private collection Exhibited: 'Barrie Cooke', Kerlin Gallery, Dublin, 5 May - 3 June 2006 Literature: Notes: 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.

John Shinnors-TERRIBLE DAY, LOOP HEAD, COUNTY CLARE oil on panel; (in four parts)signed in the lower right panel lower left; signed and titled on reverse; with Leinster Gallery label on reverse 24 by 26.75in., 60.96 by 67.945cm. Orientation of Image: L Provenance: Leinster Gallery, Dublin; Private collection Exhibited: Literature: Notes: Dimensions of each panel: 11.5 by 13ins.

Patrick Scott-GOLD PAINTING 8/93 gold leaf and tempera on canvassigned and inscribed on reverse 34 by 34in., 86.36 by 86.36cm. Orientation of Image: P Provenance: Whyte's, 17 February 2004, lot 30; Whence purchased by the present owner Exhibited: 'Patrick Scott', Taylor Galleries, Dublin, 21 June - 6 July 1994, catalogue no. 5; RHA Banquet Exhibition, Dublin 1997 Literature: Notes:

John Shinnors-THE LIGHTHOUSE KEEPER'S CAT oil on canvassigned lower right 22 by 23in., 55.88 by 58.42cm. Orientation of Image: L Provenance: Oisín Gallery, Dublin; Private collection Exhibited: Literature: Notes:

John Shinnors-OVER LOOP, COUNTY CLARE, JANUARY oil on canvassigned lower right; with title on reverse; also with Leinster Gallery label on reverse 18.5 by 19.75in., 46.99 by 50.165cm. Orientation of Image: L Provenance: Leinster Gallery, Dublin; Private collection Exhibited: 'John Shinnors - Paintings & Drawings', Limerick City Gallery of Art, September to November, 2002 Literature: PROFILE 18 - John Shinnors, Gandon Editions, Cork, 1996, p.47 (illustrated) Notes:

Louis le Brocquy-STUDY FOR RECONSTRUCTED HEAD OF S. B. (SAMUEL BECKETT), 1965 watercoloursigned and dated lower left 22 by 15in., 55.88 by 38.1cm. Orientation of Image: P 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) Literature: Notes: 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, 20121. 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.

Louis le Brocquy-THE CURRAGH, 1991 watercoloursigned and dated in pencil lower left; with typed Solomon Gallery label on reverse; with artist's archival number [W1077] also on reverse 7 by 10.25in., 17.78 by 26.035cm. Orientation of Image: L Provenance: Solomon Gallery, Dublin Exhibited: Literature: Notes: From the artist's 'Irish landscape Series' (c.1987-94) Dr. Yvonne Scott observes, "The watercolour landscapes have a particular place in his oeuvre. These are primarily understood as personal rather than mainstream works. As he has explained: "these were always made to one side of the more problematic work which preoccupied me, so that I have tended to think of them as a diversion, the exploration of a private avenue". The landscape paintings are, nonetheless, very significant. During the late 1980s and early 1990s, le Brocquy produced a series of works addressing locations in various parts of the country, primarily Beara, Wicklow and Dublin. These are not the incidental painted sketches of a transient visitor, but considered responses to places he knows well, or whose experience has a special meaning for him ... The artist is clear about his exploration of the topography of landscape which he intentionally transforms from objective description to subjective response. This process, he explains, is not so much "creation" as "discovery" - the uncovering of the essence of a place, and its experience." 1. Scott Yvonne, Painting Ireland. Topographical Views from Glin Castle, William Laffan, ed., Curchill House Press, Tralee, 2006, p. 91-92

Louis le Brocquy-STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975 charcoalsigned with initials and dated lower right; with inscribed Dawson Gallery label on reverse; with typed exhibition label for Musée 'Art Moderne de la Ville de Paris and Richard Demarco Gallery exhibition labels also on reverse 8.75 by 7in., 22.225 by 17.78cm. Orientation of Image: P Provenance: Dawson Gallery, Dublin; Where purchased by the present owner Exhibited: 'A la Recherche de Yeats', Musée d'Art Moderne de la Ville de Paris, 15 October - 28 November 1976, catalogue no "Etude 27/1975"; Richard Demarco Gallery, Festival '77 exhibition, study no. 20 Literature: Notes: Contained in its original Dawson Gallery frame and linen mount.

Louis le Brocquy-BEING, 1998 watercolour and gouachesigned and dated in pencil lower right; signed again, with title, date, medium and measurements in cm and with artist's archival number [W 1447B] in pencil on reverse 19.75 by 14in., 50.165 by 35.56cm. Orientation of Image: P Provenance: Acquired directly from the artist by original owner; Yello Gallery, Kinsale; Where purchased by the current owner Exhibited: Literature: Notes:

Louis le Brocquy-THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9)signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.5 by 110in., 184.15 by 279.4cm. Orientation of Image: L Provenance: Agnew's, London; Where purchased by the current owner Exhibited: 'Louis le Brocquy Aubusson Tapestries', Agnew's, London, 3-29 May 2001, The Táin Tapestries Literature: Notes: Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland's oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin.The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post.Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn's Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples.The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist's passing on 25 April 2012. Le Brocquy's hand reaches out through them. Medb Ruane April 2012

Louis le Brocquy-THE TÁIN. THE BULL OF CUAILNGE, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower right 15 by 21.5in., 38.1 by 54.61cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 33 in the series from Portfolio 3.

Louis le Brocquy-THE TÁIN. LEAPING WOLFHOUND, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower right 15 by 21.5in., 38.1 by 54.61cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 30 in the series from portfolio 3.

Louis le Brocquy-THE TÁIN. PIGS, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower right 15 by 21.5in., 38.1 by 54.61cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 28 in the series from Portfolio 3.

Louis le Brocquy-THE TÁIN. THE LION, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower right 15 by 21.5in., 38.1 by 54.61cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 34 in the series from Portfolio 3.

Louis le Brocquy-THE TÁIN. A FLOCK OF BIRDS, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower left 15 by 21.25in., 38.1 by 53.975cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 27 in the series from portfolio 3.

Louis le Brocquy-THE TÁIN. COW AND CALF, 1969 lithographic brush drawing (no. 68 from an edition of 70)signed, numbered, dated and with edition number in pencil in the margin lower right 15 by 21.5in., 38.1 by 54.61cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private Collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 32 in the series from portfolio 3.

Louis le Brocquy-THE TÁIN. SWORDSMAN, 1969 lithographic brush drawing (no. 38 from an edition of 70)signed, numbered and dated lower right; with Peppercanister Gallery label on reverse 21 by 14.75in., 53.34 by 37.465cm. Orientation of Image: P Provenance: Peppercanister Gallery, Dublin; Private collection Exhibited: Literature: Notes: Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 17 in the series from Portfolio 2.

Tony O'Malley-ST. CANICE'S, KILKENNY, 1974 ink and oil pastelsigned with initials twice lower left, with title lower left and lower right; dated [August '74] lower left 15.75 by 11.5in., 40.005 by 29.21cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Louis le Brocquy-EIGHT PORTRAITS IN WORDS AND WATERCOLOUR, 1990 off-set lithograph print (no. 0091 from an edition of 1000) signed and numbered on the colophon 10.5 by 9in., 26.67 by 22.86cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Each print is loosely inserted in a glassine sleeve on which is printed a written profile of the sitter. The 8 Irish art collectors featured in the set include; Dermot Desmond, Vincent Ferguson, Charles Haughey, Paul McGuinness, Martin Naughton, Vincent O'Brien, Tony O’Reilly and Michael Smurfit. The entire set is presented in a folding case of black linen and papered boards with a matching slipcase. A very fine production.

Colin Middleton-OWENNAMARVE, COUNTY DONEGAL,1976 oil on boardsigned in monogram lower right; titled and signed and with monogram again on reverse; also with typed David Hendriks Gallery exhibition label on reverse 24 by 24in., 60.96 by 60.96cm. Orientation of Image: P 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 Literature: Notes: 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.

Anna Ritchie-DARK COMPOSITION, 2, 1964 oil on canvassigned in pencil lower right; with typed Ritchie Hendriks Gallery label on reverse; inscribed in pencil on reverse 36 by 32in., 91.44 by 81.28cm. Orientation of Image: P 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 Literature: Notes: 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.

Kitty Wilmer O'Brien-THE MALL, WESTPORT, COUNTY MAYO, c.1960s oil on board 18 by 24in., 45.72 by 60.96cm. Orientation of Image: L Provenance: Collection of the artist's family; Private collection Exhibited: Literature: Notes: Letter of authenticity from the artist's family included with this lot. Kitty Wilmer O’Brien was a well-known and respected exhibitor in Dublin art circles for over fifty years. She entered the RHA schools in 1926 and distinguished herself there by winning prizes for drawing and painting. In 1933 she won the coveted Taylor Scholarship, which enabled her to go to London to study at the Slade. Three years later she married surgeon Dr Brendan O’Brien, son of her former mentor, Dermod O’Brien PRHA. After a period spent abroad they settled in Dublin, at 65 Fitzwilliam Square, from where she submitted works to the Society of Dublin Painters, the RHA and the WCSI, of which she was President from 1962 to 1981.

Moila Powell-OLD MILL, MIDHURST, SUSSEX gouache on papersigned with initials lower right; with title inscribed on studio label with Atelier stamp on reverse 14 by 19in., 35.56 by 48.26cm. Orientation of Image: L Provenance: Estate of the artist; Duncalfe Galleries, Harrogate; Private collection; Whyte's, 9 October 2001, lot 132; Where purchased by the present owner Exhibited: Literature: Notes: This might be the work of Norah McGuinness as Moila Powell painted with her in both England and Ireland and they were great friends. McGuinness left many paintings and drawings in Moila Powell's studio, some of which were, according to her daughter, accidentally initialled by Powell when preparing for an exhibition in The Harborough Gallery, Leicester.

Markey Robinson-THREE FIGURES oil on papersigned with initials lower right; with inscribed Caldwell Galleries label on reverse 8 by 11in., 20.32 by 27.94cm. Orientation of Image: L Provenance: Caldwell Galleries, Dublin; Private collection Exhibited: Literature: Notes: A rare early work probably from the 1950s.

Daniel O'Neill-FLORENCE oil on boardsigned lower left 24.5 by 18.5in., 62.23 by 46.99cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Dan O'Neill was born in Belfast in 1920. He was one of a small group of talented Ulster painters which included Colin Middleton, George Campbell and Gerard Dillon who were largely self-taught and who absorbed in differing ways and to varying degrees aspects of European mainstream modernism. His first exhibition was a joint show with Gerard Dillon in 1946 and his first one man exhibition was at the Waddington Galleries, Dublin in 1946. Around that time he gave up his job as an electrician to devote his time to painting. He visited Paris in 1949 and one can detect influences from Vlaminck and other French artists in his work. He lived in London from 1958 to1971. O'Neill painted still lives, landscapes, religious pictures and many figure studies. Whether in the guise of the bride, the actress or the muse - portraits of women remained a constant theme. His women, brooding and often taken out of time, could be hauntingly archetypal and melancholic; at other times dressed theatrically in historical costume. In some works his figures register correspondences with the sky or the moon. In his painting Florence, however the background is neutralised so as to focus on the subject. The face is stylised and her 'Picasso' eyes seem to stare into the distance. O'Neill's love of depicting pattern can be seen in his simplified treatment of the necklace; while the swirling brush stokes of the cuffs and collar of her dress underline the importance of texture for him. Blue, a favourite choice, is the unifying dominant colour, linking backdrop and figure and recalling the decorative aspects of Renoir.Collections: He is represented in private collections in Ireland, England ,France, Holland, Sweden, USA, Canada and Israel. His work is also included in the following public collections; Hugh Lane Municipal Gallery, Dublin, The Arts Councils of Ireland, The Municipal Gallery, Cork, The National Gallery, Melbourne and The Herbert Gallery, Coventry.Prof, Liam Kelly April, 2012

Jack Butler Yeats-THE PONTOON, 1947 oil on boardsigned lower right; with typed Waddington Galleries, London, label on reverse 9 by 14in., 22.86 by 35.56cm. Orientation of Image: L Provenance: Waddington Galleries, London where sold in 1947 to an unknown collector; Sotheby's, 11 May 2006, lot 70; Private collection Exhibited: Waddington Galleries, London, 1947 Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.775, no. 861 Notes: The painting depicts a pontoon or temporary floating platform at the edge of a quayside. The background is dominated by grey industrial buildings which Yeats has created by leaving the canvas unpainted. The red of the metal gangway is echoed across the composition, in the structure of the shelter, an archway in a warehouse wall and in the rosy tones of morning sunlight reflected on the standing figure and the pontoon itself. Blues and greens predominate. Their varied hues and textures evoke the movement of the water, the coldness of the dawn light against the stone buildings and the murky shadows beneath the gangway. The two figures on the pontoon, one old and one young, are carefully observed. They wait separately for the day's work to begin and the next boat to arrive. A suggestion of other figures is evident in the dark forms in the interior of the structure. The boy stands shivering, his arms crossed in a pose suggestive of tension and eagerness while the older man sits against the shelter of the hut. His face, lost in contemplation, looks out of the painting. This subtle contrast of youth and age is a recurring theme in Yeats' later work as he recognised the changing perspectives of age. (He was in his seventies when he painted this). It adds a note of poignancy to the painting elevating the subject to a philosophical comment on human nature while providing a remarkable vignette into the transient world of the river and its workers.Dr. Róisín Kennedy April 2012

William Conor-FROM THE MOAT, DONAGHADEE, COUNTY DOWN, c.1920 gouache over pencilsigned lower left; with title inscribed on card preserved on reverse 11.25 by 15.75in., 28.575 by 40.005cm. Orientation of Image: L Provenance: McClelland Galleries, Belfast; Private collection Exhibited: 'William Conor, Children of Ulster', McClelland Galleries, Belfast, 1969, no. 17 (illustrated on p.19 of exhibition catalogue) Literature: Notes:

William Conor-CHILDHOOD crayon and oil pastel on buff-coloured papersigned upper left and upper right beneath the mount 19 by 14in., 48.26 by 35.56cm. Orientation of Image: P Provenance: Kenny Gallery, Galway; Where purchased by the present owner Exhibited: Literature: Notes:

William Conor-DOCKERS, c.1920s crayon and pastel on buff-coloured cardsigned lower right 22 by 27in., 55.88 by 68.58cm. Orientation of Image: L Provenance: Emer Gallery, Belfast; Where purchased by the present owner Exhibited: Literature: Notes: 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.

Seán Keating-PORTRAIT OF 'OLD JOE', late 1920s - mid-1930s charcoal and pencil on papersigned lower right 12 by 12in., 30.48 by 30.48cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: The man shown here is 'Old Joe' who Keating used as a model in the late 1920s to mid 1930s. We are grateful to Dr. Éimear O'Connor HRHA for her assistance in cataloguing this lot.

Seán Keating-PORTRAIT OF A WOMAN, c.1930s charcoal with pencil on papersigned lower right 12.5 by 10in., 31.75 by 25.4cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: This is a later example than Portrait of 'Old Joe'. The sitter is possibly a model from the School of Art. We are grateful to Dr. Éimear O'Connor HRHA for her assistance in cataloguing this lot.

Seán Keating-PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvassigned lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist's name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in., 63.5 by 76.2cm. Orientation of Image: L Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Literature: Notes: Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night's Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman's gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist's title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the 'Shannon Scheme' at Ardnacrusha. The association between this work and the 'Shannon Scheme' might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image 'AMDG' appears to represent the Jesuit motto 'for the greater glory of God.' In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the 'marvellous' portrait of the old woman which had the 'conviction of a great old age.' It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012

Paul Henry-EVENING IN ACHILL, 1930-1938 oil on canvassigned 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 and artist's name preserved on reverse 19 by 23in., 48.26 by 58.42cm. Orientation of Image: L Provenance: Gorry Gallery, Dublin; From whom acquired by Mrs Anne Ledwith, 1957; Thence by descent; Adam's, 23 March 2003, lot 26; Private collection Exhibited: Literature: Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, catalogue no. 772, p.253 (illustrated) Notes: 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

Hans Iten-VIEW OF CUSHENDALL, COUNTY ANTRIM oil on boardsigned lower right; with indistinct inscription [Mr Oscar ?] on reverse; also with David & Gray picture framers label on reverse 13 by 16in., 33.02 by 40.64cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Contained in its original frame.

Mabel Young-IN THE WEST OF IRELAND oil on boardsigned lower right; with title on reverse; with partial Dawson Gallery label on reverse 20 by 24in., 50.8 by 60.96cm. Orientation of Image: L Provenance: Kenny Gallery, Galway; Where purchased by the present owner Exhibited: Literature: Notes:

James Humbert Craig-THE GWEEBARRA RIVER, COUNTY DONEGAL oil on canvas boardsigned lower right; signed again and titled on reverse 12 by 16in., 30.48 by 40.64cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

James Humbert Craig-MARBLE HILL STRAND, SHEEPHAVEN, WITH ROSAPENNA AND ROSGUILL PROMONTORY IN THE DISTANCE, AUGUST, 1919 oil on boardsigned lower left; with title inscribed on label preserved on reverse; with original Hurst & Co., Belfast framing label on reverse 17 by 22.5in., 43.18 by 57.15cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Charles Vincent Lamb-FIGURES ON THE SHORE GATHERING KELP oil on boardsigned lower left; with partial label on reverse and Dawson framing label on reverse 13 by 16in., 33.02 by 40.64cm. Orientation of Image: L Provenance: Adam's & Bonhams, Dublin, 31 May 2006, lot 28; Private collection Exhibited: Literature: Notes: Contained in original Dawson Gallery frame.

Paul Henry-COTTAGES, WEST OF IRELAND oil on canvassigned lower right 21.5 by 25.5in., 54.61 by 64.77cm. Orientation of Image: L Provenance: Mervyn Solomon, Belfast; Private collection; 'The Irish Sale', Christie's, London, 20 May 1999, lot 211; 'The Irish Sale', Sotheby's, London, 13 May 2005, lot 74; Where purchased by the present owner Exhibited: Literature: Kennedy, S. B., Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue no. 689, p. 240 (illustrated) Notes: As was often the case with Paul Henry's compositions, this picture was almost certainly made from sketches done much earlier. The somewhat heavy layering of the paint and the gentle stylisation of the subject matter, are characteristics of Henry's work in the late 1920s, a time when he had both domestic and other personal problems. His mood is thus reflected in his palette and his handling of paint. The mountains may be the Maamturks, viewed from the eastern end of Kylemore Lough, County Galway, but of this one cannot be certain. Dated 1928-30 on stylistic grounds. Dr. S.B. Kennedy April 2012

Paul Henry-DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920 oil on canvas boardwith label of Reeves & Sons, Ltd, London sketching tablet on reverse 7.5 by 10.5in., 19.05 by 26.67cm. Orientation of Image: L Provenance: The collection of Mrs. Barrett, Bervie Guest House, Achill Island; Christie's, 'Fine Irish Paintings and Drawings', 26 May 1989, lot 281; Private collection; Adam's, 26 February 1990, lot 87, as The Sandy Shore; Private collection Exhibited: Literature: Kennedy, S.B., Paul Henry Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.211, catalogue no. 538 (illustrated) Notes: When Paul Henry first arrived on Achill Island he lodged with John and Eliza Barrett, who ran the post office in the village of Keel. 'To this day,' he wrote late in life, 'I have a warm feeling of gratitude to John and Eliza Barrett,' who in due course gave him 'infinite and ungrudging' hospitality (Henry, An Irish Portrait, London, 1951, p. 4). The Barrett's granddaughter, who today with her husband runs The Bervie Guesthouse at Keel, later owned the picture. The strand in the foreground is the beach at Doogort and the road on the right hand side still winds its way through the tiny hamlet, which is little changed from Henry's time. The distant mountains are on the mainland of Co. Mayo, just north of Mallaranny. The fluid handling of the paint, with moderate impasto, is characteristic of Henry's later Achill period and thus suggests a date of execution of around 1919-20. Dr. S.B. Kennedy April 2012

James Humbert Craig-GETTING TO BANGOR, COUNTY DOWN oil on canvas boardsigned lower left; signed and with title inscribed on original label on reverse 9.5 by 13.5in., 24.13 by 34.29cm. Orientation of Image: L Provenance: Collection of Belfast watercolourist Mrs Margaret Rutherford (1889-1968); Thence by descent to the previous owner; Whyte's, 27 April 2004, lot 210; Whence purchased by the present owner Exhibited: Literature: Notes: This charming plein airoil sketch with its unusual and most probably early signature, was formerly in the collection of Margaret Rutherford, who was herself an artist, friendly with many of the Northern Irish artists such as Craig and J. W. Carey whose works she collected. Rutherford studied at the Slade at the turn of the last century and exhibited with the Belfast Art Society (later the RUA) between the years 1926-1938.

Paul Henry-MAAM VALLEY, CONNEMARA oil on canvas laid on boardsigned lower left; with faint inscription ["Lady Mrs Power Conn? Glen?" and framing instructions] in pencil on reverse; with label of C.D. Soar & Son also on reverse 11.25 by 13in., 28.575 by 33.02cm. Orientation of Image: L Provenance: Artist's studio till 1956; Where acquired by P. R. Jennings, Esq.; Adam's & Bonhams, Dublin, 8 December 2004, lot 162; Whence purchased by the present owner Exhibited: 'Paintings by Paul Henry, R.H.A.', Combridge's Gallery, Dublin, 23 October- 6 November 1945, catalogue no. 5; 'Pictures by Paul Henry, RHA', Heal & Son, Tottenham Court Road, London, from 14 January 1946, no. 3; 'Paintings and Charcoals: Paul Henry RHA', Waddington Galleries, Dublin, 21 February - 3 March 1952 (no. 3, as The Maam Valley); RHA, Annual Exhibition, Dublin, Spring 1953, no. 28; 'Paintings and Drawings by Paul Henry', The Studio, Sidmonton Square, Bray, until 8 November 1956, no. 12 (probably acquired by P. R. Jennings); 'Paul Henry: Retrospective Exhibition', Ritchie Hendriks Gallery, St. Stephen's Green, Dublin, and Belfast Museum & Art Gallery, Belfast, May-July 1957, no. 58 (Lent by P. R. Jennings). Literature: Stewart, Anne M. (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, Dublin, Manton Publishing, 1985, vol. 2, p.82; Kennedy, S. B., Paul Henry, New Haven and London, Yale University Press, 2000, p.135; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale, 2007, catalogue no. 1035, p.303 (illustrated) Notes: Painted in June or July 1942 when Henry visited Maam. The light palette and the bravura of the brushwork throughout, and notably in the foreground, are characteristic of his work at this time. As often with Henry, little artistic license has been taken with his interpretation of the landscape, which represents the view westwards on the road north from Maam Cross in County Galway, near the junction with the Leenane to Cong road at Feernakill Bridge. The river in the foreground is the Failmore River and the mountains beyond, which arrest the eye's recession, are the Maamturks and the hills of Joyce's Country. Dr. S.B. Kennedy April 2012

Frank McKelvey-THE WEE SHOP watercoloursigned and dated lower left; title printed in the mount lower left; with inscribed William Rodman & Co., Belfast, label on reverse 10.75 by 14.25in., 27.305 by 36.195cm. Orientation of Image: L Provenance: William Rodman & Co., Belfast; Private collection; Whyte's, 28 September 2009, lot 58; Whence purchased by the present owner Exhibited: Literature: Notes:

Maurice Canning Wilks-PASTORAL [CHILDREN ON THE RIVER LAGAN, COUNTY ANTRIM] oil on canvassigned lower left; with title ["Pastoral"] and price [£28-0-0] inscribed in pencil on stretcher on reverse 20.5 by 27.5in., 52.07 by 69.85cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Frank McKelvey-SWANS ON THE LAGAN, COUNTY ANTRIM oil on canvassigned lower left; 20 by 27in., 50.8 by 68.58cm. Orientation of Image: L Provenance: 'Irish Paintings', James Adam Salerooms in association with Bonhams, Dublin, 1 June 1989, lot 119; Private collection, Surrey; Whyte's, 27 April 2004, lot 55; Whence purchased by the present owner Exhibited: RHA, Dublin, 1945, catalogue no. 3 (£52-10-0) Literature: Notes: Frank McKelvey was a pragmatic painter, reacting to things as they happened, not bothered by theory or dogma. For him painting represented a sense of discovery, similar to that of the children in this composition, superbly observed and depicted as they play with the swans. Writing in 1925 the English critic J. B. Meehan commented that McKelvey’s views and conversation were “as fresh and bright as his pictures” 1. In the artist’s own words, he said, “painting is all great fun”2. Both comments are applicable to McKelvey’s whole career and ably describe the mood in Swans on the Lagan. The picture is similar to a number of others on this theme which McKelvey painted at different times in his career, the setting often being the pond at Woodvale Park, near to where he grew up, the lake at Hillsborough, the pond in St. Stephen’s Green, Dublin, or, as here, the river Lagan and its environs. The handling of paint in this work and the slightly dramatic quality of the light, suggest a date of execution of around 1944-1945. It is almost certainly, therefore, the picture of this title that McKelvey exhibited at the RHA in 1945. 1. Quoted in J. B. Meehan, Two Ulster Artists, Colour, December 1925, p. 12 (Meehan’s other subject in this article was James Humbert Craig) 2. Ibid. Dr S.B. Kennedy, Belfast, 2004

Frank Egginton-A MISTY DAY COUNTY TYRONE watercoloursigned lower right; with title and archival number [12054] inscribed on William Rodman label on reverse 20.5 by 29.25in., 52.07 by 74.295cm. Orientation of Image: L Provenance: William Rodman & Co., Belfast; Private collection Exhibited: Literature: Notes:

Frank Egginton-A MOUNTAIN ROAD, COUNTY DONEGAL watercoloursigned lower left 14 by 21in., 35.56 by 53.34cm. Orientation of Image: L Provenance: Adam's, 26 September 2001, lot 33 Exhibited: Literature: Notes:

Frank McKelvey-BEACH, COUNTY DONEGAL watercoloursigned lower left 10 by 14.5in., 25.4 by 36.83cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Frank McKelvey-ON THE RIVER BANN, COUNTY ANTRIM oil on canvassigned lower left; with inscribed John Magee Gallery label on reverse 15 by 20in., 38.1 by 50.8cm. Orientation of Image: L Provenance: John Magee Gallery, Belfast; Private collection; Christie's-Hamilton Osborne King, Dublin, 26 May 1993, lot 158; Private collection; Sotheby's, 13 May 2005, lot 57; Whence purchased by the present owner Exhibited: possibly exhibited in the RHA, Dublin 1962, catalogue no. 128 [£150-0-0] Literature: Notes:

Maurice Canning Wilks-"MISTY MORNING", c.1946-1949 oil on canvassigned lower right; with inscribed label detailing title, number [2] and artist's address [Castle-Park, Cushendun, Co. Antrim] on reverse 20 by 24in., 50.8 by 60.96cm. Orientation of Image: L Provenance: Sotheby's, 13 May 2004, lot 91; Whence purchased by the present owner Exhibited: Literature: Notes: The RHA Index of Exhibitors records the artist's address at "Castle-Park, Cushendun" between 1946 and 1949.

Maurice Canning Wilks-EVENING, ROCKPORT, CUSHENDUN, COUNTY ANTRIM oil on canvas boardsigned lower right; with title and original price [£14-14-0] inscribed on reverse 15.5 by 19.5in., 39.37 by 49.53cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

James Humbert Craig-LIVERPOOL DOCKS oil on boardsigned lower left; with original label inscribed with exhibition number [52] and price [£30-0-0] on reverse 11.5 by 17in., 29.21 by 43.18cm. Orientation of Image: L Provenance: Whyte's, 25 April 2006, lot 57; Whence purchased by the present owner Exhibited: Literature: Notes: With a preparatory pencil sketch of men in a boat on reverse. Craig’s enthusiasm for boats extended to a keen interest in busy city ports and steam ships. He painted a number of shipping scenes in Belfast Harbour, including Clarendon Dock, Belfast and Leaving Belfast (both illustrated in George A. Connell, James Humbert Craig: The People’s Artist, 1988, pages 119 and 75 respectively). The present view of the Liverpool Docks was painted during the 1930s, at a time when thousands of Irish went to England in search of work. For many of these, Liverpool was their first port of entry. In the foreground a barefoot urchin rushes through the crowd, a horse and dray await unloading, a shawled woman and child stand at the left, balanced by a second family group at the right, standing by their cases, looking on at the busy scene. Beyond them, through the funnels of the docked ship, can be seen the copper cupola of the Royal Liver Insurance Building.

James Humbert Craig-LEAVING PORT, BELFAST oil on boardsigned lower left; with title in pencil on reverse; with Wellington Gallery label on reverse 14.5 by 19.5in., 36.83 by 49.53cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Letitia Marion Hamilton-RIVERSIDE LANDSCAPE oil on boardsigned with initials lower right 13.5 by 18in., 34.29 by 45.72cm. Orientation of Image: L Provenance: Whyte's, 18 February 2003, lot 18; Private collection Exhibited: Literature: Notes:

Letitia Marion Hamilton-ST. EDMUNDSBURY ON THE LIFFEY AT LUCAN, COUNTY DUBLIN oil on Windsor and Newton "Rathbone" canvas board 12 by 16in., 30.48 by 40.64cm. Orientation of Image: L Provenance: Gift from the artist to Mrs Fitzherbert; Thence by descent to a private collector in Navan, Co. Meath; HOK Fine Art, Dublin; Private collection, Belfast (with a letter of provenance from HOK on reverse); Whyte's, 21 September 2004, lot 95; Private collection Exhibited: Literature: Notes: Built early in the 19th century as the seat of Thomas Needham, St Edmundsbury was later sold to one William Moran, who added the balustraded roof parapet and double storey oriental style wings. At the end of the 19th century it was purchased by Dean Swift’s St Patrick’s Hospital and was converted by them into a convalescent home.

William John Leech-PAINTING IN A GARDEN oil on canvassigned lower left; original inscribed label on reverse 27 by 21in., 68.58 by 53.34cm. Orientation of Image: P 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) Literature: Notes: 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

Sir John Lavery-THE SOKO, TANGIER, 1891 oil on canvassigned and dated lower right 13.75 by 17.25in., 34.925 by 43.815cm. Orientation of Image: L Provenance: Sotheby's, 9 May 2007, lot 70; Whence purchased by the present owner Exhibited: 'Pictures by John Lavery', Goupil Gallery, London, 1891, no. 4 (see footnote no. 1) Literature: McConkey, Kenneth, John Lavery, A Painter and his World, Atelier Books, 2010, p.55 (illustrated in colour) Notes: In June 1891 Lavery held his first London solo exhibition of 35 pictures at the Goupil Gallery in New Bond Street. Of these, at least sixteen were canvases recently painted in Tangier, the majority of which were scenes of the busy market place, the Soko. They were examples, according to The Athenaeum, of 'an extremely clever somewhat feverish and voluptuous sort of Impressionism which is rich in tone and soft, is pale in tint and entirely destitute of … surface finish …' 2. The Saturday Review concurred: Lavery's Tangier paintings were 'coarse in texture and rough in surface …' and although 'cleverly painted', revealed a 'considerable leaning to the Impressionist style'. 3. For many critics, Impressionism, the dreaded foreign import, meant sacrificing fine finish to the exigencies of the moment. An artist-reporter like Lavery was caught up in the shifting scene and his picture would lose its vitality if 'perfected' in the studio after the event. The 'event', in this case, was of the greatest significance. Although he had spent his student years in Paris and at the artist's colony of Grez-sur-Loing, this was Lavery's first direct contact with the Muslim world. It came after the success of pictures such as The Tennis Party and his residency at the Glasgow International Exhibition of 1888. This had resulted in a commission from the city to paint The State Visit of Queen Victoria ... a work that took two years to complete, and it was only when it received royal approval that in the first week of January 1891, the painter boarded a vessel at Tilbury bound for North Africa.4. Tangier, the 'White City', his destination, came strongly recommended by his Glasgow School friend, Joseph Crawhall, who had been there in 1888, following in the footsteps of Denholm Armour, Alexander Mann and other Scots painters.5. For Lavery it was a life-changing moment; like his predecessors, he was immediately captivated. Although he painted in the Kasbah and on the rooftop of the Continental Hotel, it was the Soko at the eastern gate of the city that claimed most of his attention. He was not alone. Travellers commended this 'big bare area', ... filled with a motley assemblage of Tangierines, country people and visitors, eddying about various centres of interest - the snake charmer with his dishevelled locks and monotonous drum, the Arab reciter, or the gentleman who sells you half a pint of copper coins for sixpence ... 6. Yet others went into detail. Here were, Crouching camels with their loads of dates, chaffering traders, chattering women, sly and servile looking Jews from the city, fierce-eyed heavily armed children of the desert, rough coated horses, lank-sided mules ... the whole enveloped in a blinding, bewildering, choking cloud of such dust as only Africa, "arida nutrix" can produce ...7. The dry, chalky pigment of the present canvas, perfectly expresses the heat and dust of the Soko. It exposes the untruth of those numerous counterfeit Salon Orientalists whose colourful Arab genre scenes were confections of the studio. Here in the market-place, the colours were drab. Where Snake Charmers (fig 1.) provides a glimpse of wayside theatre, The Soko sweeps the crowded space and looks up to the Kasbah, catching sight of the glistening Straits of Gibraltar beyond. It was an unforgettable scene to which Lavery would return at regular intervals up until 1920 when this same space was thronged with bystanders as Moroccan troops occupied the German Legation.8. In each of these many instances, Lavery positioned himself on the south-eastern side of the Soko, where, as in the present canvas, the shade from nearby buildings protected him from the sun's glare. Figures, animals, white buildings, picked out in bright light and shade against brilliant blue skies, provided a marquetry of flat shapes that, as Norman Garstin confirmed, charmed the eye of the sketcher.9. Lavery may superficially borrow such effects from the watercolours of Crawhall and Arthur Melville, but he gives them substance in his oil sketches of the Soko.10 John Forbes-White who wrote the introduction to the Goupil exhibition catalogue was particularly enamoured with these swift studies. He wrote that they were 'intensely decorative as well as true … artistic as well as real' The numerous studies at Tangier show broadly and simply these truths are felt in the glowing sunshine and cool shade of the narrow streets … However slight it may be the work charms from its freshness and sweetness. If it makes a demand on our intelligence and sympathy, it is a demand, the yielding of which, gives a zest to our enjoyment. 11 In 1891, in the dusty marketplace, seen for the first time, the 'impression' contained all the 'charm' and 'freshness' of 'truth'. Prof. Kenneth McConkey April 2012 Footnotes: 1. Three of Lavery's Tangier pictures in this show, nos 4, 7 and 13 were general views of the Soko. Of these, no. 4 was simply entitled The Soko - Tangier, while the others were The Little Soko - Tangier and Camels - The Soko respectively. Of these, only the present canvas has come to light. 2. The Athenaeum, 13 June 1891, pp. 772-3. 3. The Saturday Review, 20 June 1891, pp. 742-3. 4. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 40-49, 53-4. The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888, 1890 (Glasgow Museums) was exhibited in Maclean's Gallery in the Haymarket, London. 5. Kenneth McConkey, 'Incongruous Impressions: Scottish Painters' Journeys at the turn of the Twentieth Century', Journal of the Scottish Society for Art History, Vol 14, 2009-10, pp. 78-89. 6. Stanley J Weyman, 'On Muleback in Morocco', English Illustrated Magazine, 1892, p. 614. 7. HD Traill, 'The Pillars of Hercules', in The Picturesque Mediterranean, Its Cities, Shores and Islands, n.d. [c1890], (Cassell and Co), p. 6. 8. McConkey, 2010, p. 147. 9. Norman Garstin, 'Tangier as a Sketching Ground', The Studio, Vol 11, 1897, pp. 177-182. 10. Melville first traveled to the Middle East, visiting Egypt and Persia in 1882 but did not visit southern Spain until 1890 and may not have crossed the Straits until a year later. 11. J F-W, 'Note', Pictures by John Lavery, 1891, (exhibition catalogue, The Goupil Gallery, London), pp.7-8

William Hinks-SET OF TWELVE PRINTS ILLUSTRATING THE IRISH LINEN INDUSTRY, 1791 hand-coloured and stipple engraving; (contained in leather and cloth bound album)each with artist's name in the plate lower right; with plate number lower left; with title and publisher's details lower centre 11.5 by 15.75in., 29.21 by 40.005cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: 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.

Nathaniel Hone-THE MARRIAGE AT CANA (AFTER VERONESE) oil on canvaswith title and artist's name inscribed on reverse; with Victor Waddington framing label on reverse 27.5 by 40in., 69.85 by 101.6cm. Orientation of Image: L Provenance: Collection of Senator Joseph Brennan; Thence by descent Exhibited: Literature: Notes: The present work by Nathaniel Hone the Younger is a copy of The Wedding Feast at Cana dating to 1563 by Italian Mannerist Paolo Veronese. The original, measuring 262 by 390 inches, is housed in the Louvre. It was originally commissioned by the Monastery of San Giorgio Maggiore in Venice, where it hung for over two centuries until it formed part of Napoleon's spoils and was brought to Paris in 1797. In the middle of the following century Nathaniel Hone left Dublin for Paris to begin his career as an artist. It would have been here that the artist was exposed to Veronese among others as part of his fundamental training. While in Paris he attended the studio of Adolphe Yvon and Thomas Couture where he was instructed in figure drawing and later travelled to Barbizon to study landscape painting. His time in France developed the artist's feeling for colour and light which he explored in his depictions of the Irish countryside on his return to Ireland some seventeen years later.

Archibald McGoogan-A STORMY EVENING OFF THE BAILEY, HOWTH, 1889 watercoloursigned and dated lower left; with title inscribed on reverse 6.75 by 10.75in., 17.145 by 27.305cm. Orientation of Image: L Provenance: The Collection of Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin Exhibited: Literature: Notes: 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.

Archibald McGoogan-A BREEZY DAY, SUTTON (HOWTH), 1889 watercolour heightened with whitesigned and dated (beneath the mount) lower left; with title inscribed on reverse 6.5 by 10.5in., 16.51 by 26.67cm. Orientation of Image: L 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] Literature: Notes: 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.

Edwin Hayes-PORTLAND BILL, WEYMOUTH, 1880 oil on canvassigned lower right; with title, date and artist's name on gilt plaque affixed to frame lower centre; signed, titled and dated again on reverse; with partial J.G. May Carver & Gilder label on reverse 10 by 15.75in., 25.4 by 40.005cm. Orientation of Image: L Provenance: Phillips, Bath, Avon, UK, 27 March 2000, lot 163; Private collection Exhibited: Literature: Notes: Contained in what appears to be its original gilt frame.

Joseph William Carey-GLENGARIFF, COUNTY CORK, 1924 watercoloursigned and dated lower left; titled lower right 7 by 13.75in., 17.78 by 34.925cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Lady Kate Dobbin-FIGURES IN A BOAT IN ROUNDSTONE HARBOUR, c.1909-1914 watercoloursigned lower left 15 by 18in., 38.1 by 45.72cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Between 1909 and 1914 Lady Dobbin exhibited three works with the Watercolour Society of Ireland which were connected to Roundstone Harbour; End of the Fishing Season, Roundstone (1909, no.191), Evening in the Harbour, Roundstone (1913, no. 36) and At the Quay, Roundstone (1914, no 253). During this period her depictions of Roundstone were also shown at the RHA. It is possible that the present work was one of the exhibited pieces from this time.Lady Kate Dobbin was born in Bristol, the daughter of William Wise, a solicitor. In 1887 she married Alfred Graham Dobbin who was knighted in 1900 for his role as High Chief Sheriff of the City of Cork. Lady Dobbin studied at the Crawford Municipal School of Art between 1891 and 1895. She submitted her first picture to the RHA in 1894 and continued to show there until 1947 exhibiting a total of one hundred and five paintings. She worked mainly in watercolour, painting scenes of Cork and the surrounding countryside.

Joseph William Carey-DONAGHADEE HARBOUR, COUNTY DOWN, 1921 watercolour over pencilsigned and dated lower right; titled lower left 9.75 by 20.25in., 24.765 by 51.435cm. Orientation of Image: L Provenance: Christie's, 14 May 2004, lot 325 (with Carrickfergus, 1921); Private collection Exhibited: Literature: Notes:

Joseph William Carey-CARRICKFERGUS HARBOUR, COUNTY ANTRIM watercolour over pencilsigned and dated lower right; with title lower left 9.75 by 20in., 24.765 by 50.8cm. Orientation of Image: L Provenance: Christie's, 14 May 2004, lot 325 (with Donaghadee, 1921); Private collection Exhibited: Literature: Notes:

Joseph William Carey-FAIR HEAD, COUNTY ANTRIM, 1926 watercolour over pencilsigned, titled and dated lower left 9.75 by 15.75in., 24.765 by 40.005cm. Orientation of Image: L Provenance: Adam's, 3 March, 2009, lot 78; Whence purchased by the present owner Exhibited: Literature: Notes:

Jack Butler Yeats-CUALA PRESS, A BROADSIDE, 1908-1912 hand-coloured letterpress; each an edition of 300 11.5 by 7.75in., 29.21 by 19.685cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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).

Henry C. O'Donnell-THE RIVER LIFFEY AT BUTT BRIDGE, DUBLIN oil on canvas laid on boardsigned lower right 14 by 18in., 35.56 by 45.72cm. Orientation of Image: L 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 Literature: Notes: The original retrospective catalogue accompanies this lot.

Thomas Ryan-DOUGLAS HYDE - PRESIDENT OF IRELAND, 1965 oil on canvassigned and dated lower right lower right; with plaque detailing sitter, artist and date affixed to frame lower centre 49.5 by 41.5in., 125.73 by 105.41cm. Orientation of Image: P Provenance: Commissioned on 5 May 1965; The Collection of The Irish Club, London; The Irish Cultural Centre, Hammersmith Exhibited: Literature: Notes: Of his portraits, several of which he exhibited in the RHA, the artist comments as follows in Thomas Ryan - oil paintings, Nicholson & Bass Ltd., 2009, p. 175 "I have drawn portraits since I was a boy. First of my father, mother and siblings then, as a student at the Limerick School of Art, preparatory drawings from casts of classical heads and of their parts, lips, mouths and ears. Afterwards at the National College of Art we, as students, painted from live models; heads in the morning, the figure in the afternoon. This training was the basis for my practice as a figure painter and, more particularly so, in my work as a portraitist. Over the years my subjects have come by way of choice, chance and commission… I have drawn and painted portraits of all ages and of all vocations, or none, from children to octogenarians, from Presidents and Cardinals to friends…" This work was a private commission and hung on the walls of the Irish Club at Eaton Sq., London. We are grateful to the artist for his assistance with cataloguing this lot.

Grace Henry-HORSE DRINKING AT POND IN ACHILL oil on boardsigned lower right; with Jorgensen retrospective exhibition label on on reverse 11 by 14in., 27.94 by 35.56cm. Orientation of Image: L 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) Notes: 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.

Grace Henry-BRINGING IN THE TURF, 1915 oil on boardsigned lower right; with John Magee label on reverse; with Jorgensen retrospective exhibition on reverse 12.5 by 15.5in., 31.75 by 39.37cm. Orientation of Image: L 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.40) Notes: 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.

Grace Henry-MOONLIGHT ON LAKE oil on canvassigned lower right; with original Wiseman's Fine Art label on reverse; with Jorgensen retrospective exhibition label on reverse 18 by 20in., 45.72 by 50.8cm. Orientation of Image: L 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) Notes: 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.

Grace Henry-FLOODS, ENNIS, COUNTY CLARE oil on boardsigned lower right; with original inscribed label on reverse; with Victor Waddington Gallery framing label on reverse; numbered [10] also on reverse in a later hand 14 by 18in., 35.56 by 45.72cm. Orientation of Image: L 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: Literature: Notes: Contained in original Victor Waddington 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.

Grace Henry-WINDING RIVER WITH HORSE AND FIGURE AND MOUNTAINS BEYOND oil on boardsigned lower right; with dedication inscribed in chalk possibly by previous owner on papered board on reverse 9 by 11.5in., 22.86 by 29.21cm. Orientation of Image: L 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: Literature: Notes: Possibly a view of Healy's Pass, County Kerry.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.

Grace Henry-KARST LANDSCAPE or THE BURREN, 1935 oil on canvassigned lower right; inscribed [No. 8] on reverse; with Jorgensen retrospective exhibition label on reverse 16 by 20in., 40.64 by 50.8cm. Orientation of Image: L 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.49) Notes: 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.

Grace Henry-BLUE LANDSCAPE oil on canvas boardsigned lower right; with Jorgensen retrospective exhibition label on reverse 13.25 by 19.25in., 33.655 by 48.895cm. Orientation of Image: L 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) Notes: 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.

Grace Henry-ITALIAN HOUSE 2 oil on boardwith title inscribed on Dawson Gallery label on reverse; with Jorgensen retrospective exhibition label on reverse 10.5 by 14in., 26.67 by 35.56cm. Orientation of Image: L Provenance: Purchased by the present owner in Adam’s, Dublin, late 1970s; 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.46) Notes: 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.

Grace Henry-HARBOUR SCENE, CHIOGGIA oil on boardsigned lower right; with title in another hand on reverse 14 by 11in., 35.56 by 27.94cm. Orientation of Image: P Provenance: Adam's, Dublin, 28 May 2008, lot 81; Whence purchased by the present owner Exhibited: Literature: Notes: 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.

Grace Henry-CONVERSATION - ON BOARD THE "CORINA" charcoal on buff-coloured papersigned lower right; with title and number [6] on reverse 9.25 by 12.5in., 23.495 by 31.75cm. Orientation of Image: L 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: Literature: Notes: 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.

Grace Henry-THE BLUE VASE, 1931 oil on boardsigned lower right; with typed exhibition label on reverse; with Jorgensen retrospective exhibition label also on reverse 24 by 18.25in., 60.96 by 46.355cm. Orientation of Image: P 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: RHA, Dublin, 1931, catalogue no. 130 (£26-5-0); '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.26) Notes: The Blue Vase was the only example Grace Henry exhibited with the RHA in 1931. The RHA Index of Exhibitors lists her address at this time as 13a Merrion Row, Dublin. The following year she would relocate to 'Hopeton', Rathgar.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.

Grace Henry-ROSES oil on boardsigned lower left; signed again and with title on reverse; numbered [15 & 22] on reverse 16 by 12.5in., 40.64 by 31.75cm. Orientation of Image: P Provenance: Whyte's, 28 April 2008, lot 70; Whence purchased by the present owner Exhibited: Literature: Notes: 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.

Grace Henry-ROSES IN A VASE oil on boardsigned lower right; with Jorgensen retrospective exhibition label on reverse 13.5 by 17.5in., 34.29 by 44.45cm. Orientation of Image: L 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) Notes: 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.

Grace Henry-FLOODS IN ENNIS oil on canvassigned lower right; with Jorgensen Fine Art label and their retrospective label on reverse 24 by 20in., 60.96 by 50.8cm. Orientation of Image: P 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) Notes: 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.

Grace Henry-MOUNTAIN, CARAGH LAKE, COUNTY KERRY oil on canvas boardsigned lower right; inscribed on reverse; with original Reeves' "Dalston" label on reverse; also with Jorgensen retrospective exhibition label on reverse 14 by 11.75in., 35.56 by 29.845cm. Orientation of Image: P 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) Notes: 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.

Grace Henry-CARAGH LAKE, COUNTY KERRY oil on boardsigned lower right; signed again and with title on reverse; with inscribed Grant Fine Art [Newcastle, Co. Down] label on reverse; with Jorgensen retrospective exhibition label also on reverse 11.5 by 15.5in., 29.21 by 39.37cm. Orientation of Image: L Provenance: Grant Fine Art, Newcastle, Co. Down; Where 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.42) Notes: 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.

Grace Henry-SPRING IN WINTER oil on canvassigned lower right; with title on label on reverse; with Jorgensen retrospective exhibition label on reverse 19.75 by 23.5in., 50.165 by 59.69cm. Orientation of Image: L 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 front cover and p.38); Cruickshank J.G., 'Grace Henry', Irish Arts Review, Vol 9, 1993, p.176 (illustrated) Notes: 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.

Grace Henry-ARRANGING FLOWERS oil on canvas boardsigned lower right; with Jorgensen retrospective exhibition label on reverse; with number [6] on label on reverse 13.5 by 10.75in., 34.29 by 27.305cm. Orientation of Image: P 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: Notes: 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.

Grace Henry-YOUNG SCHOOL GIRL oil on canvassigned lower right; with title and provenance details in another hand on reverse 12 by 10in., 30.48 by 25.4cm. Orientation of Image: P Provenance: The collection of a J.H. Philbin; Skinner, Boston, USA, 15 May 2009, lot 335; de Vere's, 29 September 2009, lot 9; Whence purchased by the present owner Exhibited: Literature: Notes: 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.

Grace Henry-FLOWERS oil on boardwith inscribed Dawson Gallery label affixed on reverse 14 by 11in., 35.56 by 27.94cm. Orientation of Image: P 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) Notes: 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.

Grace Henry-SCHOOL BOY IN STRIPED BLAZER oil on canvaswith "Grace Henry Studio" in pencil on reverse; with Jorgensen retrospective exhibition label on reverse 18 by 14.5in., 45.72 by 36.83cm. Orientation of Image: P 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.45) Notes: 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.

Grace Henry-MY TREE (GALWAY) oil on boardsigned with initials lower right; with title inscribed on reverse; with Jorgensen retrospective exhibition label on reverse 6.5 by 4.75in., 16.51 by 12.065cm. Orientation of Image: P 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.48) Notes: 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.

Grace Henry-THE INN KEEPER oil on canvas boardsigned lower right; with title in pencil on reverse 16 by 13.5in., 40.64 by 34.29cm. Orientation of Image: P 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) Notes: 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.

Grace Henry-PORTRAIT OF HELEN WADDELL oil on canvas boardsigned lower right 17.75 by 14.25in., 45.085 by 36.195cm. Orientation of Image: P 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: Literature: Notes: Helen Waddell (1889-1965) was a close friend of the artist and a celebrated scholar and writer. She was educated at Queen's, Belfast, Oxford and Paris, and for a number of years worked for the publishing house of Constable. Waddell was born in Tokyo where her father was a Presbyterian missionary and travelled widely throughout her life. Two depictions of Waddell were shown at a joint exhibition of Paul and Grace Henry's work at the Hugh Lane, Dublin 26 November 1991 (catalogue nos. 17 & 18). Both works were from the collection of a Mollie Martin and had been previously exhibited at the Calmann Gallery, London in 1939 and 'Portraits of Great Men and Women', Ulster Museum, 1965. 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.

Grace Henry-VIEW FROM GLEN OF THE DOWNS HOTEL, WICKLOW, 1940 oil on boardsigned lower right; with typed label on reverse detailing title, date and artist ['"Grace Henry" wife of famous artist Paul Henry']; with framing label of Victor Waddington Galleries also on reverse 10.25 by 13.25in., 26.035 by 33.655cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Contained in original Victor Waddington frame.

Grace Henry-STILL LIFE WITH LILAC IN A BLUE BOWL oil on canvassigned lower right; with provenance inscribed in pencil on reverse 14 by 16in., 35.56 by 40.64cm. Orientation of Image: L Provenance: Collection of Judge Meredith; Private collection Exhibited: Literature: Notes: The Rt. Hon. Richard Edmund Meredith PC, QC (18 November 1855 - 1916), was the Master of the Rolls in Ireland, a Privy Councillor, Judge of the Supreme Court of Ireland and Judicial Commissioner of the Irish Land Commission.

Aloysius C. O' Kelly-SHEEPSCOT RIVER, MAINE oil on canvassigned lower right; with gallery name inscribed in pencil on reverse 11 by 16.25in., 27.94 by 41.275cm. Orientation of Image: L Provenance: Snedicore Gallery, New York; Private collection Exhibited: Literature: Notes: We are grateful to Thérèse Gorry, of the Gorry Gallery and to Dr. Niamh O'Sullivan for their assistance in cataloguing this lot.

George Russell-NIGHT SCENE WITH COTTAGES AT BASE OF A MOUNTAIN oil on canvassigned in monogram lower right; with Dawson Gallery framing label on reverse 16.25 by 21.5in., 41.275 by 54.61cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Possibly a view of the Great Sugar Loaf, Co. Wicklow.

Phoebe Donovan-HOUSE AMONG THE OLIVE GROVES, PROVENCE oil on canvas boardsigned lower left 20 by 24in., 50.8 by 60.96cm. Orientation of Image: L Provenance: Whyte's, 22 February 2005, lot 142; Private collection Exhibited: Literature: Notes: 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.

Alicia Boyle-DOCKEN ORCHARD, 1962 oil on canvassigned with initials lower right; with title and date of varnishing inscribed on reverse; with artist's address [Eccleston Sq., London, SW1] on reverse; with artist's 1998 Studio Sale label also on reverse 14 by 18in., 35.56 by 45.72cm. Orientation of Image: L Provenance: de Vere's, 'The Studio Works of Alicia Boyle', 17 November 1998; Private collection Exhibited: Literature: Notes: Born in Bangkok of Irish parents, Alicia Boyle studied at the Byam Shaw School of Art from 1929-1934 and travelled extensively through Europe. She exhibited regularly with the Oireachtas, the RWS and the IELA. A retrospective of her work was held at the Crawford Gallery, Cork, shortly before her death.

Harry Kernoff-THE HELL FIRE CLUB, 1931 watercoloursigned and dated lower right; with label on reverse inscribed "Presented to the Guild House by Gabriel Fallon" 11 by 15.5in., 27.94 by 39.37cm. Orientation of Image: L Provenance: Adam's, 28 May 2003, lot 120; Private collection Exhibited: Literature: Notes: Hell Fire Club on Montpelier Hill was built as a hunting lodge c.1725 by William Conolly and is located in the Dublin Mountains. It is positioned on the site of a prehistoric passage grave, the stones from which were used in the construction of the lodge. What was interpreted as a misappropriation of the earlier landmark led to much superstition and alleged otherworldly activities at the site. This association was later reinforced when members of the Irish Hell Fire Club, active 1735 to 1741, began using the lodge as a meeting place. Although the Club later relocated following a fire, their association with the place remained. The Hell Fire Club and its surrounding lands, including Killakee Estate are now State owned. This watercolour was painted in 1931. An example of the same name (no. 20) and other views of the vicinity were exhibited by Kernoff at The White Gallery, 2 New Burlington Street, London, 28 April - 12 May, 1938.

Phoebe Donovan-DALKEY COAST, COUNTY DUBLIN oil on canvassigned lower left; with location and number on reverse; with plaque detailing artist's name and title affixed to frame lower centre 25 by 30in., 63.5 by 76.2cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: The artist shared a house at Summerfield, Dalkey with fellow artist Elizabeth Rivers in the 1950s. The RHA Index of Exhibitors records her address as An Tigh Thuas, Torca Hill, Dalkey from 1969. It is believed this view is from the grounds of Sorrento House, then the home of an opthalmic surgeon, Mr Lavery. The view unusually excludes Dalkey Island.

Father Jack P. Hanlon-STILL LIFE WITH VASE OF FLOWERS watercoloursigned lower left 11 by 9.5in., 27.94 by 24.13cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Cecil Maguire-JARDIN DES TUILERIES, PARIS oil on boardsigned lower right; with title on reverse; with artist's address on reverse 29.5 by 23.5in., 74.93 by 59.69cm. Orientation of Image: P Provenance: Exhibited: Bell Gallery, Belfast, June 1982; 'Towards a Retrospective', Davison Gallery, Holywood, Co. Down, 2002 Literature: Cecil Maguire, Towards a Retrospective, Davison Gallery, Holywood, Co. Down, 2002, catalogue no. 3.5, pp. 78-79 (listed and illustrated) Notes:

Martin Gale-PAT'S BLUES, 1983 watercoloursigned and dated ['83] lower left; with original typed Taylor Galleries label on reverse 24 by 36in., 60.96 by 91.44cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; de Vere's, 21 November, 2000, lot 294; Private collection Exhibited: Literature: Notes: The subject of the painting was a blues singer in Dublin and friend of the artist.

Ralph Cusack-LILIES AND ROSCOEAS, 1950 oil on boardwith Irish Exhibition of Living Art [1950] label on reverse 36 by 28in., 91.44 by 71.12cm. Orientation of Image: P 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] Literature: Notes: 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.

Patrick Scott-12 SKETCH DESIGNS FOR PROPOSED MURAL PAINTINGS IN THE ASSEMBLY HALL OF FOUR PROVINCES HOUSE gouache; (each mounted but unframed)most with typed label on reverse detailing title and description of design; held within a card portfolio case with typed label inside cover detailing title of collection 9.75 by 16.75in., 24.765 by 42.545cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Titles include; The Assize of Bread, 1384, Baking in Ancient Ireland, Bread Riots, 1578, Bread for the Poor, 1650, Parade of the Guilds, 1750, Lord Mayor's Procession, 1801, Rise of the Journeymen, 1820, Trades Procession 1875, Ralahine, Connolly in Belfast, 1910, The Trades Council, 1913. The Bakers Union of Ireland opened their new headquarters, Four Provinces House, in 1947. It housed a bakery school and an 8,000 volume library. Patrick Scott was later, in 1947, to produce a mural for the restaurant at the top of Busáras, commissioned by the architect Michael Scott.

Gerard Dillon-BOY WITH CAT pen and ink with gouache over printed image [Henry Moore]with inscription ["Best wishes for Christmas and New Year Gerard over Henry Moore."] on reverse; with typed text verso relating to the Moore image 3.5 by 6.25in., 8.89 by 15.875cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Patrick Scott-MEXICAN TAPESTRY, 1983 wool tapestry on cotton warp; uniquesigned on label sewn at rear 85 by 51in., 215.9 by 129.54cm. Orientation of Image: P Provenance: Gift from the artist to the present owner Exhibited: 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 Notes: 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)

Robert Ballagh-DOLLY MIXTURES 9, 1971 mixed media with collagesigned 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 13.25 by 19in., 33.655 by 48.26cm. Orientation of Image: L 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) Notes: "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

Peter Pearson-QUAYS KALEIDOSCOPE, ARRAN QUAY AND THE FOUR COURTS, 2005 oil on canvassigned and dated lower right; with typed exhibition label on reverse 13.5 by 18in., 34.29 by 45.72cm. Orientation of Image: L Provenance: Adam's, Dublin; Private collection Exhibited: 'Peter Pearson', Adam's, Dublin, 2005 Literature: Notes:

Peter Pearson-CITY HALL, WINTER STUDY , 2001 oil on boardsigned and dated lower right; with typed exhibition label on reverse 14.5 by 14.5in., 36.83 by 36.83cm. Orientation of Image: P Provenance: Frederick Gallery, Dublin; Private collection Exhibited: 'Peter Pearson', Frederick Gallery, Dublin, 2002, catalogue no. 29 Literature: Notes:

Peter Pearson-NOCTURNE, ORMOND QUAY, DUBLIN, 2001 oil on canvas laid on boardsigned and dated lower right; with Frederick Gallery exhibition label on reverse 14.25 by 21.25in., 36.195 by 53.975cm. Orientation of Image: L Provenance: Frederick Gallery, Dublin; Private collection Exhibited: 'Peter Pearson', Frederick Gallery, Dublin, 2002, catalogue no. 31 Literature: Notes:

Pauline Bewick-WILD DUCK OVER CARAGH LAKE, KERRY oil on boardsigned with initials lower right; with title inscribed on reverse; with inscribed Dawson Gallery label also on reverse 12 by 9in., 30.48 by 22.86cm. Orientation of Image: P Provenance: Dawson Gallery, Dublin; Private collection Exhibited: 'Pauline Bewick, New Works', Dawson Gallery, Dublin, 1-14 May 1975, catalogue no. 45 Literature: Notes: 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.

John Kelly-PENNANT watercolour and pastelsigned lower right; with original typed Taylor Galleries label on reverse 22 by 14in., 55.88 by 35.56cm. Orientation of Image: P Provenance: Taylor Galleries, Dublin; Guinness Peat Aviation; de Vere's, 2 October 2001, lot 112; Private collection Exhibited: Literature: Notes:

Carmel Mooney-LANDSCAPE, 1984 oil on canvassigned and dated lower right 20 by 24in., 50.8 by 60.96cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Rasher (Mark Kavanagh)-POPPIES, 2008 oil on canvassigned and dated lower right; signed again, titled and dated on reverse 59 by 41in., 149.86 by 104.14cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Veronica Bolay-END OF THE TRACK, 1994 oil on canvassigned, titled and dated on reverse; with Rubicon exhibition label also on reverse 31 by 36in., 78.74 by 91.44cm. Orientation of Image: L Provenance: Rubicon Gallery, Dublin; Private collection Exhibited: 'Veronica Bolay, New Work', Rubicon Gallery, Dublin, 13-30 April, 1994, exhibtion no. 17 Literature: Notes:

Jack Pakenham-BRIDE'S ENCOUNTER, MENORCA oil on boardsigned lower left; inscribed with title on reverse 17.75 by 14in., 45.085 by 35.56cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: 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.

Michael Cullen-STUDY IN BLUE WITH THREE FIGURES, 2001 oil on linensigned, titled and dated on reverse 56 by 35.5in., 142.24 by 90.17cm. Orientation of Image: P Provenance: deVere's, Dublin, 12 April 2005, lot 151; Whence purchased by the present owner Exhibited: Literature: Notes: Michael Cullen was born in Kilcoole, Co. Wicklow in 1946. He studied art at the Central School of Art and Design, London in 1969 and the National College of Art and Design, Dublin from 1970 to 1973 before moving abroad for several years. Cullen's work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velasquez and Picasso. With his multicoloured carnival palette, Cullen's paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen's work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists' Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen's work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com)

Michael Cullen-CRYING WOMAN - DANCE VI, 1989 oil on papersigned and dated lower right 27.75 by 24in., 70.485 by 60.96cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

John Phillip Murray-ADVOCATE, 2003 oil on boardsigned with initials and dated lower right; with artist's label on reverse 40 by 28in., 101.6 by 71.12cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Noel Murphy-NUDE, 2005 oil on canvassigned with initials and dated lower right; signed, titled and dated on reverse 36 by 32in., 91.44 by 81.28cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Clifford Collie-WHERE OTHER THINGS ARE, 2006 oil with mixed media on canvas boardsigned, titled and dated on reverse 31 by 39in., 78.74 by 99.06cm. Orientation of Image: L Provenance: Solomon Gallery, Dublin; Private collection Exhibited: 'Sequia' [solo exhibition], Solomon Gallery, Dublin, May, 2006 Literature: Notes:

Michael Gemmell-STRAW ISLAND, GALWAY, 2005 oil on linensigned and dated lower right; signed, inscribed, titled and dated on reverse; with inscribed Kilcock Art Gallery label on reverse 16 by 15.5in., 40.64 by 39.37cm. Orientation of Image: P Provenance: Kilcock Art Gallery, Kildare; Private collection Exhibited: Literature: Notes:

Michael Mulcahy-1+2=0 (SERIES) gouache, watercolour and charcoal on papersigned lower right; with original typed Taylor Galleries label on reverse 22 by 30in., 55.88 by 76.2cm. Orientation of Image: L Provenance: Taylor Galleries, Dublin; Private collection; Whyte's, 13 March 2001, lot 73; Whence purchased by the present owner Exhibited: Literature: Notes:

Michael Gemmell-PASSING STRAW ISLAND, GALWAY, 2006 oil on panelsigned and dated lower right; with inscribed Kilcock Art Gallery label on reverse 12 by 12in., 30.48 by 30.48cm. Orientation of Image: P Provenance: Kilcock Art Gallery, Kildare; Private collection Exhibited: Literature: Notes:

Ciarán Lennon-SEVEN PART ARBITRARY COLOUR COLLECTION, 2007 acrylic/brass panels; (heptaptych)no. 7 of 7 signed and dated on reverse; each numbered on reverse; two with artist's studio label on reverse 9 by 5.5 by 1.5in., 22.86 by 13.97 by 3.81cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Dimensions given indicate size of each individual panel. Since the early 1970s Ciarán Lennon has had numerous solo exhibitions in museums and art galleries within Ireland and abroad including, the National Gallery of Ireland, IMMA, the Douglas Hyde Gallery, Dublin, The Ulster Museum, David Hendriks Gallery, Oliver Dowling, Kerlin and Green on Red Gallery, Dublin among many others. Ciarán Lennon studied at the National College of Art and Design, Dublin from 1963 to 1967. In 1993 he became an elected member of Aosdána. Lennon's work has represented contemporary Irish art internationally at 'Sense of Ireland', 1980, London, 'L'Imaginnaire Irlandais', Paris, 'Irish drawing', The Drawing Centre, New York. In 1993 he represented Ireland at the Sao Paulo Biennale in Brazil. Lennon's works can be found in numerous public and private collections in Ireland and internationally.

Ciarán Lennon-RED RECTANGLE, 1999 gouachesigned and dated in the margin lower right; titled, with medium and dimensions lower left 14.5 by 10.25in., 36.83 by 26.035cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Sheet size: 29.75 by 22.25ins.

Alice Maher-PALISADE and HELMET, 2003 lambada prints (each an edition of 12) 23.25 by 23.25in., 59.055 by 59.055cm. Orientation of Image: P Provenance: DCP Project Space, San Francisco; Where purchased by the present owner Exhibited: 'Animal Rites' [Group Show], DCP Project Space, San Francisco, 4 October -10 November 2007 Literature: Carol Mavor; Alice Maher: Portraits, Published by Millennium Court Arts Centre, Portadown, 2003 (illustrated) Notes: The works from this series were exhibited at a solo show entitled, 'Portraits' at the Millennium Court Arts Centre, Portadown, Northern Ireland.

Alice Maher-COMA BERENICES, 1999 etching and aquatint (no. 14 from an edition of 30)signed in the margin lower right, titled centre and numbered lower left 19 by 16.5in., 48.26 by 41.91cm. Orientation of Image: P Provenance: Acquired directly from the artist by the present owner Exhibited: Literature: Notes: Sheet size: 29 by 25ins. Coma Berenices was the theme of the artist's solo show entitled, 'Knot: Alice Maher Draws from the Collection' at the Hugh Lane Municipal Gallery of Modern Art, Dublin, 21 April to 10 June 1999. The image was later illustrated on the cover of Paul Durcan’s celebrated work, Greetings to Our Friends from Brazil: One Hundred Poems, published the same year.

Alice Maher-COMA BERENICES II, 1999 etching and aquatint (no. 13 from an edition of 30)signed in the margin lower right, titled centre and numbered lower left 19 by 16.5in., 48.26 by 41.91cm. Orientation of Image: P Provenance: Acquired directly from the artist by the present owner Exhibited: Literature: Notes: Sheet size: 29 by 25ins. Coma Berenices was the theme of the artist's solo show entitled, 'Knot: Alice Maher Draws from the Collection' at the Hugh Lane Municipal Gallery of Modern Art, Dublin, 21 April to 10 June 1999. The image was later illustrated on the cover of Paul Durcan’s celebrated work, Greetings to Our Friends from Brazil: One Hundred Poems, published the same year.

Conleth Gent-WOOD RING, 2004 cedarwood on wooden base; (unique)signed and dated on wooden base 14.5 by 14 by 9in., 36.83 by 35.56 by 22.86cm. Orientation of Image: P Provenance: Law Library, Dublin; Where purchased by the present owner Exhibited: 'Walk in the Wood', Law Library, Church Street, Dublin, May 2006 Literature: Notes: A copy of a certificate of authenticity from the artist accompanies this lot.Conleth Gent is a Wicklow based artist and a founder member of Signal Arts Centre, Bray. He exhibits widely throughout Ireland, has worked on several community based projects and his work forms part of numerous collections. Among his commissions include a bronze and granite plaque situated on Sandymount strand created for ESB to celebrate 100 years of electricity generation.

Conleth Gent-ETERNAL HOME, 2005 yew wood; (unique)signed and dated at the base 9 by 10 by 10.5in., 22.86 by 25.4 by 26.67cm. Orientation of Image: L Provenance: Law Library, Dublin; Where purchased by the present owner Exhibited: 'Walk in the Wood', Law Library, Church Street, Dublin, May 2006 Literature: Notes: A copy of a certificate of authenticity from the artist accompanies this lot. Conleth Gent is a Wicklow based artist and a founder member of Signal Arts Centre, Bray. He exhibits widely throughout Ireland, has worked on several community based projects and his work forms part of numerous collections. Among his commissions include a bronze and granite plaque situated on Sandymount strand created for ESB to celebrate 100 years of electricity generation.

Stephen Pearce-UNTITLED bronze with gold patina; (no. 5 from an edition of 20)signed with initials and numbered at base 15.5 by 14 by 3in., 39.37 by 35.56 by 7.62cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: A similar work to the present piece, entitled Goddess was created by Stephen Pearce for Amnesty International's campaign to Stop Violence Against Women.

Patrick Campbell-ELLEN IN THE CHAIR, 2005 bronze on black marble base; (no. 9 from an edition of 11)signed, numbered and dated at rear of chair; with Solomon Gallery label at base 13 by 8 by 8in., 33.02 by 20.32 by 20.32cm. Orientation of Image: P Provenance: Solomon Gallery, Dublin; Private collection Exhibited: Literature: Notes: Dimensions of base: 9 by 9 by 1ins.

Cynthia Moran Killeavy-CÚCHULAINN, AN IRISH LEGEND bronze resin on engraved corten steel basesigned on reverse 28 by 12 by 9.5in., 71.12 by 30.48 by 24.13cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Dimensions of base, 43.5 by 15.75 by 12ins. Resin bronze was sculptured in the late 1980s, cast in Madrid in 2011. The corten steel base is engraved with an image of the Tara Brooch.Cynthia Moran Killeavy was born in Co. Kildare, a sister of Frances Bunch Moran, painter (1928-2002). She attended evening classes at the National College of Art, Dublin and later studied sculpture at St. Martin's College of Art, London. Since 1964 she has been based in Madrid, exhibiting regularly in group shows both in Spain and Ireland.

Cody Swanson-ALINA, 2005 bronze on stone plinth; (no. 1 from an edition of 8)numbered and dated on the inside; with "My final love" inscribed into bronze also on inside; with foundry stamp at base 15.5 by 8.5 by 4in., 39.37 by 21.59 by 10.16cm. Orientation of Image: P Provenance: Solomon Gallery, Dublin; Private collection Exhibited: 'Italian Realism Revisited', Solomon Gallery, Dublin, June 2006 Literature: Notes:

Hans Blank-COMPETITION, 2005 bronzewith Vangard exhibition label beneath base 20.5 by 16.5 by 3in., 52.07 by 41.91 by 7.62cm. Orientation of Image: P Provenance: Vangard Gallery, Cork; Where purchased by the present owner Exhibited: Literature: Notes:

Ann Cooney-THE BARQUE, 2001 bronze with green patina on bronze base; (artist's proof)signed and dated at edge 5.5 by 22.5 by 6in., 13.97 by 57.15 by 15.24cm. Orientation of Image: L Provenance: Leinster Gallery, Dublin; Private collection Exhibited: L'École des Beaux-Arts, Paris, 2006 Literature: Notes:

Anna Linnane-HEN bronze (no. 5 from an edition of 9)signed and numbered at the base 15 by 16 by 8in., 38.1 by 40.64 by 20.32cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Joseph Sloan-PERFORMANCE, 2006 bronze on black marble base (no. 6 from an edition of 8)signed, numbered and dated at the base 12.5 by 5.5 by 6.5in., 31.75 by 13.97 by 16.51cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Neil Shawcross-MOËT & CHANDON, 2009 oil on canvassigned lower centre; dated lower right 48 by 24in., 121.92 by 60.96cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Neil Shawcross-TOBACCO AND GOLDEN SYRUP, 1996 oil over gouache with pastel on papersigned and dated lower right 15.5 by 18.25in., 39.37 by 46.355cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Ivan Sutton-THE ROAD TO DÚN AENGUS FORT, INIS MÓR, COUNTY GALWAY oil on canvas boardsigned lower right; signed again and with title on artist's label on reverse 20 by 30in., 50.8 by 76.2cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Cecil Maguire-MEN LAUNCHING A CURRACH oil on boardsigned lower left 7 by 12in., 17.78 by 30.48cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: The location of this scene is thought to be Inishmaan.

Cecil Maguire-MAN LAUNCHING A CURRACH WITH TWO MEN ROWING oil on boardsigned lower left 7 by 12in., 17.78 by 30.48cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: The location of this scene is thought to be Inishmaan.

Kenneth Webb-EVENING LIGHT, ERELOUGH, CONNEMARA oil on canvassigned lower right; with title inscribed on Blue Door Studio label on reverse 20 by 40in., 50.8 by 101.6cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Kenneth Webb-THATCHED COTTAGE, CONNEMARA, 1989 oil on canvassigned lower right; with title, date and artist's name on reverse 12 by 18in., 30.48 by 45.72cm. Orientation of Image: L Provenance: Spiller Art Gallery, Dublin; Private collection Exhibited: Literature: Notes:

Kenneth Webb-FISHERMAN'S ANCHORAGE, MANNIN BAY, COUNTY GALWAY watercolour with pen and ink heightened with whitesigned lower right; with title inscribed on original backing board preserved on reverse; with Blue Door Gallery label also on reverse 14.5 by 21.5in., 36.83 by 54.61cm. Orientation of Image: L Provenance: Blue Door Gallery, Dublin; Private collection Exhibited: Literature: Notes:

Ivan Sutton-GALWAY HOOKER FESTIVAL, ROUNDSTONE, COUNTY GALWAY oil on canvas boardsigned lower right; signed again and titled on artist's label on reverse; with gilt plaque affixed to frame lower centre 20 by 30in., 50.8 by 76.2cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Liam Treacy-WICKLOW LANDSCAPE WITH CATTLE AND COTTAGE oil on boardsigned lower right 20 by 42in., 50.8 by 106.68cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Norman J. McCaig-HARBOUR SCENE oil on canvassigned lower left 14 by 18in., 35.56 by 45.72cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

James Humbert Craig-AUTUMN, GLEN DUN, COUNTY ANTRIM oil on canvassigned lower left; with faint inscription detailing title in pencil on stretcher on reverse 20 by 24in., 50.8 by 60.96cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes: Glen Dun was the subject of numerous paintings by James Humbert Craig many of which were exhibited at the RHA, Dublin between 1915 and 1944. Early Summer, Glen Dun was one such example exhibited in 1939.

George K. Gillespie-AMONG THE SHEEFFRY HILLS, COUNTY MAYO oil on canvassigned lower left; with title inscribed on artist's label on reverse 24 by 36in., 60.96 by 91.44cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Moyra Barry-FLORAL STILL LIFE oil on boardsigned lower left 20 by 16in., 50.8 by 40.64cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: Contained in its original frame.

Arthur K. Maderson-PARTICULAR TIME OF DAY, 1991 oil on canvas laid on panelsigned with initials lower right; signed again, numbered and with title inscribed on reverse; with George Gallery exhibition label also on reverse 12.5 by 13.75in., 31.75 by 34.925cm. Orientation of Image: L Provenance: George Gallery, Dublin; Where purchased by the present owner Exhibited: 'Arthur K. Maderson, Exhibition of Recent Works', George Gallery Montague Ltd, Dublin, 12 -30 March 1991, no. 55 Literature: Notes:

Markey Robinson-WINTER, MOURNE MOUNTAINS oil on boardsigned lower right; signed again and with title on reverse 14 by 34in., 35.56 by 86.36cm. Orientation of Image: L Provenance: Purchased by the previous owner in the mid 1960s from the Caldwell Galleries, Belfast Exhibited: Literature: Notes: The 1960s and 70s were defining years for Markey Robinson. Specific catalysts which effected a change in his practice at this time included the break-up of his marriage and the gradual departure of his wife and daughters to the United States. Paul O’Kelly (Markey at The Oriel, The Oriel Gallery, Dublin, 2008, p.18) notes, “This was to be a turning-point in his life, providing him with a melancholic leitmotif - the retreating female form - for his paintings…” ‘The troubles’ in Northern Ireland at the beginning of the 1960s also shaped him in that he would now lose Belfast as his “centre of gravity” (ibid) by relocating to Dublin. The move however strengthened his relationship with The Oriel Gallery and sales of his work facilitated travel abroad.

Gladys Maccabe-BEFORE THE RACE oil with gouache on boardsigned lower left; with typed label detailing title on reverse 19.5 by 26.5in., 49.53 by 67.31cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Stuart Morle-STILL LIFE WITH IVORY FIGURE AND SHELLS oil on canvas boardsigned lower right 18.75 by 13.75in., 47.625 by 34.925cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Comhghall Casey-CHANTERELLE MUSHROOM, 2003 oil on canvassigned lower left; dated lower right 12 by 8in., 30.48 by 20.32cm. Orientation of Image: P Provenance: Emer Gallery, Belfast; Private collection Whyte's, 10 December 2005, lot 85; Private collection Exhibited: 'New Works by Comhghall Casey', Emer Gallery, Belfast, 11-18 October 2003, catalogue no. 20 (illustrated in catalogue) Literature: Notes:

Stuart Morle-HOMAGE TO CHARDIN - STILL LIFE WITH ARTIST'S PALETTE oil on canvas board; (tondo)signed lower right; with artist's biography and description of work within an accompanying frame 17.5 by 12.5in., 44.45 by 31.75cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes: The accompanying note on this work reads, "This is a homage to 18th century painter, Chardin, with subtle lighting and textures, while the snuffed candle adds a vanitas reminder about the passing of time and human decay."

Comhghall Casey-RED PEPPERS, 2006 oil on canvassigned and dated lower right; with Emer Gallery label on reverse 9 by 6.75in., 22.86 by 17.145cm. Orientation of Image: P Provenance: Emer Gallery, Belfast; Private collection Exhibited: Literature: Notes:

Stuart Morle-EVENING AT KILMAINHAM WITH SLEEPING FIGURE oil on canvas boardsigned lower right 9.75 by 14in., 24.765 by 35.56cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Stuart Morle-SAN DONATO IN PERANO, ITALY, 1999 oil on canvassigned lower right, inscribed with title and signed 'Morle, Montegrossi, 1999 on reverse' 16 by 22in., 40.64 by 55.88cm. Orientation of Image: L Provenance: Whyte's, 26 June 2000, lot 137; Private collection Exhibited: Literature: Notes:

Trevor Geoghegan-BLESSINGTON, EARLY MORNING, WINTER LIGHT, 2006 oil on panelsigned lower right; signed, titled and dated on artist's label on reverse; also with Kilcock Art Gallery exhibition label on reverse 12 by 24in., 30.48 by 60.96cm. Orientation of Image: L Provenance: Kilcock Art Gallery, Kildare; Private collection Exhibited: Literature: Notes:

John Kirwan-DOOEGA, COUNTY MAYO, 2005 oil on canvassigned lower right; with partial exhibition label on reverse 36 by 28in., 91.44 by 71.12cm. Orientation of Image: P Provenance: Molesworth Gallery, Dublin; Private collection Exhibited: 'John Kirwan', Molesworth Gallery, Dublin, March 2005 Literature: Notes:

Peter Pearson-OLD HOUSES ARRAN QUAY, DUBLIN, 2002 oil on canvassigned and dated lower right; with typed exhibition label on reverse 12.5 by 13.25in., 31.75 by 33.655cm. Orientation of Image: L Provenance: Frederick Gallery, Dublin; Private collection Exhibited: 'Peter Pearson', Frederick Gallery, Dublin, 2003, catalogue no. 14 Literature: Notes:

Markey Robinson-WAITING ON THE SHORE and RETURNING FROM THE SHORE (A PAIR) oil on boardboth signed lower left; each signed again and with title on reverse; both with Oisín Gallery label on reverse 10 by 12.5in., 25.4 by 31.75cm. Orientation of Image: L Provenance: Oisín Gallery, Dublin; Private collection Exhibited: Literature: Notes: Both of equal size; framed uniformly.

Graham Knuttel-THREE SHEEP AT SUNSET oil on canvassigned lower left 10 by 13.75in., 25.4 by 34.925cm. Orientation of Image: L Provenance: Exhibited: Literature: Notes:

Graham Knuttel-TEDDY BEAR pastelsigned lower left; with sketch of the same subject visible on reverse 27.5 by 20in., 69.85 by 50.8cm. Orientation of Image: P Provenance: Exhibited: Literature: Notes:

Brian McCarthy-GERBERAS, 1999 oil on canvassigned lower left; inscribed with title, signed and numbered [10/99] on reverse; also with original inscribed artist's label affixed on reverse 15 by 12in., 38.1 by 30.48cm. Orientation of Image: P Provenance: Whyte's, 10 October 2000, lot 161; Private collection Exhibited: Literature: Notes: