Louis Le Brocquy Sold at Auction Prices

Lithographer, Figure painter, Painter, Water color painter, Illustrator, Draft draughtsman, b. 1916 - d. 2012

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              • Louis le Brocquy HRHA (1916-2012) States of Being (2000) Oil on canvas, triptych, 116 x 251cm (45½ x 98¾) Signed and dated 2000 verso Opus no. 731 Provenance: With Gimpel Fils Gallery, Label verso Exhibition: Paris, Galerie Jeanne-Bouch
                Dec. 04, 2024

                Louis le Brocquy HRHA (1916-2012) States of Being (2000) Oil on canvas, triptych, 116 x 251cm (45½ x 98¾) Signed and dated 2000 verso Opus no. 731 Provenance: With Gimpel Fils Gallery, Label verso Exhibition: Paris, Galerie Jeanne-Bouch

                Est: €100,000 - €150,000

                Louis le Brocquy HRHA (1916-2012) States of Being (2000) Oil on canvas, triptych, 116 x 251cm (45½ x 98¾) Signed and dated 2000 verso Opus no. 731 Provenance: With Gimpel Fils Gallery, Label verso Exhibition: Paris, Galerie Jeanne-Boucher, 2006 An ambitious triptych summarising decades of the painter’s work as, he termed it, “an archaeologist of the spirit”, States of Being was exhibited at the Galerie Jeanne-Boucher in Paris in 2006. It was part of an exhibition, Radiance, marking le Brocquy’s 90th birthday. The show’s title comes from Stephen Daedalus’s invocation of the ingredients of aesthetic beauty, as being wholeness, harmony and radiance (after Thomas Aquinas). From around the mid-1950s onwards, le Brocquy was an artistic hunter whose quarry was the individual human consciousness, even though, as he noted “Evidently you cannot paint consciousness.” His approach was shaped by two decisive experiences. The first was a glimpse of some women and children against a whitewashed wall in the brilliance of noon sunlight in Spain in 1955. So intense was the light that they seemed to waver between substance and invisibility, merging with the white background. The second was stumbling on the painted Polynesian skulls in the Musée de l’Holme in Paris around the end of 1960, an event that catalysed his celebrated series of Head studies. Both were instrumental in his pursuit of conveying consciousness. The triptych format of this work suggests multiple images, a trinity, of a single being. In the central panel the figure is, like those figures against the whitewashed wall, on the point of dissolution into the vastness of time and space. In the two flanking views, the radiance glows from within the figure against a darker, layered, echoing, recessive ground. As the artist saw it, he aimed not to depict but “to reconstitute the object of one’s experience.” There is fragility and transience, but also the burning vitality of the individual presence, a voice that insists on being heard. Aidan Dunne, October 2024

                Adam's
              • Louis le Brocquy HRHA (1916-2012) The Tain Bowls, ('Ochain,' 'Dubau,' & 'Lamthapad,') A set of three Irish silver bowls, inlaid with gold, Dublin 1975, 18.5 ozs each, 22.5cm (8¾) diameter Bearing the artist’s monogram, numbered 151/250 and retail
                Dec. 04, 2024

                Louis le Brocquy HRHA (1916-2012) The Tain Bowls, ('Ochain,' 'Dubau,' & 'Lamthapad,') A set of three Irish silver bowls, inlaid with gold, Dublin 1975, 18.5 ozs each, 22.5cm (8¾) diameter Bearing the artist’s monogram, numbered 151/250 and retail

                Est: €1,500 - €2,500

                Louis le Brocquy HRHA (1916-2012) The Tain Bowls, ('Ochain,' 'Dubau,' & 'Lamthapad,') A set of three Irish silver bowls, inlaid with gold, Dublin 1975, 18.5 ozs each, 22.5cm (8¾) diameter Bearing the artist’s monogram, numbered 151/250 and retailed by Sleater of Dublin. With original presentation cases. (3)

                Adam's
              • Louis le Brocquy HRHA (1916-2012) Image of Federico Garcia Lorca, 1978 Oil on canvas, 70 x 70cm (27½ x 27½) Signed, inscribed and dated 1978 verso Opus no. 409 Provenance: With Galerie Jeanne Bucher, Paris, label verso. In the mids
                Dec. 04, 2024

                Louis le Brocquy HRHA (1916-2012) Image of Federico Garcia Lorca, 1978 Oil on canvas, 70 x 70cm (27½ x 27½) Signed, inscribed and dated 1978 verso Opus no. 409 Provenance: With Galerie Jeanne Bucher, Paris, label verso. In the mids

                Est: €50,000 - €80,000

                Louis le Brocquy HRHA (1916-2012) Image of Federico Garcia Lorca, 1978 Oil on canvas, 70 x 70cm (27½ x 27½) Signed, inscribed and dated 1978 verso Opus no. 409 Provenance: With Galerie Jeanne Bucher, Paris, label verso. In the midst of his preoccupation with images of the heads of Irish writers WB Yeats and then Joyce, Louis le Brocquy was also prompted to take on a subject further from home: the Spanish writer Federico Garcia Lorca. In the latter part of 1977 and through into the following year, the painter became engrossed in attempting a series of studies of the head of Lorca, and was drawn to make a small number of “studies in bronze of his forehead.” They were cast in bronze at the Montecatini Foundry in Italy. Le Brocquy alluded to Lorca’s lines, in his Ballad of the Spanish Civil Guard, concerning a massacre in a Gypsy community: ‘Oh, city of Gypsies…/ Who could see you and forget/ Let them seek you on my brow/ The play of Moon and sand.’ The painter was aware that in taking on Lorca’s “Iberian temperament” he was facing a slightly different challenge to that posed by his own countrymen. Writing in 1979, he mentioned that it was the impassioned writing of JM Synge’s dramas that provided him with “the key to an understanding of Lorca’s fierce, lyrical world.” Subsequently, he learned that Lorca had in fact admired Synge’s writing. Like le Brocquy’s other subjects, Lorca was an extraordinary talent, whose creative imagination transcended national boundaries. Just as Joyce is regarded as quintessentially Irish and universal, so with Lorca and Spain. He fell victim to the violent cruelty of the Spanish Civil War, and he identified with outsiders in the Spanish world, the Gypsies, seeing the essence of Iberian culture in their spirit. Regarded in some respects as an outsider himself, he became in time recognised as representing the very best qualities of of that spirit. Throughout the 1970s, le Brocquy’s painterly explorations, through which he built up tenuous, speculative images in numerous overlapping layers and forays of brushwork, achieved his aim of capturing the elusive yet intense nature of the individual human consciousness, providing glimpses into the mysteries of being and creativity. Aidan Dunne, October 2024

                Adam's
              • Louis le Brocquy HRHA (1916-2012) TINKER CHILDREN AT A FAIR, 1946
                Dec. 02, 2024

                Louis le Brocquy HRHA (1916-2012) TINKER CHILDREN AT A FAIR, 1946

                Est: €18,000 - €22,000

                Louis le Brocquy HRHA (1916-2012) TINKER CHILDREN AT A FAIR, 1946 watercolour with ink signed lower right; with Dawson Gallery framing label on reverse h:11  w:9.25 in. Provenance: Acquired by private treaty through James Adam's Saleroom, Dublin, 1978; Private collection The Tinker Period in le Brocquy's oeuvre represents a very important and distinct body of work within the artist's career spanning the years c.1945-1948. Tinker Children at a Fair is a striking early example of the artist's interpretation of the travelling community and captures aptly his enthusiasm and passion for their independent and inimitable way of life. It was the summer previous to the execution of this work when le Brocquy first encountered the tinkers near Tullamore, County Offaly and like John Millington Synge and artists on the Continent such as Picasso, le Brocquy's interest in this particular society was born out of a wider re-discovery and renewed interest in "primitive" cultures. However, for le Brocquy the tinkers came to symbolise more; the individual's struggle against ordered and settled culture and he drew parallels between their struggle and that of the artist. Tinker Children at a Fair typifies the artist's style from the period in colour and composition. The children, who dominate the work, all actively engage the viewer each with an inquisitive and lively gaze. The background comprises other figures; a horse and rider, and a stationary male figure and cow, but these presences are cropped by the artist's cut-off composition, rendering their presence in the work secondary to that of the children. The children carry sticks in their hands perhaps a reference to the ritual of sign making in tinker culture. Le Brocquy, in an interview with Yvonne Scott, 28 April, 2006, commented, "...People were always suspicious of them and they had to contend with that and they had various ways of contending with it. Amongst others they made signs for each other when they left the sites. They left 'twig' signs behind them and some of these were of a prosaic kind, such as: there are some good chickens up there in the bohereen - that kind of thing. But other signs were made to cast spells, so that local farmers hesitated to disturb them." In 2007 images from his Tinker period were used for Dublin's Pavee Point Travellers Centre calendar published in association with Ireland Embracing Cultural Diversity. Paintings from this period can be found in the colelction at the Tate, London and the National Gallery of Ireland, among others.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) JAMES JOYCE STUDY 91
                Dec. 02, 2024

                Louis le Brocquy HRHA (1916-2012) JAMES JOYCE STUDY 91

                Est: €12,000 - €18,000

                Louis le Brocquy HRHA (1916-2012) JAMES JOYCE STUDY 91 watercolour signed with initials and dated [1978] lower left; titled on original exhibition label on reverse h:15.50  w:14 in. Provenance: Whyte's, 30 November 2004, lot 19; Private collection Exhibited: 'Louis le Brocquy: Studies towards an image of James Joyce', January to December 1978, catalogue no. 91, exhibition toured to the following venues: Gimpel & Hanover Galerie, Zürich; Gimpel Fils, London; The Arts Council Gallery, Belfast; Hugh Lane Municipal Gallery of Modern Art, Dublin; Gimpel & Weitzenhoffer, New York; Waddington Galleries, Montreal and Toronto

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) FOREST LANDSCAPE, 1992
                Dec. 02, 2024

                Louis le Brocquy HRHA (1916-2012) FOREST LANDSCAPE, 1992

                Est: €6,000 - €8,000

                Louis le Brocquy HRHA (1916-2012) FOREST LANDSCAPE, 1992 watercolour signed and dated lower left h:7  w:10 in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) ABSTRACT, c.1956
                Dec. 02, 2024

                Louis le Brocquy HRHA (1916-2012) ABSTRACT, c.1956

                Est: €6,000 - €8,000

                Louis le Brocquy HRHA (1916-2012) ABSTRACT, c.1956 carpet with Donegal Carpets Ltd. label on reverse h:49  w:74 in. Provenance: Fonsie Mealy's, 10 July 2024, lot 270; Private collection The carpet - one of only 3 examples known - is labelled "Inver", referring to the number of tufts per square inch rather than the design. Judging by the label, this rug was a prototype design, intended to guide buyers as to potential rugs that could be commissioned in different colours. Louis le Brocquy's association with tapestry design would lead to a wider interest in applied art generally. He designed a series of screen-printed fabric furnishings commissioned by John McGuire Ltd, including Megalithic and Flight, exhibited by the Societé des Décorateurs, Grand Palais, Paris (May 1954). He designed a large-scale carpet commissioned by Córas Tráchtála Teoranta, Dublin, inaugurating his collaboration with the hand-knotting craft of Donegal Carpets, Killybegs. The artist adapted his freehand drawings of the spiral pockmarks on the megaliths of Newgrange, Co. Meath (prized at the 1952 Fleischman International Carpet Design Competition, Detroit Institute of Art). Le Brocquy designed colour blended woven sisal carpeting for Tintawn, Irish Ropes Ltd, Newbridge and was a founder with his friend, the architect Michael Scott, of Signa Ltd., Design Consultants (1954). Signa promoted industrial design with pioneering effect in Ireland and England. [See extract from Irish Times article in 1960 below] Le Brocquy's outstanding design work was recognised by numerous appointments including: Member of the Irish Council of Design; a Fellow of the Society of Industrial Artist's, London; a Fellow of the Royal Society for the Encouragement of Arts, Manufactures and Commerce, London. Le Brocquy was appointed an inaugural Board Member of Kilkenny Design Workshops (1964-77). Co-directors include Terence Conran with whom he perceives the workshops as a potential Irish Bauhaus (a vision opposed by the director William Walsh). Le Brocquy writes: 'Art - official art - had long ago suffered the same social dislocation as other made things. Painting and sculpture were wholly wrenched away from other kinds of manufacture and preciously regarded as Fine Art. Art, which exists on all levels of consciousness or dies, died. In a sense, the great gesture of the Bauhaus can be expressed as a repudiation in positive terms of the exclusive concept of Fine Art. In it a sensuous unity was once again established, and art reasserted its sensible, inherent power within the varied structures of painting or chair, textile or building. This fusion took place in a temporary and local condition of white heat which the Bauhaus historically represents.'1 Louis le Brocquy is appointed Visiting Tutor in Textile Design, Royal College of Art, London (1955-58). Works alongside Margaret Leischner, Head of the Weaving Department. The artist will be proposed the Professorship of the department by the Rector, Sir Robin Darwin, an offer which he declines. In the summer of 1955, the artist is commissioned to tour Spain by Ambassador magazine on behalf of the British textile trade. Accompanied by the photographer Jay, travels to Granada, Cordoba, Segovia, Madrid, Seville, noting numerous impressions for textile designs. The artist's discovery there of a 'persistent visual tension', is translated into numerous patterns drawn from a wide range of sources, including cobblestones, sickles, stucco in village walls, and Azulejos in El Greco's Toledo house. Contributes Pattern in Contrast: Hot, Dull-Cool, Bright, 'a colour impression by Louis le Brocquy' (Ambassador, No 10, London 1955). Three leading textile firms issue the designs: David Whitehead Ltd, Furnishing Fabric; Seckers Fabrics, woven silks, and Horrockses, Fashion prints, one famously worn by Princess Margaret. Inspired by the violent contrast of sun seen through lattice blinds in Andalusia, designs Sol Y Sombra (1955), the seventh tapestry to date, conceived to hang vertically or horizontally as evidenced by date and signature. Identified as le Brocquy's only abstract work, the design coincides with a momentous change about to take place in his painting. 1 Louis le Brocquy, 'Art and Manufacture', Irish Times (Dublin, 5 April 1956).

                Whyte's
              • LOUIS LE BROCQUY
                Nov. 28, 2024

                LOUIS LE BROCQUY

                Est: CHF6,000 - CHF9,000

                LOUIS LE BROCQUY (1916 Dublin 2012) Study towards an Image of William Shakespeare. 1982. Watercolour and crayon on paper. Signed and dated lower right: LE BROCQUY 1982, as well as signed, dated, numbered, with dimensions and technical details on the reverse: W. 634 WATERCOLOUR & CRAYON 76 × 56 cm LE BROCQUY 1982. 76 × 57 cm. Provenance: - Gimpel-Hanover + André Emmerich Galerien, Zurich. - Galerie Jeanne Bucher, Paris. - Swiss collection. Our thanks to the Estate of Louis le Brocquy for the confirmation of authenticity of the work, Dublin, 20.8.2024. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- LOUIS LE BROCQUY (1916 Dublin 2012) Study towards an Image of William Shakespeare. 1982. Aquarell und Farbstift auf Papier. Unten rechts signiert und datiert: LE BROCQUY 1982, sowie verso signiert, datiert, nummeriert, mit Mass- und Technikangaben: W. 634 WATERCOLOUR & CRAYON 76 × 56 cm LE BROCQUY 1982. 76 × 57 cm. Provenienz: - Gimpel-Hanover + André Emmerich Galerien, Zürich. - Galerie Jeanne Bucher, Paris. - Schweizer Sammlung. Wir danken dem Nachlass von Louis le Brocquy für die Bestätigung der Authentizität des Werks, Dublin, 20.8.2024. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.

                Koller Auctions
              • Kneeling Man
                Nov. 15, 2024

                Kneeling Man

                Est: £30,000 - £50,000

                Property from Carnegie Museum of Art, Sold to Benefit the Acquisition Fund Louis le Brocquy 1916-2012 Kneeling Man signed Le Brocquy and dated 64 (lower right) oil on canvas unframed: 115.5 by 89 cm.; 45½ by 35in. framed: 118.5 by 91.5 cm.; 46½ by 36in. Executed in 1964.

                Sotheby's
              • Louis le Brocquy, Untitled (Dove)
                Oct. 16, 2024

                Louis le Brocquy, Untitled (Dove)

                Est: $1,000 - $1,500

                Louis le Brocquy Untitled (Dove) 1985 lithograph in colors on BFK Rives image: 10.625 h x 15.625 w in (27 x 40 cm) sheet: 20 h x 26 w in (51 x 66 cm) Signed, dated and numbered to lower edge 'Louis le Brocquy 1985 33/35'. This work is number 33 from the edition of 35. This work will ship from Lambertville, New Jersey.

                Rago Arts and Auction Center
              • Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE
                Sep. 30, 2024

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE woodblock print; (no. 8 from an edition of 35) signed and numbered in the margin lower right h:24  w:19 in. Sheet size: 29.5 by 24 inches.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF FEDERICO GARCÍA LORCA, 1977
                Sep. 30, 2024

                Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF FEDERICO GARCÍA LORCA, 1977

                Est: €1,000 - €1,500

                Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF FEDERICO GARCÍA LORCA, 1977 aquatint on Arches paper; (no. 4 from an edition of 30) signed in the margin lower right; numbered lower left h:20.25  w:17.50 in. Sheet size: 30 by 22.25in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975
                Sep. 30, 2024

                Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975

                Est: €1,000 - €1,500

                Louis le Brocquy HRHA (1916-2012) STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975 aquatint on Arches paper; (no. 100 from an edition of 100) signed and numbered lower left h:19.50  w:17.50 in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) NUDE STUDY, 1964
                Sep. 30, 2024

                Louis le Brocquy HRHA (1916-2012) NUDE STUDY, 1964

                Est: €15,000 - €20,000

                Louis le Brocquy HRHA (1916-2012) NUDE STUDY, 1964 oil on canvas signed, dated, titled and with Dawson Gallery label on reverse h:14  w:10.50 in. Provenance: Dawson Gallery, Dublin; Private collection The year that Nude Study was painted, 1964, marked something of a turning point in the work of Louis le Brocquy. Exploration of his output throughout his life reveals significant reappraisals from time to time indicating periods of focus on identifiable, often separable themes and methods of representation. Yet it is also evident that his entire output is traversed and connected by core interests and concerns. By 1964, le Brocquy had been working for some time on a series of works collectively entitled 'Presences'. These each comprise a human form that betrays something of the vulnerability of existence, both physical and psychological. Nude Study conforms to the general chromatic range of this body of works which explore tones from whites, through greys, to blacks, sometimes with flashes of colour. The human forms in the series - like Nude Study - are suggested rather than descriptive, a characteristic that emerges increasingly in his depictions of humanity. While a figurative element provides the focus of the image, it seems to emerge or dissolve - almost, but not quite, tangible, reflecting the artist's own observation: 'When you ae painting you are trying to discover, to uncover, to reveal'. In 1964, the artist and his family were based in Carros, in the south of France. A photograph of him by Edward Quinn, entitled 'Louis le Brocquy at his studio. Carros 1964' depicts the artist at work. A large 'Presences' painting can just be made out on his easel while, behind him, the backs of stretched canvases can be seen propped against the studio wall. Among them is a small canvas with an armature similar to that of Nude Study. It has often been relayed that 1964 was the year that le Brocquy visited the Musée de l'Homme in Paris. This anthropological museum is understood to have sparked the next phase in his work - the artist's celebrated Head series. Commencing with ancestral heads that allude to anonymous figures from the past, and evolving to his portrait images comprising multiple studies of well-known artists and writers including James Joyce, WB Yeats, and Samuel Beckett, among others, le Brocquy found a way to address the complexity of creativity. The head and the body are often seen as separate zones of existence, however, in the work of Louis le Brocquy, these are projected as vitally interconnected fields of sensation and imagination. Dr Yvonne Scott, September 2024

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) Madonna and Child (Our Lady of the Wayside) Mosaic panel, 95 x 76.5 (37_ x 30'') Maquette for 'Our Lady of the Wayside' - the fully complete mosaic is in situ in the Jesuit Church, St. Ignatius' in Galway, ha
                Sep. 25, 2024

                Louis le Brocquy HRHA (1916-2012) Madonna and Child (Our Lady of the Wayside) Mosaic panel, 95 x 76.5 (37_ x 30'') Maquette for 'Our Lady of the Wayside' - the fully complete mosaic is in situ in the Jesuit Church, St. Ignatius' in Galway, ha

                Est: €3,000 - €5,000

                Louis le Brocquy HRHA (1916-2012) Madonna and Child (Our Lady of the Wayside) Mosaic panel, 95 x 76.5 (37_ x 30'') Maquette for 'Our Lady of the Wayside' - the fully complete mosaic is in situ in the Jesuit Church, St. Ignatius' in Galway, having been commissioned in 1956.

                Adam's
              • Louis le Brocquy HRHA (1916-2012) The T‡in - The Boy Cœchulainn Hurling, 1969 Aubusson Tapestry, 184 x 129cm (72_ x 50_''), Edition 2/9 Produced by RenŽ DuchŽ, Signed on label verso Provenance: With Taylor Galleries, Dublin where purchased
                Sep. 25, 2024

                Louis le Brocquy HRHA (1916-2012) The T‡in - The Boy Cœchulainn Hurling, 1969 Aubusson Tapestry, 184 x 129cm (72_ x 50_''), Edition 2/9 Produced by RenŽ DuchŽ, Signed on label verso Provenance: With Taylor Galleries, Dublin where purchased

                Est: €20,000 - €30,000

                Louis le Brocquy HRHA (1916-2012) The T‡in - The Boy Cœchulainn Hurling, 1969 Aubusson Tapestry, 184 x 129cm (72_ x 50_''), Edition 2/9 Produced by RenŽ DuchŽ, Signed on label verso Provenance: With Taylor Galleries, Dublin where purchased by the current owners. Having commissioned a new translation of the Irish mythological epic, the T‡in B— Cœailnge from Thomas Kinsella in 1967, Dolmen Press publisher Liam Miller approached Louis le Brocquy with a view to his making a series of illustrations to complement the text. Le Brocquy embraced the challenge. Recalling the striking, calligraphic approach to painting in the work of the Parisian, Belgian-born artist, writer and poet Henri Michaux, inspired by Zen calligraphy, le Brocquy felt he could devise a graphic visual language that would convey the sweep, pace and movement of the great epic and its formidable, larger-than-life characters. Furthermore he could do so harnessing all the freedom of monochromatic, brush and ink drawing, reflecting the reality of the printed black-on-white publication. The result was a series of remarkable graphic works that brought the ancient world of heroes and incredible feats to vivid life, to universal acclaim. Even as he worked on the brush drawings, le Brocquy began to think that the bold, energised images, formed by pure, unmediated gesture, might by ripe for translation into lithography and tapestry. A major commission for the PJ Carroll & Sons building in Dundalk allowed him to create an epic tapestry, The T‡in, woven by Aubusson in 1970. That tapestry is made with a colour palette. A later commission, towards the millennium, prompted him to revisit his original illustrations and realise his ambition to explore the possibilities for working in black-and-white. Atelier RenŽ DuchŽ at Aubusson wove another vast commissioned work, Army Massing, and also a series of individual pieces, all in black-and-white, including this energetic tribute to the super-heroic Cœchulainn, celebrating his prowess at the national sport. One of the leading Irish artists of the 20th century, le Brocquy was a central figure in Irish art and cultural life from the early 1940s onwards. He is celebrated for his approach to capturing the individual human consciousness, including his innovative portrait heads of writers and others. Aidan Dunne, August 2024

                Adam's
              • Louis Le Brocquy (Irish, 1916-2012) Blue Pencil on Wove Paper, 1965, "Study of a Head (Samuel Beckett)", H 12.6" W 9"
                Jul. 19, 2024

                Louis Le Brocquy (Irish, 1916-2012) Blue Pencil on Wove Paper, 1965, "Study of a Head (Samuel Beckett)", H 12.6" W 9"

                Est: $3,000 - $5,000

                Signed and dated in blue pencil lower right, with dedication, signed 'Louis' and dated again lower right. Frame Measurements H Provenance: The Arwin Galleries, Inc, Detroit, MI (paper label affixed verso); Property of Prominent Collector, Birmingham, Michigan

                DuMouchelles
              • Louis Le Brocquy (1916-2012) Image of Francis Bacon, mars 1980
                Jun. 20, 2024

                Louis Le Brocquy (1916-2012) Image of Francis Bacon, mars 1980

                Est: €6,000 - €8,000

                Louis Le Brocquy (1916-2012) Image of Francis Bacon, mars 1980 Watercolor on paper Boubly signed, dated, titled and dedicated on the back 60 x 45 cm Provenance: - Gilbert Brownstone & Cie, Paris - Private collection, Paris Louis Le Brocquy (1916-2012) Image of Francis Bacon, mars 1980 Aquarelle sur papier Doublement signé, daté, titré et dédicacé au dos 60 x 45 cm Provenance : - Gilbert Brownstone & Cie, Paris - Collection particulière, Paris

                Piasa
              • Louis le BROCQUY
                Jun. 05, 2024

                Louis le BROCQUY

                Est: €20,000 - €30,000

                Louis le BROCQUY Head with open mouth - 1975 Huile sur toile Signée, datée, titrée et annotée au dos "377, Head with Open Mouth, Le Brocquy, 75" H : 45.5 cm, L : 37.5 cm Provenance : Collection particulière européenne Expositions : Paris, Galerie Jeanne Bucher, "Matière et Mémoire, La demeure du Patriarche", novembre 2013-janvier 2014 h : 45.5 cm, w : 37.5 cm Louis le BROCQUY H : 45.5 cm, L : 37.5 cm h : 45.5 cm, w : 37.5 cm Oil on canvas; signed, dated, titled and inscribed on the reverse

                Artcurial
              • Louis Le Brocquy HRHA (1916-2012) Female Figure Lithograph, 100 x 75cm (34 x 25¼) Signed and numbered 34/75
                May. 29, 2024

                Louis Le Brocquy HRHA (1916-2012) Female Figure Lithograph, 100 x 75cm (34 x 25¼) Signed and numbered 34/75

                Est: €1,500 - €2,000

                Louis Le Brocquy HRHA (1916-2012) Female Figure Lithograph, 100 x 75cm (34 x 25¼) Signed and numbered 34/75

                Adam's
              • Louis le Brocquy HRHA (1916-2012) IMAGE OF SAMUEL BECKETT, 1982
                May. 27, 2024

                Louis le Brocquy HRHA (1916-2012) IMAGE OF SAMUEL BECKETT, 1982

                Est: €120,000 - €150,000

                Louis le Brocquy HRHA (1916-2012) IMAGE OF SAMUEL BECKETT, 1982 oil on canvas signed and dated on reverse (concealed by frame) h:27.50  w:27.50 in. Provenance: Acquired directly from the artist; Sotheby's, 7 May 2008, lot 196; Private collection Louis le Brocquy has been recognised as one of the major artists emerging in Ireland during the twentieth century. In the 1960s, following a period when he was unhappy with his output, he visited Musée de l'homme in Paris, where his observation of ritualistic, spiritualised exhibits triggered his celebrated series of artworks known collectively as the Head series. Commencing first with the ancestral heads that referenced the earliest, anonymous, human predecessors, the artist went on to explore a means to represent the imaginative processes of a range of recognised creative individuals - artists and writers known to him either personally or through their work, including WB Yeats, James Joyce, the painter Francis Bacon, and Samuel Beckett. Le Brocquy focused particularly on the head as the container of intellect and inventiveness; in some works in the series, he included also the hands for their expressive gestures. While this body of paintings has been referred to as portraits, the artist sought rather to reflect some essence of the individual he addressed, in this case, seeking to demonstrate the "Beckettness of Beckett" to use his own words.[1] He developed an original approach in projecting the head as a complex structure evincing both the internal processes of the imagination, as well as the external realisation of inspiration. While the portraits are all recognisably of the individual portrayed, the translucent layering of colour suggests the emergence of creativity. Samuel Beckett, who the artist knew well, was the subject of several of the head images - each of which was different, indicating alternative aspects of the subject. The artist recognised the multiplicity of character, how one image alone might capture a likeness but could not reflect the complexity and range of the sitter's personality and capacity. Le Brocquy projects the psychological penetration indicated by a phrase, by physicist Erwin Schrödinger, that the artist quoted: "Consciousness is a singular of which the plural is unknown and what appears to be plurality is merely a series of different aspects of the same thing."[2] This image indicates the familiar, creviced, visage of Samuel Beckett, well known both through discerning photographs and through various incisive paintings of him by the artist. The face emerges from a monochromatic ground, as though coming into being, but retaining an elusiveness. One side of the face is in shadow, the eye a dark pool, while the other side appears to be developing a more tangible form. Le Brocquy developed a remarkable capacity to suggest both the recognisable features while also conveying the depths of humanity and of creativity. Yvonne Scott, April 2024 [1] Louis le Brocquy (October 1979) quoted in Louis le Brocquy Portrait Heads, National Gallery of Ireland, Dublin, 2006, p. 63. [2] Louis le Brocquy, 'Notes on painting and awareness', in Dorothy Walker (ed.), Louis le Brocquy, Dublin, 1981, p. 139.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989
                May. 27, 2024

                Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989

                Est: €2,500 - €3,500

                Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989 lithograph on Japanese paper; (no. 14 from an edition of 29) signed, dated and numbered in pencil lower right h:27  w:20 in. Provenance: Dyehouse Gallery, Waterford; Private collection; Adam's, 14 December 2004, lot 100; Private collection

                Whyte's
              • Louis Le Brocquy
                May. 08, 2024

                Louis Le Brocquy

                Est: $10,000 - $20,000

                Irish, 1916-2012 Recollected Fruit, 1985 Signed and dated Le Brocquy 1985 on the overlap, signed and dated Le Brocquy 1985 and inscribed as titled on the reverse, further inscribed To - dearest Kate/with all our love/on this memorable/Dublin birthday/Anne and Louis/6 November 1985 on a label affixed to the reverse Oil on acrylic-sized canvas 13 x 14 1/4 inches (33 x 36.2 cm) Provenance: Private collection, New York, acquired directly from the artist; thence by descent in the family (Framed 19 1/2 x 20 1/4 x 1 1/4 inches) Canvas is toenailed into frame, not accessible out of frame. Overall very good condition. No notable issues detected during inspection. No evidence of restoration under UV inspection.

                DOYLE Auctioneers & Appraisers
              • Louis le Brocquy
                May. 08, 2024

                Louis le Brocquy

                Est: $35,000 - $55,000

                Irish, 1916-2012 Manet's Peonies, 1984 Signed and dated Le Brocquy 1984 on the reverse Oil on canvas 15 x 18 1/4 inches (38.1 x 46.4 cm) Provenance: Private collection, New York, acquired directly from the artist; thence by descent in the family (Framed 23 x 19 1/4 x 2 inches) Canvas is toenailed into frame, not accessible out of frame. A small hairline crack in high point of white impasto at center left; another beneath it in high point of white impasto. No evidence of restoration under UV inspection.

                DOYLE Auctioneers & Appraisers
              • Louis Le Brocquy
                May. 08, 2024

                Louis Le Brocquy

                Est: $60,000 - $80,000

                Irish, 1916-2012 Study of Self, 1994 Signed and dated Le Brocquy 94 and inscribed as titled and 637 on the reverse Oil on canvas 36 1/4 x 21 5/8 inches (92 x 55 cm) Provenance: Private collection, New York, acquired directly from the artist; thence by descent in the family (Framed 39 x 24 1/2 x 2 5/8 inches) Canvas is sealed within frame, not accessible out of frame. A spot of foxing at center right edge. Two spots of discoloration at lower center edge. Minor smudges at lower left corner and upper right corner.

                DOYLE Auctioneers & Appraisers
              • Image of Samuel Beckett
                May. 02, 2024

                Image of Samuel Beckett

                Est: €40,000 - €60,000

                Louis le Brocquy, R.H.A. 1916 - 2012 Image of Samuel Beckett signed LE BROCQUY and dated 87 (on the reverse); also titled and dated 1987 (on the stretcher) oil on canvas unframed: 65 by 50cm.; 25½ by 19¾in. framed: 86 by 71cm.; 34 by 28in. Executed in 1987. --------------------------------------------------------------------------------------------------------------- Louis le Brocquy, R.H.A. 1916 - 2012 Image de Samuel Beckett signé LE BROCQUY et daté 87 (au revers); également titré et daté 1987 (sur le châssis) huile sur toile san cadre: 65 by 50cm.; 25½ by 19¾in. avec cadre: 86 by 71cm.; 34 by 28in. Exécuté en 1987.

                Sotheby's
              • Image of James Joyce
                May. 02, 2024

                Image of James Joyce

                Est: €50,000 - €70,000

                Louis le Brocquy, R.H.A. 1916-2012 Image of James Joyce signed Le BROCQUY and dated 79 (on the reverse); also signed, dated 79 and inscribed ETUDE VERS UNE IMAGE DE JAMES JOYCE (on the stretcher) oil on canvas unframed 70 by 70cm.; 27½ by 27½in. framed: 91.5 by 91.5cm.; 36 by 36in. Executed in 1979.  ---------------------------------------------------------------------------- Louis le Brocquy, R.H.A. 1916-2012 Image of James Joyce signé Le BROCQUY et daté 79 (au revers) ; également signé, daté 79 et inscrit ETUDE VERS UNE IMAGE DE JAMES JOYCE (sur le châssis) huile sur toile san cadre: 70 by 70cm.; 27½ by 27½in. avec cadre: 91.5 by 91.5cm.; 36 by 36in. Exécuté en 1979. 

                Sotheby's
              • Abstract
                May. 02, 2024

                Abstract

                Est: €50,000 - €70,000

                Louis le Brocquy, R.H.A. 1916 - 2012 Abstract signed Le Brocquy and dated 59 (lower left) oil on canvas unframed: 91 by 72.5 cm.; 35 3/4 by 28 1/2 in. framed: 112 by 94 cm.; 44 by 37 in. Executed in 1959. ------------------------------------------------------ Louis le Brocquy, R.H.A. 1916 - 2012 Abstract signé Le Brocquy et daté 59 (en bas à gauche) huile sur toile sans cadre: 91 by 72.5 cm.; 35 3/4 by 28 1/2 in. avec cadre: 112 by 94 cm.; 44 by 37 in. Exécuté en 1959.

                Sotheby's
              • Head
                May. 02, 2024

                Head

                Est: €12,000 - €18,000

                Louis le Brocquy 1916 - 2012 Head signed Le Brocquy and dated 1960 (upper right) oil on canvas unframed: 25 by 30 cm.; 10 by 11 3/4 in. framed: 43 by 49.5 cm.; 17 by 19 1/2 in. Executed in 1960. --------------------------------------------------- Louis le Brocquy 1916 - 2012 Head signé Le Brocquy et daté 1960 (en haut à droite) huile sur toile sans cadre: 25 by 30 cm.; 10 by 11 3/4 in. avec cadre: 43 by 49.5 cm.; 17 by 19 1/2 in. Exécuté en 1960.

                Sotheby's
              • Louis Le Brocquy HRHA (1916 - 2012) Head Lithograph, 54.5 x 40.5cm (21½ x 16) Edition 59/75 Signed
                Mar. 27, 2024

                Louis Le Brocquy HRHA (1916 - 2012) Head Lithograph, 54.5 x 40.5cm (21½ x 16) Edition 59/75 Signed

                Est: €1,000 - €1,500

                Louis Le Brocquy HRHA (1916 - 2012) Head Lithograph, 54.5 x 40.5cm (21½ x 16) Edition 59/75 Signed

                Adam's
              • Louis le Brocquy HRHA (1916-2012) Study towards an Image of W.B. Yeats (53) Etching, 49.5 x 44cm; sheet 75 x 55.5cm (29½ x 22'') Signed and dated 1975 Artist's proof 10/21 Provenance: With The Dawson Gallery, Dublin, label verso
                Mar. 27, 2024

                Louis le Brocquy HRHA (1916-2012) Study towards an Image of W.B. Yeats (53) Etching, 49.5 x 44cm; sheet 75 x 55.5cm (29½ x 22'') Signed and dated 1975 Artist's proof 10/21 Provenance: With The Dawson Gallery, Dublin, label verso

                Est: €1,500 - €2,000

                Louis le Brocquy HRHA (1916-2012) Study towards an Image of W.B. Yeats (53) Etching, 49.5 x 44cm; sheet 75 x 55.5cm (29½ x 22'') Signed and dated 1975 Artist's proof 10/21 Provenance: With The Dawson Gallery, Dublin, label verso

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) Being (W1372), 1997 Watercolour, 61 x 46cm (24 x 18) Signed and dated (19)'97 Provenance: With Taylor Galleries, Dublin, label verso
                Mar. 27, 2024

                Louis Le Brocquy HRHA (1916-2012) Being (W1372), 1997 Watercolour, 61 x 46cm (24 x 18) Signed and dated (19)'97 Provenance: With Taylor Galleries, Dublin, label verso

                Est: €10,000 - €15,000

                Louis Le Brocquy HRHA (1916-2012) Being (W1372), 1997 Watercolour, 61 x 46cm (24 x 18) Signed and dated (19)'97 Provenance: With Taylor Galleries, Dublin, label verso

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) Being (W1401), 1998 Watercolour, 61 x 46cm (24 x 18) Signed Provenance: With Taylor Galleries, Dublin, Label Verso From about the mid-1950s onwards, the individual human figure, conceived as a Pres
                Mar. 27, 2024

                Louis Le Brocquy HRHA (1916-2012) Being (W1401), 1998 Watercolour, 61 x 46cm (24 x 18) Signed Provenance: With Taylor Galleries, Dublin, Label Verso From about the mid-1950s onwards, the individual human figure, conceived as a Pres

                Est: €10,000 - €15,000

                Louis Le Brocquy HRHA (1916-2012) Being (W1401), 1998 Watercolour, 61 x 46cm (24 x 18) Signed Provenance: With Taylor Galleries, Dublin, Label Verso From about the mid-1950s onwards, the individual human figure, conceived as a Presence, an isolated consciousness, has been at the heart of Louis le Brocquy’s work. In terms of the artistic tradition from which he emerged, that is unusual. All the more so given that, while previously he had made studies of individual figures (often children), he was more likely to paint compositions involving multiple figures. These works focussed intently on the relationships between people, be those relationships familial, amorous or socio-political. Then it is as if he began to zoom in on a single person in the group. He was perhaps prompted by a consideration of individuals who, more than is usual, experienced an enhanced sense of difference and isolation, just as he had earlier been drawn to Travellers as an outsider group in mainstream society. Around this time on a visit to Spain he was struck by the way the brilliant sunlight on whitewashed walls seemed to dissolve the human figure, making of it something ethereal, half-imagined. This idea, of the human presence conjured out of an amorphous ground of time and space, took firm root in his painting. Another significant factor was his developing relationship with the painter Anne Madden, coinciding with a period when she was immobilised by a back injury. It’s notable that he began to address the body as a fragile, living structure in his paintings. All of these things fed into the emergence of the head images that became a longterm preoccupation. Then, from the mid-1990s or so, there is a return to the body as presence in his work. This after a series of works centred on capturing the spirit of a succession of specific creative figures, usually writers, plus some artists and others. His inspiration lay partly in antiquity: the iconic Venue figures, perhaps goddesses, found in various archaeological sites in Europe, including the Laussel Venus, a limestone carving discovered in the Dordogne, which greatly impressed him. Rather than being individual portraits, as with the studies of writers, these works are free to deal with the more general notion of individual consciousness, in the form of the generative female being, embodied but also intangible and mysterious, extending through generations with a kind of immortality. Born in Dublin in 1916, le Brocquy is one of the pre-eminent Irish artists of the 20th century. A central figure in cultural life from the early 1940s, he is celebrated for his numerous, outstanding bodies of work in painting, the graphic arts and tapestry. His work features in numerous public and private collections, Irish and international. Aidan Dunne, February, 2024

                Adam's
              • Louis le Brocquy HRHA (1916-2012) THE TÁIN. THE BEGETTING OF CONCHOBOR, 1969
                Mar. 11, 2024

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. THE BEGETTING OF CONCHOBOR, 1969

                Est: €1,200 - €1,800

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. THE BEGETTING OF CONCHOBOR, 1969 lithographic brush drawing; (no. 45 from an edition of 70) signed, numbered and dated lower right; inscribed on Taylor Galleries label on reverse h:15  w:21 in. Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 45 in the series.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) RECUMBENT FORMS, 1962
                Mar. 11, 2024

                Louis le Brocquy HRHA (1916-2012) RECUMBENT FORMS, 1962

                Est: €3,500 - €4,500

                Louis le Brocquy HRHA (1916-2012) RECUMBENT FORMS, 1962 watercolour signed and dated lower left; with partial Dawson Gallery label on reverse h:5.50  w:7.50 in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE III, 2005
                Mar. 11, 2024

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE III, 2005

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE III, 2005 screenprint; (no. 46 from an edition of 75) signed and numbered in the margin lower left; with typed Fenton Gallery label on reverse h:34  w:25 in. Sheet size: 40 by 29in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) LEMON, 1984
                Mar. 11, 2024

                Louis le Brocquy HRHA (1916-2012) LEMON, 1984

                Est: €12,000 - €15,000

                Louis le Brocquy HRHA (1916-2012) LEMON, 1984 oil on canvas signed with initials and dated lower left h:8.75  w:10.50 in. Provenance: Acquired directly from the artist by the father of the present owner

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969
                Mar. 11, 2024

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969

                Est: €1,500 - €2,000

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969 lithographic brush drawing; (no. 34 from an edition of 70) signed, numbered and dated lower right; inscribed on Taylor Galleries label on reverse h:15  w:21.25 in. Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof.

                Whyte's
              • Louis le Brocquy Portrait of Seamus Heaney Intaglio print 58.5 x 44.5cm (23 x 17½) Signed and numbered 35/75
                Dec. 06, 2023

                Louis le Brocquy Portrait of Seamus Heaney Intaglio print 58.5 x 44.5cm (23 x 17½) Signed and numbered 35/75

                Est: €800 - €1,200

                Louis le Brocquy Portrait of Seamus Heaney Intaglio print 58.5 x 44.5cm (23 x 17½) Signed and numbered 35/75

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) The Táin - The Infant Cú Chulainn Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 1 from Portfolio I Printed in Dublin by Frank O'Reilly
                Dec. 06, 2023

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Infant Cú Chulainn Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 1 from Portfolio I Printed in Dublin by Frank O'Reilly

                Est: €1,000 - €1,500

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Infant Cú Chulainn Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 1 from Portfolio I Printed in Dublin by Frank O'Reilly

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) The Táin - The Birth of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 11 from Portfolio I Printed in Dublin by Frank O'Reilly
                Dec. 06, 2023

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Birth of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 11 from Portfolio I Printed in Dublin by Frank O'Reilly

                Est: €1,000 - €1,500

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Birth of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 11 from Portfolio I Printed in Dublin by Frank O'Reilly

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) The Táin - Metamorphosis Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 10 from Portfolio I Printed in Dublin by Frank O'Reilly
                Dec. 06, 2023

                Louis Le Brocquy HRHA (1916-2012) The Táin - Metamorphosis Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 10 from Portfolio I Printed in Dublin by Frank O'Reilly

                Est: €1,000 - €1,500

                Louis Le Brocquy HRHA (1916-2012) The Táin - Metamorphosis Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 10 from Portfolio I Printed in Dublin by Frank O'Reilly

                Adam's
              • Louis Le Brocquy HRHA (1916-2012) The Táin - The Begetting of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 9 from Portfolio I Printed in Dublin by Frank O'Reilly
                Dec. 06, 2023

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Begetting of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 9 from Portfolio I Printed in Dublin by Frank O'Reilly

                Est: €1,000 - €1,500

                Louis Le Brocquy HRHA (1916-2012) The Táin - The Begetting of Conchobar Lithographic brush drawing, 54 x 38cm (21.4 x 15'') Signed, dated 1969 and numbered 33/70; No. 9 from Portfolio I Printed in Dublin by Frank O'Reilly

                Adam's
              • Louis le Brocquy HRHA (1916-2012) CHILDREN IN A WOOD, 1991
                Dec. 04, 2023

                Louis le Brocquy HRHA (1916-2012) CHILDREN IN A WOOD, 1991

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) CHILDREN IN A WOOD, 1991 lithograph; (no. 28 from an edition of 75) signed and numbered lower right h:20  w:25.50 in. Provenance: Taylor Galleries, Dublin, 1991; Private collection; Adam's, 14 December 2004, lot 36; Private collection

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989
                Dec. 04, 2023

                Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989

                Est: €2,500 - €3,500

                Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989 lithograph on Japanese paper; (no. 14 from an edition of 29) signed, dated and numbered in pencil lower right h:27  w:20 in. Provenance: Dyehouse Gallery, Waterford; Private collection; Adam's, 14 December 2004, lot 100; Private collection

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE XII, 2005
                Dec. 04, 2023

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE XII, 2005

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE XII, 2005 screenprint on Velin d'Arches; (no. 49 from an edition of 75) signed, dated and numbered lower right h:40  w:28.25 in.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) THE TÁIN. WOMEN WATCHING, 1969
                Dec. 04, 2023

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. WOMEN WATCHING, 1969

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. WOMEN WATCHING, 1969 lithographic brush drawing; (no. 38 from an edition of 70) signed, dated and numbered lower left; titled on Peppercanister Gallery label on reverse h:14.50  w:20.75 in. Provenance: Peppercanister Gallery, Dublin; Private collection Exhibited: 'Louis le Brocquy', Peppercanister Gallery, Dublin, 22 September to 12 October 2005 Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 7 in the series.

                Whyte's
              • Louis le Brocquy HRHA (1916-2012) THE TÁIN. CHARIOTS, 1969
                Dec. 04, 2023

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. CHARIOTS, 1969

                Est: €2,000 - €3,000

                Louis le Brocquy HRHA (1916-2012) THE TÁIN. CHARIOTS, 1969 lithographic brush drawing; (no. 49 from an edition of 70) signed, dated and numbered lower left h:21  w:15 in. Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 23 in the series.

                Whyte's
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