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A pair of art pottery jugs decorated with a mottled green glaze, a Doulton Lambeth stoneware jug and another similar, a relief moulded jug depicting a kingfisher and a pair of modern Doulton candlesticks

AFTER MOREAU-a modern cast bronze figure of a Cupid with bow in hand, raised on circular slate base and a modern cast bronze figure of a scantily clad maiden in the Art Nouveau taste, standing with arms raised above her head in Classical robes on a square slate base

Art Deco diamond double-clip lapel brooch encrusted with transition cut, baguette cut and modern brilliant cut diamonds to an elaborate mount, measuring 5.4cm x 2cmFurther images and condition reports are available at www.reemandansie.com

Art Deco-style onyx and diamond ring with modern brilliant cut diamond in eliptical bezel bordered with diamonds in millegrain setting on white metal shank - ring size M 3/4Further images and condition reports are available at www.reemandansie.com

Fine Art Deco Rolex white gold (18ct) platinum and diamond cocktail watch with Swiss seventeen jewel movement, signed `Rolex Precision` on the movement, with square dial, Arabic numerals, modern brilliant cut diamonds to bezel and stepped articulated lugs on later white gold (9ct) braceletFurther images and condition reports are available at www.reemandansie.com

1921: Michael Collins and Arthur Griffith, Sir John Lavery lithograph proofs 19.5 by 15.5 in.Framed, signed in lower margin by both artist and sitters.Sir John Lavery painted portraits of Griffith and Collins in 1921 whilst they were in London negotiating the terms of the Irish Treaty. Within months of their portraits being painted, both men were dead - Griffith of a heart attack, Collins killed in August 1922. The present pair of lithographs hung on the walls of Restaurant Jammet in Dublin, which was frequented by many famous figures including Jack B. Yeats, Micheál MacLiammóir, Seán O’Sullivan et al. The prints were based on oil portraits, one of which is now in the collection of the Hugh Lane Municipal Gallery of Modern Art, Dublin. Printed by Wilson Hartnell & Co. Publishers, Dublin.

Johnson (Robert). Enchiridion Medicum, or, a Manual of Physick, Being a Compendium of the Whole Art, in Three Parts: Viz. I. Of diseases of the head, II. Of diseases of the breast, III. Of diseases of the belly..., Comprehending the substance of the more approved authours both ancient and modern: Published for the benefit of all persons, being fitted to the meanest capacity, 1st edition, 1684, advertisement and 6pp. index at rear, old heavy dampstaining throughout, lacks portrait frontispiece, library stamp to title, library cloth, 8vo, together with Moor (Bartholomaeus de). Pathologiae cerebri delineatio practica, in qua, morborum soporosorum per notas characteristicas distinctio..., 1st edition, Amsterdam: G. Borstius, 1704, title printed in red and black, stamps to title and occasionally to margins elsewhere, heavy old brown stain to inner margins of early leaves, old manuscript biographical and historical note about De Moor [seemingly by James or John Johnstone] to front free endpaper, suggesting that Boerhaave may have been influenced by him and that De Moor writes well, library cloth, 4to. Johnson: Wing J816. (2)

L`Emery (Nicolas). Modern Curiosities of Art & Nature, Extracted out of the Cabinets of the Most Eminent Personages of the French Court, Together with the Choicest Secrets in Mechanicks... , 1st English Edition, printed for Matthew Gilliflower and James Partridge, 1685, additional engraved title (closed tear, relined and rehinged), Abstract of the General Contents` on verso of preceding leaf, five pages of advertisements at end, lacks leaves I12 and M11, library stamps to both titles and early ownership name to printed title, some soiling and browning throughout, a few marginal splits, somewhat broken in 19th-century half calf over marbled boards, rubbed, 12mo (148 x 90mm) L`Emery includes medical and cookery receipts as well as chapters on jewels and pearls, perfumes, artificial fireworks, hunting and fishing, horses and other animals, and the preservation of wine. Wing L1041. (1)

Lowe (Peter). A Discourse of the Whole Art of Chyrurgerie..., Whereunto is added the Rule of making Remedies which chyrurgions doe commonly use: with the Presages of Divine Hippocrates, 3rd edition, corrected and much amended, Thomas Purfoot, 1634, title within ornamental border, woodcut illustrations to text including somefull-page, separate title and register to Presages`, library stamps to title and following leaf, some spotting and browning, title dust-soiled and with following leaf somewhat chipped and browned at margins not affecting text, bound with Clowes (William), A Profitable and Necessarie Booke of Observations for all those that are burned with the flame of Gun-powder, &c. and also for curing of wounds made with musket and caliver shot, and other weapons of warre..., Last of all is adioyned a short treatise, for the cure of Lues Venera by unctions and other approved wayes of curing..., 3rd edition, Printed by M. Dawson, 1637, four full-page woodcut illustrations (these leaves misgathered), woodcut initials, separate title to second part but with continuous register and pagination, some browning and soiling, X2 torn with loss at outer corner affecting last eight lines, a few small marginal splits and chips, contemporary ownership signature of Henry Yorke to preserved rear endpaper, Johnstone armorial bookplate to front pastedown, modern calf gilt, a little rubbed at extremities, 4to (193 x 138mm) STC 16871 & 5443 respectively. (1)

Marryat (Thomas). Therapeutics; or, the Art of Healing, 7th edition, Birmingham: printed by Pearson and Rollason, 1785, half-title present, generally foxed and toned, title-page with faint library stamp, library cloth, spine darkened and extremities slightly rubbed, corners damp-soiled, 4to, together with Manning (Henry), Modern Improvements in the Practice of Physic, 1780, half-title, slight dampstaining to upper margins, plus Shebbeare (John), The Practice of Physic, 2 volumes, 1755, engraved plate at rear of volume 1, lacks half-title to volume 2, some spotting and old dampstaining, hinges slightly cracked, plus [Brown, John], The Elements of Medicine, or, a Translation of the elementa medicinae brunonis... , 2 volumes, 1788, initial blank and final errata leaf to volume 2, old ownership signature of J. Vickers to both titles, some spotting and soiling, all with usual library stamps to titles and occasionally elsewhere, library cloth, plus others similar, all 8vo (20)

Ould (Sir Fielding). A Treatise of Midwifery. In Three Parts, 1st London edition, 1748, two engraved plates, occasional light water stains, library stamps, modern morooco-backed boards, 8vo, together with Chapman (Edmund), A Treatise on the Improvement of Midwifery, Chiefly with Regard to the Operation. To which are Added Fifty-Seven Cases, Selected from Upwards of Twenty-Seven Years Practice, 2nd edition, 1735, two engraved plates, 6pp. publisher`s list at end, a few spots, library stamp, contemporary mottled calf, spine rubbed, 8vo, plus Astruc (Jean), A Treatise on the Diseases of Women... Translated from the French Original, 3 volumes, 1st edition in English, 1762-67, two folding engraved plates, light water stains and spotting, library stamps, BMI presentation label from Dr Smallwood Savage, volumes I & II contemporary calf (rebacked), volume III library cloth, 8vo, with three others: John Friend`s Emmenologia, Translated into English by Thomas Dale, 2nd edition, 1752, Edmund Chapman`s A Treatise on the Improvement of Midwifery, 3rd edition, 1759 and Henry Daventer`s The Art of Midwifery Improv`d, 4th edition, 1746 (8)

Smellie (William). A Treatise on the Theory and Practice of Midwifery, 2nd edition, Corrected, 1752, 10pp. adverts. at end, a few light spots, library stamp, BMI presentation label from O. Pemberton, modern calf, spine a little faded, 8vo, together with Pugh (Benjamin), A Treatise of Midwifery, Chiefly with Regard to the Operation. With Several Improvements in that Art, 1st edition, 1754, eleven folding engraved plates, a few close-trimmed to top margins, D4 with repaired tear, a few spots, library stamp, BMI presentation label from George Jones, library cloth, 8vo, plus Turner (Daniel), The Force of the Mother`s Imagination upon her Foetus in Utero, Still farther Considered: In the Way of a Reply to Dr. Blondel`s last Book, Entitled, The Power of the Mother`s Imagination over the the Foetus Examined..., 1st edition, 1730, occasional dampstains and light soiling, some annotation, library stamps, BMI presentation label from Dr Smallwood Savage, modern calf-backed boards, 8vo, with six others: Thomas Kirkland`s A Treatise on Child-Bed Fevers, and on the Method of Preventing them, 1774, John Leake`s Practical Observations on the Child-Bed Fever: Also on the Nature and Treatment of Uterine Haemorrhages, Convulsions, and such other Acute Diseases, 1772 & 2nd edition, 1774, William Dease`s Observations in Midwifery, Particularly on the Different Methods of Assisting Women in Tedious and Difficult Labours..., 1783, David Spence`s A System of Midwifery, Theoretical and Practical, 1784 and William Osborn`s Essays on the Practice of Midwifery in Natural and Difficult Labours, 1792 (9)

An iridescent glass pewter mounted WMF style claret jug, modern, the green tinted baluster body with feathered or combed detail surface beneath the Art Nouveau style pewter mounted neck with foliate detail and whiplash handle, the tappit cover with pierced finial, glass unmarked, mounts marked `WMGAI`, height approx 42cm.

After David Hockney (b.1937) A SIGNED ADVERTISING POSTER for an exhibition at Grey Art Gallery and Study Centre, New York University, 33 Washington Place, New York, April 3-May3 1980, signed in pencil, within a modern frame, under glass. 70cm(h) x 49cm(w)

(Lot of 5) Unframed lithograph, "Cobbled Street with Spire," 1933, by Ernest Exlund, inscribed, dated and signed in pencil "To Albert Bender from Ernest Exlund, 1933" lower left, unframed etching "La Bourse," circa 1935 by De Gasendi, signed in pencil lower right, edition 1/250, and three woodcuts, "Madelgabel," "Rue de Pera, Istanbul," and "Istanbul," circa 1935 by Margaret Dormann (Californian, b. 1910), each signed and titled in pencil, largest overall: 19"h x 14.5"w . Provenance: Deaccession San Francisco Museum of Modern Art, San Francisco, California, gift of Albert M. Bender (Albert M. Bender Collection) Start Price $150

(Lot of 2) Unframed lithographs, "The Prayer," 1930, by Archibald Ziegler (British, 1903-1971), signed and dated in pencil lower right, and "Sleep," by Natol Sussaune (1912-1938), pencil signed lower right, ed. 3/15, overall: 30"h x 29.75"w; Provenance: Deaccession San Francisco Museum of Modern Art, San Francisco, California, gift of Albert M. Bender (Albert M. Bender Collection) Start Price $20

Unframed lithograph poster, "Museo de Arte Abstracto Espanol, Cuenca," by Eduardo Chillida (Spanish, 1924-2002), signed on stone "Chillida" lower/center right, overall: 33.75"h x 22"w. Provenance: Deaccession San Francisco Museum of Modern Art, San Francisco, California Start Price $150

Richard Kirwan, British b.1969- "Economy of Meaning"; acrylic on canvas, signed and dated 1995 to verso, 180x240cm, (unframed) Note: Kirwan studied and received an MA from Goldsmiths College London, he has been involved in many international solo and group exhibitions including, `Modern Manner, Galerie Hollenbach, Stuttgart` 2007, `Mythomania: Double Use, Nunnery Fine Arts, London` 2008, `51st Venice Biennale of Contemporary Art` 2005, `Folio One, Royal Academy of Arts` 2004. Kirwan`s work employs simple, hard edged motifs using a limited palette of saturated colours and unsettled geometric repetition creating optical after effects, a juxtaposition between physical control and visual chaos (may be subject to Droit de Suite)

Victor Bellars, British, mid 20th century- "Marshland Tree Stump"; oil on board, signed, 30.3x46cm Exhibited: Southampton Art Gallery, Wessex Artists` Exhibition 1962 according to label attached to the reverse: Modern British School, mid 20th century- Flowers in a pot; oil on canvas, 40.5x30.3cm., (2) (part unframed)

ROGER HILTON His book "Night Letters and Selected Drawings, Selected by Rosemary Hilton". Together with a Studio International Journal of Modern Art magazine featuring Roger Hilton.

The Royal Gallery of Art, Ancient and Modern: Engravings from the Private Collections of Pictures of Her Majesty the Queen and His Late Royal Highness the Prince Consort, and the Heir-looms of the Crown, at Windsor Castle, Buckingham Palace, and Osborne, edited S.C. Hall, [1858-59], eng. title to vol. 1, 144 steel-eng. plts (correct as list), a.e.g., contemp. gilt-dec. full green morocco, a little rubbed and corners bumped, folio. (3)

Art reference and modern literature, etc., mostly 20th-c. hardback publications, many in d.j. (3 shelves)

Josef ALBERS (1888-1976) Homage to the Square : Study to Portal B, 1953 Huile sur masonite monogrammé et daté en bas à droite, contresigné, titré et daté au dos 40,6 x 40,6 cm Provenance : Sidney Janis Gallery, New York Collection Philippe Dotremont, Bruxelles Exposition : Hartford, Connecticut, Wadsworth Atheneum, Josef and Anni Albers : Paintings, Tapestries and Woven Textiles, 8 juill - 2 août 1953, n° 43 du catalogue New York, Sidney Janis Gallery, Acting Color : Albers, 31 jan.- 26 fev. 1955 New York, Museum of Modern Art, International Council, Josef Albers : Homage to the Square, 1964-1967, n° 1 du catalogue Exposition itinérante : Caracas, Venezuela, Galleria Mendoza, 8 mars-29 mars 1964 Montevideo, Uruguay, Centro de Artes y Letras, 20 avril-17 mai 1964 Buenos Aires, Argentine, Instituto Torcuato di Tella, 9 juin-5 juillet 1964 Lima, Peru, Instituto de Arte Contemporaneo, 14 sept.-11oct. 1964 Rio de Janeiro, Brésil, Instituto Brasil-Estados Unidos, 5 nov.-30 nov. 1964 Sao Paulo, Brésil, Museu de Arte Contemporanea, 7 dec.-23 dec. 1964 Guayaquil, Equateur, USIS Guayaquil de Cultura Ecuadoriana, 8 janv.-5 fév. 1965 Bogota, Colombie, Bi-National Center19 fev.-19 mars 1965 Santigo, Chilie, Museo de Arte Contemporaneo avril 1965 Mexico City, Museo de Arte y Ciencas de la Universidad, juillet-août 1965 Knoxville, Tennessee, Dublin Gallery of Art, 15 oct.-7 nov. 1965 Huntington, West Virginia, Huntington Galleries, 49 nov.-12 dec. 1965 Rochester, New York, Rochester Memorial Art Gallery, 7 janv.- 4 fev. 1966 Oswego, New York, State University College, 21 fev. - 14 mars 1966 Atlanta, Georgie, Atlanta Art Association Museum, 25 mars - 24 avril 1966 San Antonio, Texas, Marion Koogler Mc Nay Art Institute, 9 mai - 6 juin 1966 Chattanooga, Tenessee, George Thomas Hunter Gallery of Art, 24 juin - 17 juillet 1966 Minneapolis, Minnesota, Walker Art Center, 14 août - 18 sept. 1966 Madison, Wisconsin, Madison Art Center, 3 oct. - 24 oct. 1966 Richmond, Virginia, Virginia Museum of Fine Art, 7 nov. - 4 dec. 1966 Wichita, Kansas, Witchita Art Museum, 2 janv.-22 janv. 1967

An Art Deco style modern glass facet cut perfume bottle, 19cm high.

Ten modern blue and white dinner plates; an art pottery vase; a pair of porcelain ornaments; a plated bread basket; assorted cutlery; three miniature carriage clocks; cut glass jug; and other miscellaneous porcelain. (a lot)

Ten boxes of assorted modern hardback books to include Art related titles, Autobiographies, etc.

"A bun shaped glass dressing table container with silver lid, a silver dressing table mirror with engine turned decoration, a matching clothes brush, a modern silver photograph frame, various dates and makers ""Amendment: this lot no longer contains the bulldog mascot, chatelaine or Art Nouveau hand mirror "

A selection of art glass and modern planters

A quantity of costume jewellery including modern decorative Art Deco style brooches, an oval silver locket, a silver pendant piece in the form of an Ankh, silver cross shaped pendant piece set with amethysts, another similar set with garnets, silver pendant piece engraved Y2K etc

Modern Masterpieces of British Art, circa 1930`s, from the London and Provincial Galleries, cloth, large 4to.

Pair of Modern Silver squat form candlesticks, Birmingham 1967, George V silver vase, Birmingham 1924, ( Filled) Art Deco cigarette case, marked for "Joan" and seven various spoons

A modern art nouveau style standard lamp, the metal base with leaded coloured glass shade in the Tiffany taste

A modern art nouveau style standard lamp, the metal base with leaded coloured glass shade in the Tiffany taste

A modern art nouveau style table lamp, the metal base with leaded coloured glass shade in the Tiffany taste

A modern art nouveau style table lamp, the metal base with leaded coloured glass shade in the Tiffany taste

A modern table lamp, the art nouveau style metal base with leaded coloured glass shade in the Tiffany taste, together with a leaded glass shade in the Tiffany taste

A modern art nouveau style standard lamp, the metal base with leaded coloured glass shade in the Tiffany taste

A Collection of 38 Books Pertaining to Modern Art and Artists. Minimum shipping costs apply, please request quote before bidding.

A Collection of 13 Books, Pertaining to modern art and artists. Minimum shipping costs apply, please request quote before bidding.

A Collection of 18 Books, Pertaining to modern art and artists. Minimum shipping costs apply, please request quote before bidding.

A Collection of 25 Books Pertaining to Art and Architecture, Including Greek Revival America, 1989 a National Trust for Historic Preservation book and Elie Nadelman: Sculptor of Modern Life, 2003 published by the Whitney Museum of Art. Minimum shipping costs apply, please request quote before bidding.

A GEORGE IV TWO-HANDLED SUGAR BOWL, DUBLIN 1820, with reeded collar and bulbous body, 16cms over handles; together with an art nouveau bombé tea caddy, Chester; and a sugar bowl with wavy rim, with three lion mask feet, Birmingham, modern (3)

Modern Persian style pale blue foliate rug & another art deco style rug (2).

MYOTT AND SON ART DECO HAND PANTED POTTERY JUG, baluster form with scroll handle, painted in tones of brown, yellow and orange, 7 1/2" (19cm) high, TOGETHER WITH A MALING BASKET SHAPED POTTERY DISH, printed and washed with flowers and a MODERN MEISSEN PIERCED PORCELAIN DISH, floral painted in puce and gilt, 9" (22.9cm) diameter, various marks (3)

ART DECO STYLE FIELDS BROWN DEVON FAN SHAPED POTTERY VASE, painted in bright tones and black, 10" (25.4cm) high, TOGETHER WITH TWO CARN POTTERY MOULDED VASES, painted in blue and green oxides, 4 7/8" and 6 1/2" (12.4cm and 16.5cm) high and TWO MODERN POOLE POTTERY VASES, painted in colours on mottled red grounds, one second quality, 5 1/4" and 6 3/4" (13.2cm and 17.2cm) high various marks (5)

Michael Fell, British b.1939- "People and Pilgrimages"; etchings with aquatint, 26 on a shared sheet, signed, titled and inscribed `A/P`, ea. 7.6x4.7cm and one 14x13.7cm: together with a quantity of other etchings with aquatints, some in colours, by the same artist, depicting figural and social commentary subjects and religious themes, various sizes, all signed, titled and inscribed `A/P` in pencil: Yves Brayer, French 1907-1990- Les Chevaux; lithograph printed in colours, signed and numbered 423/500, 36.5x26.6cm: After Josef Israels, Dutch 1824-1911- A family eating dinner around a table in an interior scene; etching, 23x27cm: together with a quantity of further, etchings and aquatints and prints by various hands (a lot) (unframed) (may be subject to Droit de Suite) Note: Michael Fell studied at St Martins and the City and Guilds School of Art. He has held one man shows at the Mall Gallery and Jordan Gallery, London. In 1972 his etchings were selected for the Modern Prints and Drawings exhibition at the British Museum and several remain in the permanent collection.

Adrian Wiszniewski RSA, Scottish b.1958- "Little Allegory", 1988; oil on canvas, signed with initials, 73x73cm, (may be subject to Droit de Suite) Provenance: with Gruzelier Modern and Contemporary Art Gallery, London, according to label attached to the reverse of the canvas

A collection of catalogues on antique weapons comprising Sothebys `The Visser Collection` in two parts, sales of Sothebys `Modern & Vintage Sporting Guns`, `European Works of Art, Arms and Armour`, `Important Weapons`, etc. approximately seventy five Sothebys catalogues and thirty four Christies catalogues

Cecil King (1921-1986) WITHOUT, 2, 1980 oil on paper signed lower right; with original typed David Hendriks Gallery label on reverse; also with typed Cecil King Retrospective Exhibition label on reverse 34.925 by 45.085cm., 13.75 by 17.75in. L "David Hendriks Gallery, Dublin; Where purchased by the present owner" `Cecil King`, David Hendriks Gallery, Dublin, March 1980;`Cecil King Retrospective Exhibition`, Municipal Gallery of Modern Art, Dublin, 12 October to 8 November, 1981

Jack Butler Yeats RHA (1871-1957) ON THE COURTHOUSE STEPS, 1946 oil on canvas signed lower right; inscribed with title on stretcher on reverse; with typed Arts Council exhibition label affixed on reverse; also with Dawson Gallery framing label on reverse 35.56 by 45.72cm., 14 by 18in. L "Purchased directly from the artist by Leo Smith, April 1946; with the Dawson Gallery, Dublin; `The Irish Sale`, Christies, 12 May 2006, lot 74; Private collection" "`Contemporary Irish Art Society: Paintings and Sculpture from Private Collections`, Municipal Gallery, Dublin, July 1965, exhibition no. 72; `Modern Irish Painting, European Tour`, Arts Council of Ireland (An Chomhairle Ealaíon), Dublin, 1969-1971, exhibition no. 54, travelling exhibition: Helsinki, Gothenburg, Norköpping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Mayo and Donegal" Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.672, no. 744 (illustrated, Vol. III, p.396) "Contained in its original hand-carved Waddington frame. The painting shows a vagrant resting on the steps of a court house, identified as that of Naas, Co. Kildare. (See footnote 1.) His stick and bundle of belongings are beside him. The man’s casual appearance is in marked contrast to the classical formality of the building which is typical of the grand-style architecture of Irish court houses. These were designed to project a sense of authority on to the surrounding streets and their inhabitants, although this is not evident in Yeats’ picture.

Charles Edward Perugini (1839-1918) LOVERS IN A GARDEN oil on canvas laid on board signed in monogram lower right 116.205 by 140.97cm., 45.75 by 55.5in. L "Private collection, New York; Private collection, Westport , Co. Mayo" ""Elegance, purity, and correctness of draughtsmanship, perfect refinement and dignity, grace and charm, delicacy in colour, and the tenderness of harmonious line - these are the qualities of his academic art which are now, it must be recognised outside, the sweep of the modern movement, but which has delighted two generations of picture-lovers who look for sound scholarship severely disciplined and veiled by melodious sweetness and distinction."From Perugini`s obituary recorded in The Times on 23 December 1918.Although Charles Edward Perugini was a boy when the Pre-Raphaelite movement began in 1848, its effects had far-reaching consequences and were felt late into the 1890s with the beginning of the Arts and Crafts movement; a development which had its roots in England but which spread rapidly throughout Ireland and the British isles. The Pre-Raphaelite Brotherhood was a secret society formed by artist`s who had found themselves disenchanted by the Royal Academy and who, in their disillusionment, turned to the art of the early Renaissance and late medieval age, finding solace in its moral message, truthful depictions of nature and minute attention to detail all of which were in stark contrast to the mass industrialisation of their own era.Perugini, born "Carlo" in Naples relocated with his family to London at an early age but he returned to his native Italy and later Paris to begin his artistic training. While on the Continent he met Lord Frederick Leighton, an associate of the Brotherhood, to whom he would become protégé. Under Leighton`s tutorage from the 1850s Perugini submitted to the RA, garnered numerous commissions and gained financial success. In 1873 Perugini married Charles Dickens` daughter, Kate, an artist and muse to members of the Brotherhood including John Everett Milliais (1829-1896) and widow of Charles Allston Collins, also a Pre-Raphaelite. An accomplished portrait and genre painter, Perugini, was her second husband who she both posed for and collaborated with on artistic projects during their marriage. It is possible that the lovers depicted here are an idealised portrayal of husband and wife, the figure of the man with his distinctly Italianate colouring and aquiline nose point to a possible self-portrait while images of Kate are comparable to the present "child-bride".Lovers in a Garden may date to the late 1880s or early 1890s. The classical setting and abundance of delicate foliage complement the tender romantic scene between the man and his young love and are comparable with the setting for The Green Lizard 1902 which he exhibited in the RA that year. The subject and sitters` dress echo literary inspirations of the time and while not as overt in their affections as depicted by his Irish counterpart, Sir Frederic William Burton in The Meeting on the Turret Stairs, 1864 (National Gallery of Ireland) for example, theirs is a shared sentiment.

Ernest Columba Hayes RHA (1914-1978) SEPTEMBER WIND, 1950s oil on canvas signed and indistinctly dated lower left; with title and catalogue no. [288] on reverse; also with typed exhibition label preserved on reverse 76.2 by 60.96cm., 30 by 24in. P Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) YOUNG TREE, 1977 oil on canvas signed and dated lower right; with title on reverse; with typed exhibition labels also on reverse 35.56 by 27.94cm., 14 by 11in. P Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) GARDEN, 1963 oil on canvas board signed and dated lower left 48.26 by 40.64cm., 19 by 16in. P Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) LANDSCAPE WITH PINK FLOWERS, 1964 oil on canvas board signed and dated lower right; with another work on reverse 22.86 by 30.48cm., 9 by 12in. L Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) STILL LIFE, 1960 oil on board signed and dated [26 October] lower right; with sketch and inscriptions on reverse 24.13 by 34.29cm., 9.5 by 13.5in. L Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) STUDY FOR "THE BLUE WINDOW", 1961 oil on board signed lower right; with sketch of cottages on reverse 20.955 by 15.24cm., 8.25 by 6in. P Estate of Hildegard Hayes, the artist`s wife "The finished oil for this study was exhibited in the Dublin Sketching Club, 1961, no. 106, at the RHA in 1979, Memorial Panel, no. 103 and at the Hugh Lane exhibition in 1992 (illustrated p. 58 of catalogue).A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) LANDSCAPE WITH HAYSTACKS oil on canvas signed lower right 25.4 by 35.56cm., 10 by 14in. L Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) NORMA, ITALY, 1969 watercolour signed and dated lower right; with inscribed and typed exhibition labels on reverse; catalogue no. 403 23.495 by 32.385cm., 9.25 by 12.75in. L Estate of Hildegard Hayes, the artist`s wife "Combridges Fine Art, Dublin, c.1960; exhibited in May 1978 (5 months before the artist`s death); (catalogue untraced)" "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Ernest Columba Hayes RHA (1914-1978) STANDING WOMAN IN RED SHAWL AND TWO OTHER FIGURE STUDIES IN OIL oil on canvas; (unstretched) the first indistinctly inscribed in the margin upper right 58.42 by 30.48cm., 23 by 12in. P Estate of Hildegard Hayes, the artist`s wife "Dimensions of other figure studies, 9.5 by 9in. approx. (3 works total).A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”