IRISH ART AUCTION by de Veres Art Auctions

ART AUCTIONEERS & VALUERS

Irish Art Auction Tuesday, 16th June at 6pm Viewing at 35 Kildare Street, Dublin 2

ART AUCTIONEERS & VALUERS

Auction:

Tuesday 16th June, at 6pm in Buswells Hotel

On View: BELFAST at The MAC, 10 Exchange Street West, Belfast, BT1 2NJ Tuesday, 9th June: 1pm - 8pm Wednesday, 10th: 9am - 2pm DUBLIN de Veres 35 Kildare Street, Dublin 2 Friday, 12th June: Saturday, 13th: Sunday, 14th: Monday, 15th: Tuesday, 16th: Contact:

9.30am - 6pm 11am - 5pm 12pm - 5pm 9.30am - 6pm 9.30am - 6pm

01 6768300

COLLECTION: Wednesday, 17th and Thursday 18th June 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 www.facebook.com/deveresArtAuctions

ART AUCTIONEERS & VALUERS

We are delighted to announce our involvement with The MAC Art Centre in Belfast. We will be viewing selected highlights of the auction on Tuesday 9th and Wednesday 10th June. Please contact us for further details, or if you would like to view a particular piece in this auction.

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie

Aisling T贸th Associate Director info@deveres.ie

Auctioneers: John de Vere White Rory Guthrie

1 Gerard Dillon 1916-1971 FARMYARD Ink & Wash, 15" x 19½" (38 x 49.5cm), signed. Est. €2000 - 3000

2 Norah McGuinness HRHA 1901-1980 HARBOUR VIEW Gouache, 15" x 21½" (38 x 55cm). It has been suggested that this is a view of Ardmore, Co Waterford. Est. €1500 - 2000

3 Norah McGuinness HRHA 1901-1980 STILL LIFE – GARDEN SHED Gouache, 17½" x 21½" (44.5 x 54.5cm), signed & dated 1948. Est. €2000 - 4000

4 Maurice MacGonigal PPRHA 1900-1979 FISHERFOLK RETURNING Oil on board, 16" x 20" (40.5 x 50cm), signed. Est. €2000 - 4000

5 Maurice MacGonigal PPRHA 1900-1979 CATTLE BY A RIVER, CONNEMARA Oil on board 14" x 18" (35.5 x 45.5cm), signed. Est. €2000 - 4000

6 Frank McKelvey RHA RUA 1895-1974 THE BOATYARD Oil on canvas, 16" x 20" (40.5 x 50cm), signed. Est. €5000 - 7000

7 Dermod O’Brien PPHRA 1865-1945 CASSIS HARBOUR Oil on board 15" x 18" (38 x 45.5cm), signed. Est. €1000 - 1500

8 Dermod O’Brien PPHRA 1865-1945 BEACH NEAR CASSIS Oil on board 15" x 18" (38 x 45.5cm). Est. €1000 - 1500

Dermod O’Brien was a portrait, landscape and figure painter. In 1905 there began a long and concentrated association with the RHA when O’Brien was elected an associate. Two years later he was appointed an academician. In 1910 he took office as president holding the post until his death thirty-five years later. He taught at the RHA Schools and showed regularly at the exhibitions for half a century, averaging more than four pictures per year. South-east France was a favourite area for painting holidays and he stayed with W. Crampton Gore at Motreuil-sur-Mer. During the period of 1928-1930, he exhibited numerous paintings with RHA of Cassis. Ref: Dictionary of Irish Artists, Theo Snoddy. 8

9 Charles Vincent Lamb RHA RUA 1893-1964 CONNEMARA HOOKERS Oil on board, 12½" x 15½" (31.5 x 39cm) signed. Est. €3000 - 5000

10 Charles Vincent Lamb RHA RUA 1893-1964 BEACHED BOATS, CARRAROE, CO. GALWAY Oil on board, 13¾" x 15¾" (32 x 40cm), signed. Est. €3000 - 5000

11 Maurice MacGonigal PPRHA 1900-1979 “CAMPSITE”, POPPINTREE, NORTH COUNTY DUBLIN Oil on canvas, 30" x 36" (76 x 91cm), signed; signed, inscribed & dated 1977 verso.

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

I n the early 1970s when the artist was living in Mulhuddart, he realised that the landscape of County Dublin was to be changed forever, with the onrush of new building and all the newer satellite towns, evolving from much older rural communities. With that in mind he set about painting his way around County Dublin.

He began in North County Dublin, where he’d painted in the 1920’s & ’30’s all the way around outer Dublin through the Phoenix Park and as far as Tallaght. In these changing communities, with their new and temporary residents he observed camp sites, race tracks, dog kennels and more besides.

aving been a painter of animals, (cattle, sheep and horses) this was an opportunity for him to make drawings and H paintings of them in evolving contexts and not the usual Connemara or Kerry contexts.

Poppintree (now famous as the home of IKEA) attracted him with its many and very varied landscape aspects, as well as the myriad of animals, circuses, cattle and horses, as here. The great herds of Piebald ponies were a visual delight for him. Sunny days lent themselves to depicting the groups of sun dappled animals grazing in what was to be a ‘Last Hurrah’… a threnody for a vanishing (now entirely) vanished world of County Dublin.

I n this work the ponies and horses graze in a shady place, with the middle distance sun filled with dogs, ponies, horses and the remnants of farming activity in the background all seen against now vanished woods.

Ciarán MacGonigal, May 2015

Est. €10000 - 15000

12 George Russell A.E. 1867-1935 CHILDREN IN THE WOODS Oil on canvas, 16" x 21" (40.5 x 53cm), signed with monogram. Est. â&#x201A;Ź4000 - 6000

13 Norah McGuinness HRHA 1901-1980 MOONLIT LANDSCAPE Oil on canvas, 18" x 24" (45.5 x 61cm), signed. Est. €6000 - 9000

14 Hilda Van Stockum HRHA 1908-2006 PEARS ON PEWTER PLATTER Oil on board, 15" x 18" (38 x 45.5cm), signed; signed, inscribed & dated 1985 verso. Est. €1000 - 2000

15 Hilda Van Stockum HRHA 1901-1980 STILL LIFE WITH EGGS Oil on board, 18" x 22" (45.5 x 56cm), signed. Est. €1500 - 2000 14

16 Rosaleen Brigid Ganly HRHA 1909-2002 APPLES AND LEMONS IN A BLACK BOWL Oil on canvas board, 14" x 18" (35.5 x 45cm), signed with initials & dated 1990; inscribed (label verso). Est. €700 - 1000

17 Gladys Maccabe HRUA ROI FRSA b.1918 AT FALCARRAGH FAIR, CO. DONEGAL Oil on board, 14½" x 18" (36 x 46cm) signed. Est. €1000 - 1500 15

18 George Campbell RHA RUA 1917-1979 WINDOW, SPAIN Oil on board, 19" x 14" (48 x 35.5cm), signed, inscribed verso. Est. â&#x201A;Ź3000 - 5000

19 George Campbell RHA RUA 1917-1979 MEMORY OF HOWTH Oil on board, 12" x 21" (30.5 x 53cm), signed. Est. €2000 - 3000

20 George Campbell RHA RUA 1917-1979 MUSICIANS Watercolour, 4" x 5" (10 x 12.5cm). Est. €500 - 700

20A George Campbell RHA RUA 1917-1979 FISHERMEN TENDING THE NETS, SPAIN Gouache, 11" x 14½" (28 x 37cm). Est. €1400 - 1800

21 Daniel O’Neill 1920-1974 REHEARSAL Oil on board, 12" x 16" (30.5 x 40.5cm), signed; inscribed verso. Est. €6000 - 9000

22 Colin Middleton RHA RUA 1910-1983 ALDERS, RABBIT ISLAND Oil on board, 18" x 18" (46 x 46cm) signed; signed, inscribed & dated 1969 verso. Exhibited: RHA, Dublin 1970 (No.5). In the late 1960s Colin Middleton began to visit Lough Erne regularly with his family and to paint there and it appears to have quickly become one of the greatest sources of inspiration for his landscape paintings of this period. A small but very detailed pencil study of Rabbit Island (one of the islands on Lower Lough Erne) is reproduced in the monograph written by John Hewitt that was published to coincide with the major 1976 Arts Council retrospective of Middleton’s work; in this the trees are used more as a framing device for the lough and it lacks the powerfully geometric overlapping arrangement of trees that dominates the painting Alders, Rabbit Island, completed the following year. In the present work the complex series of diagonals that are established by the trees lead the eye deeper in to the painting and also bring it back out to the shallow foreground space, establishing tensions with the flat picture surface that recall the compositional techniques of Cézanne. He is perhaps also an influence on the gentle faceting of the passages of grass and undergrowth that builds a gentle series of horizontals leading to the solid blue band of the water and the darker line of trees of an island or shore beyond. The shimmering sky beyond, blue with occasional light clouds, is fragmented through the branches and balances the foreground.

The palette of Alders, Rabbit Island is unusual; while restrained and limited, it also relates to the naturalistic colours we might expect. There is a dream-like quality to the painting that perhaps indicates Middleton’s love of this recently-discovered place and indeed this inventive invocation of a summer’s day recalls Middleton’s paintings of North Down around fifteen years earlier.

A photograph of Colin Middleton in his studio at Victoria Road in Bangor shows Alders, Rabbit Island hanging on the wall behind the easel.

Dickon Hall, May, 2015,

Est. €8000 - 12000

23 Colin Middleton RHA RUA 1910-1983 TREE IN THE WIND Oil on board, 24” x 24” (61 x 61cm), signed.

Provenance: David Hendriks Gallery, Dublin (label verso).

Exhibited: Tom Caldwell Gallery, September-October 1971, catalogue 11; David Hendriks Gallery, Dublin, January-February 1973, catalogue 10. Trees in the Wind was included by Colin Middleton in an early list of proposed works for his major 1976 retrospective in Belfast and Dublin, although it was not ultimately shown. Thinly painted in muted tones over a prepared, gessoed surface it is a highly abstracted landscape that almost seems to prefigure the ambiguous and rather mystical Westerness series that Middleton painted in the middle of the same decade. While many of Middleton’s landscapes of the late 1960s and early 1970s are preoccupied with mood and with capturing passing effects of light and weather, Trees in the Wind is more concerned with formal qualities. The wide-ranging but earthy palette of the landscape moves easily into the luminosity of the sky and creates a suggestion of place and atmosphere while the repeated vertical marks and triangles build up a definite sense of pictorial space and movement that dominate the work. The trees themselves appear to emerge as part of the landscape and also take on an almost anthropomorphic form that recalls some of the more abstracted figures in the Westerness paintings and seems to share a similaridentification with the essential nature of the place they occupy.

Dickon Hall, May 2015 €8000 - 12000

24 Daniel O’Neill 1920-1974 RECLINING FIGURE Oil on board, 18" x 24" (46 x 61cm) signed, inscribed verso.

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

Est. €14000 - 18000

25 Daniel O’Neill 1920-1974 RESTING Oil on board, 20" x 27" (50 x 68.5 cm), signed, inscribed verso. Est. €10000 - 15000

26 Gerard Dillon 1916-1971 PONY IN A CONNEMARA GARDEN Oil on board, 13½" x 21½" (34 x 54cm), signed, inscribed verso.

Provenance: The Dawson Gallery, Dublin (label verso); de Veres, June 1996 (lot 29), where acquired by the present owner).

E xecuted when the artist was living as a tenant in his sister Mollie’s house in 102 Abbey Road, North West London, Dillon fascination with the West of Ireland began when he saw Seán Keating’s illustrations of J.M. Synge’s ‘Playboy of The Western World.’

orn into a Catholic Nationalist family in industrial Belfast, Dillon lived among the people in Connemara recording B their simple way of life, which was in stark contrast to his childhood in a ‘redbrick city’. The lives of the people in the West of Ireland evoked strong feelings for Dillon and his expressed this throughout his life in a style that was both personal and idiosyncratic.

familiar figure in Connemara from the late 1940’s, he formed strong friendships with the locals who allowed A him into their homes to paint direct portraits, bar interiors or people in their fields cutting turf, thatching, fishing, repairing currachs or planting vegetables where he could record the harshness of their lives.

I n this work, Dillon’s narrative is a single man in his garden cultivating his cabbage patch. In the foreground, a pony is encircled by a dry stonewall in a garden of rich green grass near a thatched cottage. The blue sky, washing line and cottage evoke an idyllic summer’s day from another era when the people in Connemara lived off the land and each family would look after a small piece on which they would graze cattle and sheep and grow vegetables, cabbage, turnip and potatoes. Connemara ponies were known for their athleticism and good disposition, which adapted well to the rocky ground. They transported people to local villages for Fairs, carried wrack from the shore and brought turf home from the bogs for the winter. The island in the distance surrounded by sea is a reminder that islands dotted along the coastline relied on the people from the mainland to cut and deliver turf, which was their only fuel source for the winter.

I n 1964 Dillon wrote an article ‘Connemara is Ireland to me’ for a monthly magazine, Ireland of The Welcomes published by Bord Fáilte, the Irish Tourist Board. He described the light, landscape and one of his neighbours, ‘…He goes out fishing and works his gardens; they are very small indeed, one has about three ridges of potatoes. He cuts his own turf from his own bog and with a basket filled high on each side of the donkey carries his fuel home to store for the winter… the fields are marked off by lace-like stone walls. For pictorial composition Connemara has everything… one could live here forever, but being neither a fisherman nor farmer but only a painter, I’m forced to come back to city life to sell work – and hope to save enough to come back to Connemara.

Karen Reihill, May 2015

Est. €30000 - 40000

27 Colin Middleton RHA RUA 1910-1983 EVENING, CASTLEWELLAN (1964) Oil on board, 11" x 15", (28 x 38cm), signed; signed & inscribed verso. Evening, Castlewellan was included in an exhibition, ‘The Art of Colin Middleton’, organised by the Arts Council in the mid 1960s, shown as part of a pair alongside Early Morning, Castlewellan. At this time Middleton was living in Belfast and the Mournes and the surrounding area had become a significant source of inspiration for his painting in the same manner as the north Antrim coast and the islands of Lough Erne were each so important at either end of this decade; the titles of more than half the paintings in this exhibition refer to locations around the Mournes or close to the seaside town of Newcastle.

T he present work also harks back to Middleton’s landscape painting of the early 1950s in many ways. The scale is the same as many of the smaller canvases he exhibited with Victor Waddington in the previous decade and is in contrast to the square boards on which Middleton predominantly painted in the 1960s. The dramatic swirling brushstrokes that dominate the composition, as well as the use of impasto and a strongly contrasting palette are all reminiscent of these earlier works.

The emphasis on compositional space is a typical feature of Middleton’s later landscapes, however; the strongly described foreground anchors the painting while horizontal yellow and orange strokes define the summer fields in the middle distance that sit beneath the distant masses of the Mournes which are vanishing as the heavy evening sky settles across them. Dickon Hall, May 2015

Est. €5000 - 7000

28 Daniel O’Neill 1920-1974 BETWEEN THE LIGHTS Oil on board, 18" x 24" (46 x 61cm), signed, inscribed verso. Est. €6000 - 9000

29 Edward Delaney RHA 1930-2009 FAMILY Bronze, 29" (73cm) high (excluding base).

Provenance: The Goldberg Collection, Cork.

T he distinctive Family group sculpture is typical of a series that Delaney did throughout the 1960s and after. It also echoes his larger-scale sculptures. A very similar piece to it is now in the collection of the Hugh Lane-Dublin City Gallery.

According to Roisin Kennedy, such sculptures ‘play on the unstable nature of the wax from which they have been cast. Their stretching forms seem to almost defy gravity. This is an abstract version of an established Delaney theme, the family group, which echoes Manzu’s use of the mother and child theme as a symbol of lost innocence. Similar concerns are found in the small bronzes of female figures and shepherds. Delaney is playing in these works with sculptural qualities of weight and balance and they demonstrate a fascination with the gravitational pull of the human form – a well-established preoccupation in modernist sculpture.’

In the Hugh Lane Gallery guide, the curator Joanna Shepard describes the Family sculptures as follows:

‘Made at the peak of Delaney’s career, these sculptures marry themes that long fascinated him: the standing elongated human figure, also explored through the figure of Cuchulain and the crucified Christ and the family group. In these pieces, however, the figures are rendered abstract single entities that can be read as multiple figures.

‘ Delaney endows them with a delicacy and vulnerability, the elongated structure evoking a lightness that is at odds with the weight and bulk of the material. The smooth texture of the multiple heads references the soft wax of the original modelling and Delaney succeeds in communicating, in them, a sense of the tenuousness and uncertainty of the human condition.’

Est. €8000 - 12000

The following two notes relate to lots 30 and 31

Lot 30 catalogue note: This is a particularly fine and distinctive bronze figure cast by Delaney in his own foundry. Delaney used the lost wax casting method, an ancient technique of bronze sculpting, in which the form is modelled in wax, enclosed in clay or plaster mould and heated in a kiln. Molten bronze is then poured into the space left by the melted wax. Delaney’s mastering of the technique permitted him to have total control of the production of his bronze work and to be closely involved physically in the process.

s a sculptor, Delaney was preoccupied with the human figure, often solitary and often female and rendered in A an expressive or semi abstract form. According to the art historian Roisin Kennedy, ‘this is part of his consistent preoccupation with the standing figure, which is shared with the work of other post-war sculptures such as Lynn Chadwick and Germaine Richier. The techniques of bronze sculpture are used to highlight the tenuous quality of the human form.’

In the catalogue essay for a retrospective exhibition of Edward Delaney’s bronze work in Royal Hibernian Academy in Dublin, Art historian, Roisin Kennedy wrote that ‘in nearly all of Delaney’s work, there is the direct appeal to the simplicity of a single human figure, or a group of figures gathered easily together. The sense of ease expressed by his figures is perhaps more of a rural than an urban phenomenon’.

Lot 31 catalogue note: Austin Clarke (1896-1974) was one of the most prominent Irish poets after Yeats. The making of his death mask was commissioned by Garech de Brun of Claddagh Records, who recorded Clarke and commissioned many works by Delaney. A number of bronze versions of the mask were made, with one placed in the lobby of The Abbey Theatre while the plaster original is now in the Dublin Writers Museum.

E dward Delaney was especially interested in the death mask idea, according to his son Eamon, who describes this fascination in his book, Breaking the Mould – A Story of Art and Ireland. ‘The death mask is an interesting paradox, for essentially the artist has no control over it. The subject has all the control, right down to the implacably shut mouth and seedpod eyes, and yet the subject is dead and so it is nature, or mortality, which defines the piece. A further paradox is that the subject has more influence and control over his or her image when dead than when alive.’

30 Edward Delaney RHA 1930-2009 DANCER Bronze, 17" (43cm) high.

Provenance: The Goldberg Collection, Cork.

Est. â&#x201A;Ź4000 - 6000

31 Edward Delaney RHA 1930-2009 DEATH MASK OF AUSTIN CLARKE (1974) Bronze, 9" x 6" (23 x 15cm). Est. €1000 - 1500

32 Louis le Brocquy HRHA 1916 - 2012 ST. STEPHEN’S GREEN, DUBLIN (1990) Watercolour, 10" x 14" (25.5 x 35.5cm), signed; Opus No. W1034.

Provenance: Taylor Galleries, Dublin (label verso)

Est. €8000 - 12000

33 Louis le Brocquy HRHA 1916-2012 STUDY 17 - W.B. YEATS Charcoal, 8¾" x 7" (22 x 18cm), signed and dated 1975. Provenance: The Dawson Gallery, Dublin (label verso), where acquired by the present owner; Private Collection. Exhibited: Musee d’Art Moderne de la Ville de Paris, 15 Oct - 28 Nov 1976 (label verso); Richard De Marco Gallery, ‘Festival 77’ Exhibition, Study No.12 (label verso).

“ In these studies I have tried, as uncritically as I could, to allow different aspects of Yeats’s appearance to emerge. These I have recalled principally from photographs made throughout his life and, for the most part, without referring to them directly. Where I have worked from them directly, I have consulted two or more at the same time and – since these photographs often bear little resemblance to each other – I have made no attempt to relate one to the other. On the contrary, I have encouraged differing and sometimes contradictory images to emerge spontaneously, in order – as it were – to exorcize the conventional or shared image I recall of W.B Yeats, and in the hope of discovering a more immediate image, stilled and free of circumstance, underlying the ever-changing aspect of this phenomenal Irishman.”

Louis Le Brocquy, extract from Taylor Galleries Exhibition catalogue 1975.

Est. €6000 - 9000

34 John Doherty b.1949 THE YOUNG ONE (2004) Acrylic on card, 8" x 8½" (20.5 x 22cm).

Provenance: Taylor Galleries, Dublin (label verso).

Est. €3000 - 5000

35 Hughie O’Donoghue b. 1953 RETURN OF ULYSSES (2006-2007) Oil and mixed media on wooden construction, 19" x 27" (48 x 75cm), signed, inscribed & dated verso. Est. €8000 - 12000

36 Tony O’Malley HRHA 1913-2003 GOOD FRIDAY / EASTER SUNDAY, APRIL 1982 Oil on board, a pair, each 36" x 24" (91 x 61cm) signed with initials; signed, inscribed & dated 9/4/82 verso, opus numbers 1215 & 1216. Est. €12000 - 16000 O’Malley was drawn to ritual and one way that this manifested itself was that he always painted during the Easter period, beginning with Good Friday. O’Malley’s Irish Catholic upbringing ingrained in him a natural feeling for the rhythms of the ecclesiastical year so, apart from any practice of religion, he continued to have deep feelings associated with the Easter feast. Although he wasn’t preoccupied with religion, he remained fascinated by spirits, connecting Easter with the energy of the ‘Easter Ghost’ and once pointed out to me that the Irish name for his townland of Physicianstown, Baile na Sigh, meant ‘place of the fairies’. His Good Friday paintings were often inspired by the ancient sculptures of the O’Tunney family, the great 16th and early 17th century stonemasons who worked around his native Callan, Co Kilkenny. The artist talked about bringing his sketchbook to Jerpoint Abbey and 38

doing drawings there. O’Malley had always been responsive to certain textures of a locale and the stone artefacts and carvings of Kilkenny were not only a source of imagery but also affected his use of texture. In both these paintings he used board, rather than canvas, which allowed him score and gouge the surface to achieve a more tactile effect. This particular Good Friday painting is subtitled ‘Golgotha.’ More commonly called Calvary, it was the hill of execution outside the walls of Jerusalem where Jesus was crucified. However, O’Malley tended (as this painting shows) to infuse this theme with a sense of optimism, which I once described as shapes flowing like ‘released spirits’, as if ‘Spring were being liberated from Winter.’ The Easter Sunday painting is more overtly dramatic, like the darkness of a tomb opening into light, though O’Malley would never intend such a literal interpretation. In his work, and these paintings are no exception, O’Malley avoids a literal meaning in favour of distilling some elemental part of his experience – the way he ‘feels’. The underlying symmetry in both paintings harks back to religious art, investing them with solemnity and a certain grandeur. Above all, one senses the artist’s innate optimism and reverence. Frances Ruane, May 2015 Ruane, Frances, ‘Personal Inscapes’, Tony O’Malley, Brian Lynch (Ed.), Scolar Press/Butler Gallery, 1996, pp.239-246. 39

37 Richard Kingston RHA 1922-2003 CROW TREE DISTURBED Oil on board, 35½" x 48" (91 x 122cm), signed; signed, inscribed & dated 1977 verso. Est. €4000 - 6000

38 Tony O’Malley HRHA 1913-2003 BIRDS – ST. MARTINS Gouache, 8" x 10" (20 x 25 cm), signed, inscribed & dated 11/72; signed & inscribed verso, opus no. 8465. Est. €800 - 1200

39 Tony O’Malley HRHA 1913-2003 OCTOBER ON ST. MARTINS ISLAND Gouache and crayon, 8" x 10" (20 x 25cm), signed & dated October 1972, signed, inscribed & dated verso, opus No. 8464. Est. €800 - 1200 41

40 Donald Teskey RHA, b.1956 NIGHT WALKERS Oil on paper, 23" x 31½" (58.5 x 79cm), signed & dated ’98; signed & inscribed verso.

Provenance: Rubicon Gallery, Dublin (label verso).

Est. €7000 - 10000

41 Donald Teskey RHA b.1956 NUDE Oil on paper, 19½" x 22" (50 x 56cm), signed & dated 2003. Est. €4000 - 6000

42 Peter Curling b. 1955 HORSE FAIR AT GORESBRIDGE Oil on canvas. 40" x 60" (101 x 152cm), signed, inscribed verso.

Peter Curling has long been regarded as Ireland’s finest equine painter. Having such a close involvement with horses and their training has given his work an authenticity which shines through and reflects in the appeal his work has to both the horse expert as well as the art lover. It is these paintings of the horse in the Irish landscape which are probably Peter’s most popular pieces and the atmosphere and subtle colour of horses in the soft Irish landscape are a constant source of inspiration.

Est. €20000 - 25000

43 Fergus Lyons, Contemporary FAIR GREEN, BALLINASLOE Oil on canvas, 24" x 32" (61 x 81cm), signed; signed & inscribed verso. Est. €1500 - 2000

44 Ivan Sutton b. 1944 BALLINASLOE HORSE FAIR, CO. GALWAY Oil on board, 20" x 30" (51 x 76cm) signed; signed & inscribed verso. Est. €1200 - 1600

45 Enzo Plazotta 1921-1981 RED RUM Bronze, 15cm high (excluding base), artists stamp & dated 1977 ed. 2/12. Est. â&#x201A;Ź1000 - 1500

46 Patrick Hennessy RHA 1915-1980 THE LONG SUMMER DAY, NEAR DINGLE, CO KERRY Oil on canvas, 40" x 50" (102 x 128cm). Provenance: David Hendriks Gallery, Dublin, label verso. Est. 8000 - 12000

47 Frank McKelvey RHA RUA 1895-1974 GREY DAY BLOODY FORELAND Oil on board, 12" x 16" (30 x 40.5cm). Est. €4000 - 6000

48 James Humbert Craig RHA RUA 1877-1944 A CLACHAN, CO MAYO Oil on board, 10" x 14" (25 x 35cm), signed; signed & inscribed verso. Est. €2000 - 3000

49 Maurice Canning Wilks RHA RUA 1910-1984 CUSHENDUN, CO. ANTRIM Oil on board, 14" x 18" (35.5 x 45.5cm), signed, inscribed verso. Est. €1000 - 2000 50

50 William Percy French 1854-1920 BOG, DONEGAL – MORNING Watercolour, 7" x 9¾" (18 x 25cm), signed, inscribed verso. Est. €2000 - 3000

51 William Percy French 1854-1920 DONEGAL – EVENING Watercolour, 7" x 9¾" (18 x 25cm), signed. Est. €2000 - 3000 51

52 Frank Egginton RCA FIAL 1908-1990 A WET DAY, CO. MAYO Watercolour, 15" x 21½" (38 x 55cm), signed. Est. €1500 - 2000

53 Nathaniel Hone RHA 1831-1917 ESTUARY, MALAHIDE Oil on board, 12" x 18" (20.5 x 45.5cm), signed.

Provenance: Cynthia O’Connor (label verso).

Est. €3000 - 5000 52

54 Henry Healy RHA 1909-1982 CLIFDEN, FROM THE HILLS Oil on board, 20" x 24" (51 x 60cm) signed, inscribed verso. Est. €600 - 900

55 Patrick Hennessy RHA 1915 -1980 THE BREAKING WAVE, GARRETSTOWN BEACH Oil on canvas, 16" x 22" (40.5 x 56cm), signed.

Provenance: Ritchie Hendricks Gallery, Dublin, Nov. 1960 (label verso).

Est. €3000 - 5000 53

56 Harry Kernoff RHA 1900-1974 FIGURES ON THE ROAD Watercolour, 8½" x 12½" (21.5 x 32cm), signed. Est. €800 - 1200

57 Harry Kernoff RHA 1900-1974 THE HELLFIRE CLUB Watercolour, 8¾" x 12½" (22 x 32cm), signed. Est. €800 - 1200

58 Maurice Canning Wilks RHA RUA 1910-1984 WINTER, CUSHENDUN, CO. ANTRIM Oil on board, 12" x 14" (30 x 35.5cm), signed, inscribed verso. Est. €1400 - 1800

59 Evie Hone HRHA 1894-1955 THE COVE, ARDMORE Watercolour, 13" x 15½" (33 x 39cm) signed.

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

Est. €2000 - 3000 55

60 John Behan RHA b. 1938 STUDY OF GEORGE MOORE Bronze, 18½" (42cm) high (excluding base). Est. €1000 - 1500

61 Neil Shawcross RHA RUA b. 1940 COCA COLA Oil on canvas, 47½" x 36" (121 x 91cm), signed & dated 2013. Est. €2000 - 3000

62 Nevill Johnson 1911-1999 WINDOW ON MINARD Acrylic on board, 16" x 18" (40.5 x 45.5cm), signed, inscribed & dated 1986 verso. Est. €2000 - 3000

Brendan Behan in the 1950s, painting the front of 35 Kildare Street.

63 Michael Byrne 1923-1989 BRENDAN BEHAN (1954) Oil on board, 12" x 10" (31 x 25cm), signed & dated 1954. Est. €400 - 600 58

64 Gerard Dillon 1916-1971 CAT Ink & Watercolour 6½" x 10¼" (16.5 x 26cm), signed. Est. €800 - 1200

65 Gerard Dillon 1916-1971 MAEVE Watercolour, 11" x 7½" (28 x 19cm) signed & dated 1946; inscribed labels verso. Est. €1500 - 2000 59

66 James Humbert Craig RHA RUA 1877-1944 QUARRY ON THE ANTRIM COAST Oil on board, 14½" x 19½" (37 x 50cm) signed; inscribed verso. Est. €4000 - 6000

67 James Humbert Craig RHA RUA 1877-1944 CONTINENTAL LANDSCAPE Oil on canvas, 17" x 22" (43 x 56cm). Est. €3000 - 5000

68 Henry Healy RHA, 1909-1982 GEESE, BANTRACH, CONNEMARA Oil on board, 23" x 26" (58 x 66cm), signed, inscribed verso. Est. €600 - 900

69 Markey Robinson 1918-1999 STILL LIFE WITH POTS Gouache, 15½" x 23½" (40 x 60cm) signed. Est. €800 - 1200

70 James Le Jeune RHA 1910-1983 CHILDREN ON THE BEACH Oil on board, 14" x 18" (35.5 x 45.5cm), signed. Est. €2000 - 3000

71 Markey Robinson 1918 -1999 LAKESIDE COTTAGES Gouache, 22" x 31½" (56 x 80cm), signed.

Provenance: The Oriel Gallery, Dublin.

Est. €2000 - 3000 63

72 Fergus O’Ryan RHA ANCA 1911-1989 FITZWILLIAM LANE, DUBLIN Oil on board, 15½" x 19½" (40 x 50cm) signed; signed & inscribed verso Est. €800 - 1200

73 Fergus O’Ryan RHA ANCA 1911-1989 CANAL AT HARCOURT TERRACE Oil on board, 11½" x 15½" (30 x 40cm), signed; signed & inscribed verso. Est. €600 - 900 64

74 Anne Tallentire b. 1949 DOWNINGS HARBOUR, DONEGAL Oil on canvas 12" x 28" (31 x 71cm), signed, inscribed verso. Est. €300 - 500

75 Henry Healy RHA 1909-1982 NEAR MANIN BAY Oil on board 20" x 24" (51 x 61cm), signed, inscribed verso.

76 Fergus O’Ryan RHA ANCA 1911-1989 THE CANAL AT BAGGOT STREET Oil on board, 13½" x 17½" (35 x 45cm), signed, inscribed verso.

Est. €600 - 900

Est. €400 - 600

77 Daniel O’Neill 1920-1974 MAIDENS Oil on canvas, 20" x 24" (50 x 61cm), signed. Est. €6000 - 9000

78 Daniel O’Neill 1920-1974 INTERIOR WITH TWO FIGURES Oil on board, 24" x 20" (61 x 51cm) signed. Est. €6000 - 9000

79 Evie Hone HRHA 1894-1955 UNTITLED Gouache 14½" X 10" (37 x 25cm), signed. Est. €600 - 900

80 Jack Butler Yeats RHA 1871-1957 HARBOUR VIEW / CIRCUS / PONY & TRAP Ink, each 3½" x 5" (8.5 x 12cm), signed, inscribed & dated October 21st 1943. Est. €1000 - 2000

81 Michael Healy 1973-1941 DUBLINER – ‘BANG BANG’ Watercolour, 5½" x 3" (15 x 7cm). Provenance: The Oriel Gallery, Dublin. Est. €300 - 500

82 Charles Brady HRHA 1926-1997 HILLSIDE LANDSCAPE Oil on canvas 21" x 19" (53 x 48cm) signed; signed, inscribed & dated January 1968 verso.

Provenance: Acquired directly from the artist.

Est. €1000 - 2000

83 Markey Robinson 1918-1999 SHIPYARD Gouache, 5½" x 11½" (15 x 30cm), signed.

Provenance: The Oriel Gallery, Dublin.

Est. €400 - 600 69

84 Patrick O’Reilly b. 1957 CIRCUS HORSE Bronze, 20½" high x 44" wide (52cm high x 112cm wide), signed & dated 2002, bearing foundry stamp deGour. Unique. Est. €2500 - 3500

85 Michael Warren b. 1950 MONOLITH Bronze, 17" high (44cm high). Est. €1000 - 1500

86 Felim Egan b. 1952 SOFT STILL (2000) Acrylic on canvas, 63" x 63" (160 x 160cm), signed & dated 2000 verso, with artists studio label verso. Est. â&#x201A;Ź5000 - 7000

87 Yvonne Moore b. 1969 STACKED DRESSER Oil on canvas 30" x 20" (76 x 51 cm), signed with initials. Est. â&#x201A;Ź1400 - 1800

89 Mark O’Neill b.1963 RED THROUGH GREEN 11 Oil on board, 6½" x 5½" (16.5 x 14 cm), signed & dated 1998.

88 Mark O’Neill b.1963 LITTLE ORCHARD Oil on board, 8" x 7" (20 x 18 cm), signed. Provenance: Frederick Gallery, Dublin, 1998 (label verso).

Provenance: Frederick Gallery, Dublin, 1998 (label verso).

Est. €600 - 900

90 Bea Orpen HRHA 1913-1980 DINGLE HARBOUR Watercolour, 8½" x 13½" (21.5 x 34cm), signed, artists label verso dated 1940. Est. €500 - 800

91 Maurice Canning Wilks RHA RUA 1910-1984 KILLARY HARBOUR, LEENANE Watercolour, 10½" x 14½" (26.5 x 38cm), signed, inscribed labels verso. Est. €600 - 900 74

92 Niccolo d’Ardia Carracciolo RHA 1941-1989 RATHGAR Oil on board, 6" x 8" (15 x 20cm), signed.

Provenance: King St., Galleries, London (label verso).

Est. €1000 - 1500

93 Niccolo d’Ardia Carracciolo RHA 1941-1989 GARAGE Oil on board 6" x 8" (15 x 20cm), signed. Est. €700 - 1000 75

94 Norman Teeling b. 1944 GLENCREE, WICKLOW Oil on board, 20" x 24" (51 x 61cm) signed.

95 Patrick Leonard HRHA 1918-2005 SUMMERS DAY LOUGHSHINNY, CO DUBLIN Oil on board, 20" x 24" (51 x 61 cm), signed; signed & inscribed verso.

Est. €600 - 900 Est. €1500 - 2500

96 Mike Fitzharris b.1952 COASTAL LANDSCAPE Oil on board, 13" x 16½" (34 x 42cm), signed & dated 2002.

97 Mike Fitzharris b.1952 BEACON Oil on board 12" x 14" (30 x 35cm), signed & dated 2005.

Est. €600 - 900

Est. €500 - 700

98 John Crampton Walker 1890-1942 SHIPPING SCENE Oil on canvas board 8" x 12" (21 x 31cm).

€600 - 900

99 Ronald Ossory Dunlop RA RBA NEAC 1894 -1973 HAMPSHIRE ROADWAY Oil on canvas, 16" x 12" (40.5 x 30.5cm), signed.

100 Harriet Osborne O’Hagan 1830-1921 STILL LIFE Oil on canvas, 24" x 20" (61 x 50cm), signed.

€800 - 1200

€1000 - 1500

101 Tom Carr HRHA RUA RWS 1909-1999 BOATS AT STRANGFORD LOUGH Watercolours, a set of three, each 24 x 37cm, signed. Provenance: The Tom Caldwell Gallery, Belfast (label verso). €800 - 1200

102 Alicia Boyle 1908-1997 THE CONVENT DOOR Watercolour 19" x 14" (48 x 36cm), signed.

103 Alicia Boyle 1908-1997 LA FACHADA, ARCENIEGA Watercolour, 19" x 14" (48 x 36cm), signed.

Provenance: Studio Sale deVeres, 1998.

Provenance: Studio Sale, deVeres, 1998.

€200 - 300

105 Cecil King 1921-1986 INTRUSION Acrylic on card, 6½" x 6½" (16.5 x 16.5cm), signed.

104 Basil Rackoczi 1908 -1979 LE SACRE COEUR Watercolour and ink, 28" x 20½" (72 x 52cm), signed; signed inscribed & dated 48 verso.

Provenence: Hendricks Gallery, Dublin, (label verso). €350 - 450

€1000 - 1500

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 Purchaser 1. 19½%+ 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. 80

Behan, J Boyle, A Brady, C Byrne, M Carr, T Campbell, G Carracciolo, N Craig, J.H Curling, P Delaney, E Dillon, G Doherty, J Dunlop, R.O Egan, F Egginton, F Fitzharris, M French, W.P

60 102,103 83 63 101 18,19,20,20a, 92,93 48,66,67 42 29,30,31 1,26,65,64 34 99 86 52 96,97 50,51

Ganly, R.B

Healy, H Healy, M Hennesy, P Hone, E Hone, N

54,68,75 81 46,55 59,79 53

Johnson, N

Kernoff, H King, C Kingston, R

56,57 105 37

Lamb, C Le Brocquy, L Le Jeune, J Leonard, P Lyons, F

9,10 32,33 70 95 43

MacCabe, G MacGonigal, M McGuinness, N McKelvey, F Middleton, C Moore, Y

17 4,5,11 2,3,13 6,47 22,23,27 87

O’Brien, D 7,8 O’Donoghue, H 35 O’Hagan, H 100 O’Neil, D 21,24,25,28,77,78 O’Neill, M 88,89 O’Malley, T 36,38,39 O’Reilly, P 84 O’Ryan, F 72,73,76 Orpen, B 90 Plazotta, E Rackoczi, B Robinson, M Russell, G Shawcross, N Sutton, I

45 104 69,71,82 12 61 44

Tallentire, A Teeling, N Teskey, D

74 94 40, 41

Van Stockum, H

14,15

Walker, J.C Warren, M Wilks, M.C Yeats, J.B

98 85 49,58,91 80

Cover illustrations Front: Lot 26 Gerard Dillon 1916-1971 PONY IN A CONNEMARA GARDEN Inside front: Lot 11 Maurice MacGonigal PPRHA 1900-1979 “CAMPSITE”, POPPINTREE, NORTH COUNTY DUBLIN Inside back: Lot 35 Hughie O’Donoghue b. 1953 RETURN OF ULYSSES (2006-2007) Back: Lot 29 Edward Delaney RHA 1930-2009 FAMILY

ART AUCTIONEERS & VALUERS

35 Kildare Street, Dublin 2. Tel: 01 676 8300 info@deveres.ie www.deveres.ie