IRISH ART AUCTION by de Veres Art Auctions

Irish Art Auction Tuesday, 27th November 2012 TUESDAY, 27th November 2012

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305 info@deveres.ie www.deveres.ie

www.deveres.ie

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie Catalogue enquiries: Ali Roche info@deveres.ie

Aisling T贸th Associate Director info@deveres.ie

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Auction:

Tuesday, 27th November at 6pm.

Venue: The Clyde Court Hotel (formerly The Berkeley Court Hotel), Lansdowne Rd, Dublin 4. On View: Sunday 25th November 11am-5pm Monday 26th November 9am-7pm Tuesday 27th November 9am-3pm Please note there is no Saturday viewing. Contact:

087 2934439 / 087 9787396 (viewing times only).

COLLECTION: Clyde Court Hotel, Wednesday 28th, 9am-1pm. FEES: 19Â˝% plus VAT (23.985%) de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at: the-saleroom.com

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Front Cover: 15 Jack

B. Yeats RHA 1871-1957 SAFE HARBOUR (1946) Inside Front Cover: 27 Jack B. Yeats RHA 1871-1957 THE NIGHT HAS GONE Inside Back Cover: 20 Louis le Brocquy HRHA 1916-2012 DISTANT IMAGE Back Cover: 23

Mainie Jellet 1897-1944 ABSTRACT COMPOSITION

1 Eva Henrietta Hamilton 1876-1690 CATTLE GRAZING Oil on canvas board, 9¼” x 13” (23.5cm x 33cm), signed verso.

€2,000 – 3,000

2 Nathaniel Hone RHA 1831-1917 A CONTENTED COW Oil on canvas board, 11¾” x 17” (30 x 43cm).

€3,000 – 5,000 5

3 Maurice MacGonigal PPRHA, 1900-1979 ACHILL ISLAND FARMSTEAD (c.1925) Oil on board, 14” x 18” (35.5 x 45.5cm), signed. This early work probably depicts Achill Island in the late 1920s. It was possibly one that was intended for the Sarostat Éireann handbook, edited by Bulmer Hobson, who had commissioned quite a number of artists to illustrate those volumes he was editing and producing for the ‘Free State’ (as it was at the time).

any thanks to Ciarán MacGonigal for his assistance in cataloguing M this work.

Est. €4,000 – 6,000

4 Basil Blackshaw HRHA RUA b.1932 STORMY LANDSCAPE Oil on card, 8” x 9½” (20cm x 24cm), signed. Est. €1,000 – 1,500

5 Neil Shawcross RUA ARHA b.1940 CLOUDY BAY Mixed media on board, 12” x 10” (30cm x 25cm), signed and dated, 2005.

Est. €1,000 – 2,000 7

6 Colin Davidson b.1968 SEATED NUDE 2004 Oil on canvas, 20” x 18” (51cm x 46cm), signed; signed, inscribed and dated verso.

Provenance: Kerlin Gallery (label verso).

Est. €2,000 – 4,000

7 Charles Brady HRHA 1926-1997 CREAM CAKES Oil on canvas, 12” x 18½” (30.5cm x 47cm), signed.

Provenance: Grant Fine Art; Private Collection, Dublin.

Est. €2,500 – 3,500

8 Felim Egan b.1952 UNTITLED Acrylic and mixed media on canvas, 36” x 36” (91.5 x 91.5cm), signed and dated 2010 verso.

Est. €3,000 – 5,000

9 Sean McSweeney HRHA b. 1935 KELLY’S BOG 1986 Oil on board, 24” x 17” (61cm x 43cm), signed and dated; signed and inscribed verso.

Est. €3,000 – 4,000

10 Norah McGuinness HRHA, 1901-1980 MENDING THE NETS Oil on canvas, 20” x 24” (51 x 61cm), signed.

Provenance: The Dawson Gallery, Dublin (label verso); Corporate Collection, Dublin.

From the time she entered the Dublin Metropolitan School of Art in 1921 having won a three year scholarship, McGuinness was assured success as an artist. In 1924 she exhibited her first painting at the RHA at the tender age of 23. Throughout her life she excelled not only as a landscape painter but also in the fields of design and illustration. In 1929, following the break-up of her marriage, she went off to study in Paris under Andre L’Hote, she came back to settle in London and exhibited widely. In 1940 she returned to Ireland. She went on to exhibit with Victor Waddington and was to become a founding member of the Irish Exhibition of Living Art in 1943. In 1950 she was chosen to represent Ireland in the Venice Biennale. Harbour scenes, the Irish landscape in all seasons, were favourite subject matter. This particular painting shows McGuinness at her very best.

Est. €10,000 – 15,000

11 Patrick Collins HRHA 1910-1994 ACHILL COAST, 1984 Oil on canvas, 16” x 20” (41cm x 51cm), signed and dated.

Provenance: Tom Caldwell Gallery (label verso).

I was lucky enough to know Collins after he returned to Ireland from France in the early 1980s. I was given the job of trying to find an apartment for him in Dublin. Things were chaotic in his life at this time and money troubles etc. made life difficult, yet when in the mood Collins could paint in a truly magical way. Noted art critic Frances Ruane, was taken by the quality of Collins’ work at an early stage and she worked very hard to get him the recognition he so richly deserved. Another art critic, Brian O’Doherty, described his art as ”perilous and strange; the product of a rare imagination”. A perfect description. John de Vere White

Est. €4,000 – 6,000

12 Camille Souter HRHA b.1919 QUIET SNOW IN STEPHEN’S GREEN Oil on paper, laid on board, 15¹/8” x 17¾” (38.5cm x 45cm), signed and dated 1978.

Provenance: Taylor Galleries, Dublin.

Exhibited: Dublin, Taylor Galleries, Oireachtas Exhibition, 5th - 30th September 1978 (label verso). Camille Souter is far from prolific; her output is small because she is so scrupulous about quality. Unlike so many other artists, she recognises that not everything a painter creates is of the same standard and she chooses to let out only her very best work. However, even among this exceptional body of paintings there are magical ones that epitomise Souter’s delight in what she sees, paintings like Quiet Snow in Stephen’s Green. It captures the feeling of physically being there: the crisp coldness against the skin, the brilliant whiteness against the eyes but, more importantly, the transformation of the normally busy Stephen’s Green into a private, solitary space where ‘quiet’ is made palpable. Souter is often called ‘a painter’s painter’ and the reason for this is evident here, where her treatment of snow demonstrates her innate feel for the most subtle variations of colour and light. She layers paint, animating the surface with glimpses of the underlying colour. The whole effect is of a lightness and liveliness of touch and of a luminous transparency that is perfectly matched to the subject. Ms Frances Ruane

Est. €14,000 – 18,000

13 John Shinnors b. 1950 KITE SERIES Oil on board, 26” x 27” (66cm x 68.5cm), signed; signed and inscribed verso. Est. €4,000 – 6,000

14 Camille Souter HRHA b. 1929 GUTTED COD Oil on paper, 14” x 19” (35.5cm x 48cm), signed and dated 1976. Literature: ‘Camille Souter: The Mirror In The Sea’ by Garrett Cormican (Cat No.338, illus p.292) Exhibited: The Dawson Gallery, 22 June – 9 July, 1977, (Cat No. 2); The Douglas Hyde Gallery: ”Camille Souter” 8 June-9July 1980, (Cat No. 2); ‘Six Artists from Ireland’: European touring exhibition, organised by The Arts Council and Dept. Foreign Affairs, 1983, Cat. No 52 (illus. p. 48). Provenance: The Dawson Gallery, Dublin (label verso) where purchased by the present owner who writes: ”I was in the The Dawson Gallery when Camille brought the works in to Leo Smith and I immediately put my name on this one – the first sold. Basil Goulding told me that he would love to have bought it himself but ended up with another one anyway.” Est. €4,000 – 6,000

15 Jack B. Yeats RHA 1871-1957 SAFE HARBOUR (1946) Oil on canvas, 14” x 18” (35.5 x 46), signed bottom right. Exhibited: 1975 London. Literature: Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle , No. 766, page 690, Vol II. Provenance: Sold through the Victor Waddington Galleries, Dublin to Captain A. T. Lee in 1946. Then at James Adams Auctions in Dublin in 1974 (Lot no: 46 – Illustrated in the sale catalogue) and then by Victor Waddington, to a Private Collector in Switzerland, from his exhibition in London in 1975 illustrated in his catalogue (27 February – 22nd March 1975) as No: 11; Theo Waddington, London (label verso); Private Collection, Dublin. A boy sails a boat in a pool (water trough) while his mother walks on the shore, her hair blowing in the wind. A charming oil which reflects Jack B Yeats’ love of toy boats and his yearning for the sea. (A Little Fleet... etc.)

€80,000 – 120,000

16 Tony O’Malley HRHA 1913-2003 COLLAGE PALE SPRING, 1963 Mixed Media, 10” x 14” (25.5cm x 35.5cm) signed with initials and dated 3/63; inscribed label verso and numbered, 2005.

Est. €1,400 – 1,800

17 Tony O’Malley HRHA 1913-2003 STILL LIFE Mixed media, 12” x 15” (30.5cm x 38cm), signed with initials and dated 1951.

Provenance: Jorgensen Fine Art.

Est. €1,500 – 2,000 20

18 Barbara Warren RHA b.1925 MEMORY OF ACHILL Oil on linen, 15¾” x 19¼” (40cm x 49cm), signed.

Est. €1,400 – 1,800

19 Sean Fingleton Contemporary THE LANE, FARESETEMORE Oil on linen, 18” x 24” (46cm x 61cm), signed and dated 1988.

Provenance: Taylor Galleries (label verso).

Est. €700 – 1,000 21

20 Louis le Brocquy HRHA 1916-2012 DISTANT IMAGE Oil on canvas, 57½” x 57½” (146cm x 146cm), signed and dated 1971 verso, Opus No. 297. Exhibited: Gimpel Fils Gallery, London October 1974. Cat No. 16 (label verso). Lunds Konsthall arranged by The Arts Council of Northern Ireland (label verso). Irish Museum of Modern Art, Louis Le Brocquy 1939-1996, October 1996-February 1997. In the late 60’s and early 70’s, Irish art was going through a pivotal change, and Louis Le Brocquy was an integral part of this changing landscape. In the early 1960’s le Brocquy was going through a difficult time, much like a writer who has experienced ‘writers block’. In 1964, he visited the Musée de l’Homme, where he saw ancestral Polynesian clay skull heads with cowrie shells for eyes. These heads were similar to the Celtic head, the embodiment of the human being, which sparked an interest in Celtic art and culture unleashing a flood of ideas and conjuring up the artist’s vivid sense of loneliness of the Paleolithic man, lacking any known past and therefore any conception of his future. In 1969, Northern Ireland was rocked by intense political and sectarian rioting which developed into the” Troubles.” Le Brocquy’s terrified heads of the early 70’s express this horror with a hand turned palm outwards ordering a halt to this sustained war Executed in 1970, ”Distant image” with others of similar themes ”Northern Image, 1971”(private collection) depict the anguish and suffering of the people in Northern Ireland. In ”Distant Image”, the effect of a face emerging slowly in the distance within two delineated squares evokes different emotions from each viewer. In the peering head, dappled red and blue pigment in the outstretched hand and cheekbones add drama to the floating image. The ghostly head is a human form with it’s flickering of flesh colour, isolated in a cloudy substance, eyes tight shut, mouth open aghast, as if suspended, perhaps trapped, perhaps blinded by a watery mist. The viewer waits for the mist to pass, for the face to change to a warmer skin tone, for the palm to turn and beckon us in a welcoming gesture, and in doing so, perhaps the image will submerge complete with eyes wide open, mouth smiling. In 1981, Dorothy Walker wrote a biography of the artist, and Le Brocquy spoke about his head series ”For over fifteen years I have tried to draw from the depths of paper, or from the white canvas, a human face. As I have remarked, this quiet activity has little to do with communication or with self-expression for that matter. It aims rather to make visible, a lurking image, to identify, to name some trace or aspect of reality…” (quoted by Dorothy Walker, a Biography, 1981 published by Ward River Press, p.146) There is no doubt that this is a major work by one of Ireland’s most distinguished artists.

€50,000 – 70,000

21 William Crozier RHA 1930-2011 THE BOG FIELD Oil on canvas, 18” x 20” (46 x 51cm), signed; signed and inscribed verso.

€2000 – 3000

22 Charles Brady HRHA 1926-1997 WHITE ENVELOPE Oil on linen, 10” x 19” (25.5 x 48cm), signed.

€2,500 – 3,500

23 Mainie Jellet 1897-1944 ABSTRACT COMPOSITION Oil on canvas, 36” x 28” (91.5 x 71cm).

Provenance: Sothebys Irish Art Sale, 11th May, 2006 (lot 104).

Executed circa 1929. Jellett had studied with both Andrè L’hote and Albert Gleizes in the early 1920s and their influence is apparent in the combination of bold colour and abstract form in the present work. The curved forms are closely related to Jellett’s series of cubist works based on the Mother and Child theme and also demonstrate her knowledge of Gleizes’s principal of ‘translation’ and ‘rotation’. During the 1920s, she developed compositions from those with a single element rotated on a single axis to more complex compositions with rotations of seven and eight elements. Est. €30,000 – 50,000

24 Colin Middleton RHA RUA, 1910-1983 THE BRIDE Oil on canvas, 24” x 20” (61 x 51cm), signed and dated 1938. Provenance: Christies Irish Art Sale, 12th May, 2006 (lot 106), which catalogue entry read: Middleton commented that, ‘you could say that in the 1930s I was the only surrealist painter working in Ireland’ (quoted in Exhibition catalogue, Colin Middleton: A Millennium Appreciation, Belfast, Eastwood Gallery, 2000, p. 74). He produced a fascinating body of work that was related to European trends of Surrealism but on which Middleton was able to stamp his own distinct mark. He was familiar with the work of English Surrealists including Paul Nash and Tristram Hillier and the influences of other artists, including Dali and de Chirico, are apparent in Middleton’s work. He was also affected by the worsening political climate in Europe in the 1930s and the present work, as was another painting of the same title (Collection of George and Maura McClelland at the Irish Museum of Modern Art), was painted as a reaction to the Spanish Civil War (see The Hunter Gatherer: The Collection of George and Maura McClelland at the Irish Museum of Modern Art, London, 2005, p. 68, no. 57). Dickon Hall (Colin Middleton: A Study, 2001, p. 18) comments, ‘There is no single manner that dominates Middleton’s surrealist paintings, but there are hallmarks that run through much of this work. The frequent use of the female nude is typical of European surrealism (and seems to be distinct from Middleton’s later interpretation of the female archetype)... but Middleton’s surrealism is not as derivative or irrelevant as is often suggested. Visually it is immediately reminiscent of mainstream European surrealist painting of the pre-war era, but in its content and consistency it comes closer at times to a highly personal and passionate symbolism’. Est. €25,000 – 35,000

25 Basil Ivan Rakoczi 1908-1979 WHISKEY AND LULU Oil on canvas, 32” x 25½” (81 x 65cm), signed and dated 1966; inscribed verso. Basil Ivan Rákoczi (1908-1978) was born in London to a Hungarian father and an Irish mother who came from Cork. Rákoczi took a childhood interest in painting and went on to receive formal training at the Brighton School of Art and at the Academie de la Grand Chamiere in Paris. With a fellow artist Kenneth Hall, Rákoczi founded the White Stag Group. They painted works they described as ”subjective” and exhibited at No. 8 Fitzroy Street, London. The two friends, both pacifists, came to Ireland at the outbreak of the War in 1939. They rented a cottage at Delphi in county Mayo. In 1940 they returned to Dublin and from no. 6 Lower Baggot Street, under the banner of the White Stag Group, they held several exhibitions. Other artists involved in their exhibitions included Evie Hone, Mainie Jellet and Patrick Scott. Rákoczi left Ireland in 1946 and eventually settled in Paris. From Paris he exhibited in Ireland on many occasions including twenty six works at the Irish Exhibition of Living Art. He was a highly talented artist with a totally original style.

See Theo Snoddy, ‘Dictionary of Irish Artists’ p. 549-550

€6,000 – 9,000 30

26 Basil Ivan Rakoczi 1908-1979 THE DRUNKEN MOUSSE (1973) Oil on canvas, 25” x 31” (63.5 x 79cm) signed and dated 1973; signed, inscribed and dated 1973 verso.

€3,000 – 5,000

27 Jack B. Yeats RHA 1871-1957 THE NIGHT HAS GONE (1947) Oil on canvas, 18” x 24” (46cm x 61cm), signed. Literature: Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle, No 876, page 791, Vol II Exhibited: Dublin 1947 (no: 9); Leeds (Temple Newsham House loan exhibition) 1948; Tate Gallery Retrospective, 1948 (no:78). Provenance: It was bought by Miss Helen McMahon at the exhibition in Dublin in 1947 and loaned by her to the Leeds Exhibition and at the Tate Gallery. It was acquired by Mrs Gertrude Fuerring in New York thereafter; Private Collection, Belfast; Private Collection, Dublin This is one of a series of important paintings that Jack B Yeats executed after the death of his wife Cottie in April 1947. This painting was finished in June 1947 and is directly ‘related’ to his two great paintings ”There is no night” and ”The great tent has collapsed” all of which was when he was experiencing deep and irreplaceable loss and the fortitude required to meet it. The Artist walks alone in the landscape, his head surrounded by the night sky above the low horizon. But the night is rolling away, and the light is breaking out in the east.

€150,000 – 200,000

28 Nevill Johnson RHA 1911-1999 THE WALL Oil on canvas, 16” x 20” (40.5 x 51cm), signed with initials. Probably painted at the very end of the 1940’s, ‘The Wall’ appears to have been included in one of the solo or group exhibitions organised by Johnson’s Dublin dealer, Victor Waddington, in the USA during this period and does not appear in the catalogues for his Dublin exhibitions. The emotional weight and resonance of Johnson’s post-war paintings had by this period been distilled into a detached wit that informed his vision of the world. There is initially an effect of simplicity in the painting’s construction, exactly-painted flat brick wall set against sky, yet as with much of Johnson’s early work, it contains unsettling elements. This dour flatness is disrupted by the tantalising butterfly that has alighted on the wall; as we examine it, the world of weeds and mud on top of the wall becomes clearer and is clarified as an equally crucial part of the painting. It presents a withered landscape of its own that is reminiscent of the post-atomic wildernesses of Johnson’s mid-1940’s work; above it towers a grim industrial chimney that belongs to the soulless modern world of conformity that Johnson despised. ‘The Wall’ clarifies in many ways Johnson’s belief in a beauty and individualism expressed by the butterfly that, however fragile, still exists in defiance of the dehumanised and rigid society that appears to be the dominant force in the world.

Est. €3,000 – 5,000

29 Sean McSweeney HRHA b. 1935 EVENING BOG Oil on board, 14” x 18” (35.5cm x 45.5cm), signed and dated ‘88; inscribed signed and dated verso. Est. €2,000 – 4,000

30 Nancy Wynne Jones HRHA b.1922 OLD STONE BARNS, 1952 Oil on paper, 11½” x 16” (29cm x 40.5cm), signed; inscribed label verso.

Provenance: Carroll Gallery, Longford.

Est. €800 – 1,200 35

31 Barbara Warren RHA b.1925 SUMMER DAY, GALWAY Oil on linen, 17¼” x 13¾” (44cm x 35cm), signed.

32 Grace Henry HRHA 1868-1953 SAILING BOATS AT CHIOGGIA, VENICE Oil on canvas, 14” x 10½” (35.5 x 26.5cm), signed. Est. €2,000 – 4,000

Est. €1,500 – 2,000

33 Charles Brady HRHA 1926-1997 THATCH COTTAGE Oil on canvas, 8½” x 10½” (21.5cm x 26.5cm), signed.

34 John Behan RHA b.1938 CHILDREN OF LIR Bronze, 17¼” high (44 cm).

€2,000 – 3,000

35 Basil Blackshaw HRHA RUA b.1932 YELLOW FLOWER Oil on newsprint, 10” x 7½” (25cm x 19cm), signed; signed and inscribed verso.

36 Tony O’Malley HRHA 1913-2003 FONTANA DEL FUEGO, 1983 Mixed media, 16½” x 11½” (42cm x 29cm), signed with initials, inscribed and dated 3/88.

Provenance: Taylor Galleries (label verso).

Est. €2,000 – 3,000

Est. €1,000 – 1,500

37 Markey Robinson 1918-1999 SHAWLIES AT NIGHT Gouache on board, 30” x 21” (76 x 53cm), signed.

38 Markey Robinson 1918-1999 NIGHT STILL LIFE Gouache on board, 30” x 21” (76 x 53cm), signed.

Est. €1,500 – 2,500

39 Jack B. Yeats RHA 1871-1957 A LAMENT (1930) Oil on canvas, 18” x 24” (46cm x 61cm), signed, inscribed verso. Exhibited: 1931 Dublin (6); 1945 Dublin National Loan(74); 1961 Greenwich (3); 1965 Massachusetts (6); 1972 Wisconsin (2). Provenance: Sold in 1944, through Victor Waddington Galleries, to Mrs. E. O’Malley, later Mrs Helen Hooker Roelofs, Greenwich (Conn.); donated in 1979 to the Irish American Cultural Institute in memory of the late Ernie O’Malley; on long term loan to the Irish Museum of Modern Art, 1990; de Veres Art Auction, 16th April, 2002 (lot 140), where purchased by the present owner and which catalogue entry read: ‘The painting was accepted by the Goupil Salon for their autumn exhibition in 1930, but withdrawn by the artist as it was badly hung’ - Jack B.Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle, No 421, page 380, Vol I. A Lament was painted in 1930 and was intended by Jack B. Yeats for exhibition at a group show in the Goupil Galleries, in London. The hanging of the painting displeased him and he withdrew it. He exhibited it the following spring at the Engineers’ Hall in Dublin. It was noted favourably by the Dublin Evening Mail art critic who described it as ”a wonderful impression of a Dublin funeral against a background of gaily-covered hoardings”. Helen O’Malley, wife of Ernie O’Malley, bought the painting in 1944 and recorded her notes: ”Proscribed funeral procession of Republican leader Harry Boland. Seventy five thousand citizens stood silent in the rain in defiance of proscription by British Government”. [In fact it was the Free State Government.] Helen O’Malley bought the painting in 1944 for one hundred pounds from Victor Waddington. By that time she and her husband knew Jack Yeats. Her view of the picture and her notes on it may have been informed by the information from both men. Jack Yeats painted his substantive depiction of the event, The Funeral of Harry Boland, in 1922 from sketches taken by himself in Glasnevin Cemetery. All photography was banned and the artist claimed that his was the only visual record of the graveside ceremony. A Lament depicts a funeral passing through the streets of Dublin and is more a ”memory painting”. It is also totally different in style, full of colour and movement, and very much a street scene with the backdrop of posters. The 1931 Engineers’ Hall exhibition was widely covered by the press and came at a positive time in the artist’s career. The harsh criticism his new impressionist style had attracted in the late 1920’s had been replaced by more widespread acceptance. Probably more important was the huge and favourable critical impact, particularly in Britain, of his book, Sligo. Critics did still refer to Jack Yeats wielding ”a wicked brush making the pigment fly wildly this way and that,” and of his playing ”wildly with his paint” in contrast with the more sober style of other artists. But the year was a high point in a career that had more than its share of setbacks and disillusionment. One critic referred to the Yeats brothers as ”the older giants” and said of Jack ”he strides vaguely round Dublin and paints pictures, which are more genuinely modern than those of the youngest graduate from the school of Art, and certainly more interesting.” The painting was shown in the 1945 National Loan Exhibition. This was the only other occasion on which the picture was exhibited during the artist’s lifetime. Ernie O’Malley, who had the painting in the family at the time, wrote the Introduction to the catalogue. He said: ”He has used the funeral or burial as a symbol. The death of a man who has suffered in the national fight has often been one of the few public tributes that a people could give to one whom some of them recognised only in death. A sense of ceremonial, which had seemed to disappear from consciousness, would emerge and an impressive ordered intensity show understanding and devotion. The memory of the dead has changed its meaning when seen as a political artifice, or has become outworn in verbal misuse, but in Jack Yeats's pictures it holds an eternal significance.” Bruce Arnold March 2002

€150,000 – 200,000

40 Norah McGuinness HRHA, 1901-1980 THE BLACK SWAN Oil on canvas, 24” x 30” (61 x 76cm), signed.

Provenance: The Dawson Gallery, Dublin (label verso).

Est. €7,000 – 10,000

41 Alexey Krasnovsky Contemporary APPLE AND PEAR Oil on canvas, 9½” x 13½” (24cm x 34cm), signed; inscribed verso.

Provenance: Peppercannister Gallery, Christmas Sale, 2001.

Est. €600 – 900

42 Charles Brady HRHA 1926-1997 PYRANESE DOG BELL Oil on linen, 10” x 14” (25.5cm x 35.5cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €1,400 – 1,800 43

43 William Percy French 1854-1920 THE BOG OF ALLEN Watercolour, 6” x 9”(15 x 23cm), signed, inscribed verso. Est. €2,000 – 3,000

44 James le Jeune RHA, 1910-1983 THE POLO MATCH, PHOENIX PARK Oil on canvas board, 12” x 18” (30.5 x 46cm), signed.

Est. €2,000 – 3,000 44

45 Daniel O’Neill 1920-1974 AN EARLY MEMORY Oil on board, 20” x 27” (51 x 68.5cm), signed; inscribed verso.

Provenance: The Irish Sale, Sotheby’s, 2007

Daniel O’Neill remained a romantic painter throughout his life and works such as ‘An Early Memory’ seem to create a place with a less tangible physical existence. The title suggests that the artist’s recall of this landscape is only achieved through his memory of it and the manner in which he experienced it as a child. Forms are loosely suggested in the imperceptible light of dawn or dusk, so that we share the artist’s own memory and perhaps the child’s vague conception of events and lack of understanding of them. There are implied connections between the figures in the foreground and the boat near them and perhaps also between the two boats, but events and their meaning are left ambiguous. It is impossible to ignore echoes of Jack Butler Yeats in this work, with whose work O’Neill would undoubtedly have become familiar through his professional connection with Victor Waddington. Dickon Hall, 2012

Est. €4,000 – 6,000

45A William Mason 1906-2002 SAND AND SEA Oil on canvas, 24” x 30” (61 x 76cm), signed and dated 1962, inscribed verso.

€1,000 – 2,000

46 William Crozier RHA 1930-2011 INTERIOR, KILCOE (2007) Oil on canvas, 28” x 36” (71 x 91.5cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

€8,000 – 12,000

47 Charles Tyrell b.1950 SHADOWLINES VII, (1998) Oil on canvas over timber, 48” X 48” (122 x 122cm), signed on right side of canvas and also signed verso. This painting comes from a series of paintings called Shadowlines. Aidan Dunne spoke of Tyrrell’s painting of this time as follows: To say that the paintings resist interpretation should not be taken to mean that the painter is against them being understood. It’s more a question of the level at which he believes that they can be understood, the level at which he believes they can function. In this regard they are certainly about their refusal to be pinned down in terms of meaning. That is, they are about something that cannot quite be depicted, though they continually approach depiction.

This painting was first exhibited in Charles Tyrrell’s second solo exhibition with Austin/ Desmond Fine Art, London, May-June 1998.

It subsequently was exhibited in Ten Years, the artist’s ten year retrospective at the Royal Hibernian Academy, November 2000 - January 2001.

Est. €4,000 – 6,000 47

48 Mainie Jellet 1897-1944 STILL LIFE Oil on canvas, 18½” x 15” (47 x 38cm), inscribed artist’s label verso.

Provenance: Private Collection, Dublin.

Est. €3,000 – 5,000

49 Maurice MacGonigal PPRHA 1900-1979 CURRACHS, CONNEMARA Oil on board, 6½” x 13½” (16.5 x 34cm), signed.

Est. €1,400 – 1,800

50 Peter Collis RHA 1929-2012 FARM ROAD AND OLD HOUSE Oil on canvas, 15” x 16” (38cm x 41cm), signed with initials (label verso).

Est. €1,000 – 1,500 49

51 Jack B. Yeats RHA 1871-1957 FRESH HORSES (c. 1914) Oil on board, 14” x 9” (35.5 x 23cm), signed, inscribed verso. Exhibited: 1914 London (25); 1917 London Allied Artists; 1918 Dublin (13); 1965 London (1). Provenance: Sold by the artist to L. Smith, 1946, later R MacGonigal, Dublin. Later sold by Victor Waddinon, London, 1965. Also Peter O’Toole, London and Waddington Galleries, London (various labels verso). Literature: Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle, No 91, page 78, Vol I, where she writes: ‘An ostler holding the heads of two skittish horses in the darkness. His scarf and the harness catch the light. This oil was developed from a sketch in one of Yeat’s Belmullet notebooks (sketchbook 101; Sligo Museum), which has the inscription ‘Changing horses on the way to Belmullet’. Yeats and Synge travelled by mail car – a long car – to Belmullet in July 1905. The painting may be earlier than 1914, with its firmly worked single figure and night lighting being closer to compositions of 1911-12 (27, 39). The trip with Synge imprinted itself firmly on Yeat’s memory, and he recalled incidents from it at intervals’.

€40,000 – 60,000

52 Sir John Lavery RA, RHA, RSA (1856-1941) PORTRAIT STUDIES OF MICHAEL COLLINS AND ARTHUR GRIFFITH Lithographs each 17” x 13¼” (43 x 34cm), each signed by the artist and the sitter. Published by Wilson Hartnell & Co. Publishers, Dublin. In 1921, Lavery painted portraits of both Collins and Griffith while they were in London negotiating terms of the Irish Treaty. Within months of their portraits being finished both men were dead; Griffith of a heart attack and Collins asassinated two weeks later. The present pair of lithographs are based on the pair of oil portraits that now hang in The Hugh Lane Municipal Gallery of Modern Art, Dublin.

€3,000 – 5,000

53 Jack Butler Yeats RHA, 1871-1957 THE BOLTER Watercolour, 10½” x 14” (26.75cm x 35.75cm), signed.

Provenance: Dawson Gallery, Dublin (label inscribed verso); Private Collection Dublin.

Literature: ”Jack. B Yeats - His Watercolours Drawings and Pastels” by Hilary Pyle. No. 322, (pg. 101). Exhibited: 1901 Dublin (No.23) ”A riderless horse flies through the landscape, hailed by men waving their hats from a wall in the background, where there are drooping flags and whiskey tents.” Est. €14,000 – 18,000

54 Tony O’Malley HRHA 1913-2003 SUMMER LINES,1988 Oil and collage on board, 20” x 7” (51cm x 18cm), inscribed and numbered 1356 verso. Provenance: Taylor Galleries Oct 90 Exhibition (label verso). Est. €2,000 – 3,000

55 Basil Blackshaw HRHA RUA b. 1932 YELLOW HILL Mixed media on paper, 17” x 21½” (43cm x 54.5cm), signed; inscribed and signed verso. Est. €2,000 – 3,000

56 No Lot

57 Mainie Jellett 1897-1944 ABSTRACT COMPOSITION Gouache, 9” x 4½” (23cm x 11.5cm). Est. €1,400 – 1,800

58 Evie Hone HRHA 1894-1955 DESIGN FOR A STAINED GLASS WINDOW: ONE THREE LIGHT APPARITION AT FATIMA – ST MARYS PARISH CHURCH, KINGSCOURT, CO CAVAN Gouache, 15” x 10½” (38 x 27cm), signed.

Provenance: The Dawson Gallery, Dublin (label verso).

€1000 – 1500

59 Sean McSweeney HRHA b.1935 YELLOW BOGLAND Oil on board, 14” x 17¾” (35.5cm x 45cm), signed and dated ’88; signed and inscribed verso. Est. €2,000 – 3,000 55

60 Cecil King 1921-1985 BREACH Oil on canvas, 27” x 20” (68.5 x 51cm), signed, inscribed and dated 1973 verso. Provenance: The David Hendriks Gallery, Dublin, February 1974 (label verso). Est. €1,000 – 1,500

61 Felim Egan b.1952 STRAND NOTE 02 C Acrylic and mixed media on canvas, 18¾” x 18¾” (48 x 48cm), signed and dated 2002 verso.

62 Felim Egan b.1952 STRAND NOTE 02 A Acrylic and mixed media on wood, 18¾” x 18¾” (48 x 48cm), signed and dated 2002 verso.

Est. €1,000 – 1,500

Est. €1,000 – 1,500 56

63 Theo McNab b.1940 ROOMS Acrylic on canvas, 18” x 11” (46 x 28cm). Provenance: The David Hendriks Gallery, Dublin, November, 1976 (label verso). Est. €400 - 600

64 Mary Fitzgerald Contemporary CROSS REFERENCE 4 Oil, pastel, charcoal on four canvasses, 23½” x 23½” (60cm x 60cm), signed.

65 John Shinnors b. 1952 SCARECROW HEAD Mixed media, 12” x 12” (30cm x30cm), signed; inscribed label verso.

Exhibited Oliver Dowling 1988 (label verso).

Est. €800 – 1,200

Est. €500 – 700 57

66 Neil Shawcross RUA ARHA b.1940 TABLE TOP Oil on paper, 23” x 15½” (58.5cm x 39.5cm), signed and dated 1996. Est. €1,500 – 2,000

67 Markey Robinson 1918-1999 FIGURES ON THE ROAD Gouache on board, 6¾” x 12” (17 x 30.5cm), signed.

68 Markey Robinson 1918-1999 GABLES Gouache on board, 8” x 12” (20 x 30.5cm), signed.

Est. €800 – 1,200

Est. €800 – 1,200 58

69 Camille Souter HRHA b. 1929 GUTTED POLLOCK Oil on paper, 14½” x 19½” (37cm x 49.5cm), signed and dated 1976. Literature: ‘Camille Souter: ‘The Mirror In The Sea’ by Garrett Cormican (Cat No.341, illus p.133). Est. €3,000 – 5,000

70 Markey Robinson 1918-1999 STILL LIFE Gouache on board, 8½” X 12” (21.5 x 30.5cm), signed.

71 Markey Robinson 1918-1999 STILL LIFE Gouache on board, 8½” X 12” (21.5 x 30.5cm).

Est. €600 - 900

Est. €600 - 900 59

72 Patrick O’Reilly b.1957 HORSE Bronze, 62” wide x 24” high, including base, signed and dated 2007, unique, with ‘de Gour’ foundry stamp, 1/1 of a series.

€5,000 – 7,000

73 Patrick O’Reilly b.1957 MARIONETTE Bronze, 54½” high x 41½” wide, signed and dated 2007, unique, with ‘de Gour’ foundry stamp, 1/1 of a series.

€4,000 – 6,000

74 Kathlyn O’Brien Contemporary THE DINNER PARTY (2011) Wood, gesso and cutlery, 41” high x 18” square (104 x 46cm). Kathyln is an artist who has slipped under the radar in Ireland. I met her by chance on the canal as we both walked our dogs on cold winter nights. I then became aware of her talents as a sculptor and despite a lengthy and impressive C.V I had not seen her work before. She graduated with 1st class honours in sculpture from Waterford College of Art in 1985. Her work has been exhibited in both China and Poland. She has been invited to exhibit at the RHA on numerous occasions and has received several impressive reviews from Aidan Dunne and Catherine Marshall and Frances Ruane. I am delighted to offer these two highly original and beautifully crafted works in this sale. John deVere White

€2,500 – 3,500 62

75 Kathlyn O’Brien Contemporary THE TROPHY (2011) Metal, wood, bone, feathers and gesso, 72” high (183cm).

€2,500 – 3,500

76 No lot

77 Neil Shawcross RUA, ARHA b.1940 TABASCO SAUCE Oil on canvas, 82” x 36” (208 x 91.5cm), signed.

€4,000 – 6,000 64

78 Hughie O’Donoghue b.1953 DESCENT VI Charcoal on paper, 60” x 48” (152.5 x 122cm), signed and dated 1989.

Provenance: Art Now Gallery, Gothenburg (label verso).

Est. €5,000 – 7,000 65

79 George Campbell RHA, RUA 1917-1979 CARMEN AMAYA, FLAMENCO DANCER Oil on board, 18½” x 15” (47 x 38cm), signed; inscribed verso. Est. €2,000 – 3,000

80 Norah McGuinness HRHA 1901-1980 WICKLOW LANDSCAPE Gouache, 7½” x 10” (19 x 25cm), with studio stamp.

€700 – 1000

81 Patrick Pye b.1929 1ST STUDY FROM EL GRECO ‘THE ASSUMPTION’ Mixed media on board, 20½” x 11¾” (52cm x 30cm), signed; inscrib verso.

Provenance: Godolphin Gallery (label verso).

€800 – 1200

82 Grace Henry HRHA 1868-1953 PORTRAIT OF A GIRL Oil on board, 5½” X 7” (14 X 18cm). Provenance: Taylor de Veres Mulvany Brothers Printsellers (label verso).

€600 – 900

83 Basil Blackshaw HRHA RUA b. 1932 HEADLAND Acrylic on canvas, 20” x 22” (51cm x 56cm), signed; inscribed and signed verso. Est. €3,500 – 5,000

84 Neill Shawcross RUA, ARHA b.1940 SAUCER AND TEA CUP Watercolour, 9” x 11” (23 x 28cm), signed and dated 2002. Est. €800 – 1,200 68

85 Derek Rowen (Guggi) VESSELS Acrylic on canvas, 25” x 34” (63.5cm x 86.5cm), signed and dated ’04.

€1000 – 2000

86 Markey Robinson 1918-1999 STILL LIFE Gouache, 20” x 12½” (51cm x 32cm).

€600 – 900 69

87 James Hanley RHA b.1965 FIGURES IN A LANSCAPE Oil on board, 30” x 24” (76cm x 61cm), signed; inscribed and dated ’93 verso. Exhibited Boyle Arts Festival.

€1000 – 2000

88 Rose Mary Barton RWS, 1856-1929 HAPPY NEW YEAR Watercolour on cardboard, 4½” x 6” (11.5cm x 15cm), signed.

89 Nano Reid 1900-1981 COUNTRY COTTAGE Watercolour, 10” x 14” (25cm x 34cm), signed.

€500 – 700 70

€600 – 900

90 Clifford Collie Contemporary UNTITLED Mixed media, 32” x 44” (81.25cm x 112cm).

€1500 – 2000

91 Lynne Foster Fitzgerald Contemporary UNTITLED Mixed media, 27” x 38” (68.5 x 96.5cm).

€1000 – 1500

92 Norman Smyth RUA b.1933 WEST OF IRELAND FISHERMAN Oil on panel, 14½” x 11½” (37 x 29cm), signed.

€600 – 900

93 Patrick O’Reilly Contemporary MARILYN IN THE LATER YEARS Oil on canvas, 23½” x 47” (59.75cm x 119.5cm), signed and inscribed verso.

€1500 – 2000 72

94 Tony O’Malley HRHA 1913-2003 WEXFORD COAST/ COURTOWN WINTER, 1951 Oil and crayon, 7½” x 20” (19cm x 51cm), signed initials and date.

Provenance: Jorgensen Fine Art (label verso).

€600 – 900

95 Barrie Cooke HRHA b.1931 LYTLE ISLAND, LOUGH ARROW, 1971 Watercolour, 20” x 20” (51cm x 51cm), signed, inscribed and dated.

96 Tom Carr HRHA RUA RWS 1909-1999 BOATS AT STRANGFORD (3) Watercolour, each 9½” x 14” (23.5cm x 35.5cm), signed.

Provenance: Hendriks Gallery (label verso).

Provenance: Tom Caldwell Gallery (label verso).

€700 – 1000

€1500 – 2000

97 Markey Robinson 1918-1999 SHAWLIES Gouache on board, 9” x 16” (23 x 40.5cm), signed.

€800 – 1200

98 Patrick O’Sullivan HORSES HEAD Black Connemara marble, 8½” x 17½” (21.5cm x 4.25cm) (excluding base). Patrick O’Sullivan was born in London to Irish parents. O’Sullivan has been resident in Cork since 1971. He teaches sculpture at the Cork College of Art and is a member of Aosdana.

€1000 – 1500 74

99 John Behan RHA, b.1938 FAMINE SHIP Bronze, 20½” x 21½” (52 x 54.5cm), signed & dated 10.

€5,000 – 7,000 75

100 Basil Ivan Rakoczi 1908-1979 LE REPAS A LA MARSEILLES (1953) Oil on canvas, 39½” x 28¼” (100 x 72cm), signed, inscribed verso, opus number 2055. €6,000 – 9000 76

101 Felim Egan b. 1952 UNTITLED Acrylic on canvas, 34” x 34” (86.5cm x 86.5cm), signed verso. Est. €2,000 – 3,000

102 Makiko Nakamura b.1951 VOCAL CHORDS II Oil on canvas,17¾” x 17¾” (45cm x 45cm), signed; inscribed and dated 2005 verso. Est. €1,000 – 1,500

Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale.

8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full. VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to saleroom.com for lots purchased using Live Bidding. 14. Payment: Cash, bankers draft or cheque. With the exception of American Express, Credit cards are also accepted, subject to a charge 0f 1.5% on the invoice total. Debit and Laser cards are also accepted, at no charge, but are subject to daily limits as determined by your bank. TERMS Vendors 1. 10%+ VAT is charged on all goods sold. 2. de Veres Art Auctions do not charge a buying in fee where the reserve is agreed in advance. Purchaser 1. 19.5%+ VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers.

BID FORM All pre-auctions bids should be registered by 2pm on Auction Day in order to ensure accuracy of submission into our system.

Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s commission. These bids are to be executed as cheaply as is permitted by other bids or reserve, if any, and subject to the Conditions of Sale printed in this catalogue

PLEASE NOTE that we cannot always guarantee the order of the bidding thus the pictures may be sold in the room for the same amount as your pre-auction bid and we therefore advise you to indicate if you wish to allow us discretion with your bid. (Note: buyer’s premium 19½% + VAT).

Signed:.............................................................................................................................................................................................. Name (please print):.......................................................................................................................................................................... Address:............................................................................................................................................................................................ ......................................................................................................................................................................................................... Telephone No. (Daytime)...................................................................................................................................................................

Lot No

Description

Limites excl. Comm & VAT

B Barton, R.M. Behan, J.

88 34, 99

Blackshaw, B.

4, 35, 42, 55, 83

Brady, C.

7, 22, 33, 35, 42

C Campbell, G.

Carr, T.

Collie, C.

Collis, P.

Collins, P.

Cooke, B.

Crozier, W.

21, 46

D Davidson, C.

E Egan, F.

8, 61, 62, 101

F Fingleton, S.

Fitzgerald, L. F.

Fitzgerald, M.

French, W. P.

H Hamilton, E.H.

Hanley, J.

Henry, G.

32, 82

Hone, E.

Hone, N.

J Jellett, M.

23, 48, 57

Johnson, N.

Jones, N.W.

L Lavery, J. Le Brocquy, L. Le Jeune, J. M MacGonigal, M. Mason, W. McGuinness, N. McSweeney, S. McNab, T. Middleton, C. N Nakamura, M. O O’Brien, K. O’Donoghue, H. O’Malley, T. O’Neill, D. O’Reilly, P. O’Sullivan, P. P Pye, P. R Rákoczi, B.I. Reid, N. Robinson, M. Rowen, D. S Shawcross, N. Shinnors, J. Smyth, N. Souter, C. T Tyrell, C. W Warren, B.

52 20 44

3, 49 45A 10, 40, 80 9, 29, 59 63 24

102

74, 75 78 16, 17, 36, 54, 94 45 72 ,73, 93 98

25, 26, 100 89 37, 38, 67 68, 70, 71 86, 97 85

5, 66, 77, 84 13, 65 92 12, 14, 69

18, 31

K King, C.

Krasnovsky, A.

Yeats, J. B.

15, 27, 39, 51, 53

Irish Art Auction Tuesday, 27th November 2012 TUESDAY, 27th November 2012

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305 info@deveres.ie www.deveres.ie