ART AUCTIONEERS & VALUERS
Irish Art Auction Monday, 7th March at 6pm Viewing at 35 Kildare Street, Dublin 2
ART AUCTIONEERS & VALUERS
Auction:
Monday 7th March, at 6pm
AUCTION VENUE:
Physicians Hall 6 Kildare Street Dublin 2
ON VIEW:
de Veres 35 Kildare Street Dublin 2
Thursday 3rd March Friday 4th March Saturday 5th March Sunday 6th March Monday 7th March Contact:
9.30am - 5.30pm 9.30am - 5.30pm 11.00am - 5.00pm 12.00pm - 5.00pm 9.30am - 5.30pm
01 6768300
COLLECTION: From 35 Kildare Street, Tuesday 8th March and Wednesday 9th March PURCHaser 19½% plus VAT (23.985%) FEES:
de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:
the-saleroom.com www.facebook.com/deveresArtAuctions
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ART AUCTIONEERS & VALUERS
We are delighted to make two new announcements for 2016. Firstly, the appointment of Sara Kenny to our Valuations Department. Sara has over 30 years experience in Auctioneering, having previously managed Hamilton Osborne King (HOK) and later Sara Kenny Fine Art. She brings a wealth of experience.
Secondly, we have a new auction venue for 2016. We have secured The Royal College of Physicians, our neighbour at No. 6 Kildare Street, to conduct our Irish Art and Design Auctions. The viewings will continue from our Gallery at 35 Kildare Street.
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
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1 Terence P Flanagan RHA PRUA 1929-2011 A HEDGE (1969) Oil on board, 10" x 10" (25.5 x 25.5cm) signed.
â‚Ź800 - 1200
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2 Patrick Hennessy RHA 1915-1980 BIRD AND GRAPES Oil on canvas, 10½" x 15" (27 x 38cm) signed.
Provenance: David Hendriks Gallery, Dublin (label verso).
€3000 - 5000
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3 Mildred Anne Butler RWS RUA 1858-1941 THE WOODS IN SPRINGTIME, 1929 Watercolour, 14½" x 21" (37 x 53.5cm), signed.
€2000 - 4000
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4 Barbara Warren RHA b.1925 GALWAY LOBSTER Oil on board, 16" x 24" (40.5 x 61cm), signed.
Exhibited: Royal Hibernian Academy, 2000.
â‚Ź800 - 1200
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5 Norah McGuinness HRHA 1901-1980 BARLEY FIELD Oil on canvas, 16" x 22" (41 x 56cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso); Private Collection Dublin.
â‚Ź4000 - 6000
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6 Gerard Dillon 1916-1971 RUNNING TRIO Mixed media with crayon and collage, 21" x 23½" (53 x 60cm), signed, inscribed verso.
Provenance: The Dawson Gallery, Dublin; Private collection, Dublin.
€8000 - 12000
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7 Daniel O’Neill 1920-1974 LANDSCAPE, KERRY Oil on canvas, 20" x 30" (51 x 76cm), signed.
Provenance: ex Bank of Ireland Collection.
€4000 - 6000
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8 Patrick Hennessy RHA 1915-1980 WOODED RIVER LANDSCAPE Oil on canvas, 27½" x 22" (70 x 56cm), signed, in its original plaster frame.
€4000 - 6000
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9 Lady Beatrice Glenavy RHA 1881-1970 BY THE SEA Oil on board, 16" x 12" (40.5 x 30.5cm), signed with monogram, inscribed verso.
â‚Ź2500 - 3500
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10 Donald Teskey RHA b.1956 STORM OVER HEADLAND Oil on paper, 15" x 16" (38 x 41cm), signed, inscribed verso.
â‚Ź2500 - 3500
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11 Felim Egan b.1952 SOUNDING Mixed media on canvas, 47¼" x 47¼" (120 x 120cm), signed & dated 2008 verso.
€4000 - 6000
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12 Jack Butler Yeats RHA 1871-1957 HOLD ME HAT TILL I TEAR UN! (LET ME AT HIM) (1897) Watercolour, 12" x 19" (30.5 x 48.3cm), signed & dated 1897. Provenance: Victor Waddington, London; Theo Waddington Fine Art, London (label verso); Private Collection, Dublin.
Exhibited: 1897 London (8); exhibited as The Combat in 1988 at London Royal College of Art.
Literature: ‘Jack B Yeats, His Watercolours, Drawings and Pastels’ by Hilary Pyle, Cat. No. 31 (p.62, illus). In his work as a watercolourist Yeats valued the power of style and he imitated and experimented with various manners, suitable to the occasion for which he fashioned them. His watercolours are interesting in themselves for their variety, the breadth of the subject matter and for their inventiveness.
I n watercolour, unlike illustration, he was seeking for self-expression. The experimenting in watercolour laid the ground for his painting in oil. Yeats continued to look back to the themes of his watercolours when painting his later oils, where memory played a major part in his conceptions. Simple images are repeated after an interval of forty years. Tinkers, tramps and pirates, the rather sinister personnel of the Life in the West of Ireland days, seem to have been an emotional outlet for the darker side of the artists personality as well as a vehicle for fantasy.
‘ Hold Me Hat till I Tear Un!’ not only show the artists continual enjoyment of words, but indicate how he brought a human warmth to the rather spare imagery.
see ‘Jack B Yeats, His Watercolours, Drawings and Pastels’ by Hilary Pyle, published by Irish Academic Press
€10000 - 15000
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13 Sir John Lavery RA RSA RHA 1856-1941 THE CORONATION COACH Oil on canvas board, 20" x 20" (51 x 51cm). Provenance: Whyte’s, 19 September 2006, (lot 129), catalogue note: A study for ‘Piccadilly, 12th May 1937’ (London Museum; reproduced plate 240 in Kenneth McConkey’s monograph on Lavery), which was painted to mark the coronation of King George VI. McConkey records that “Lavery set out to record the procession as it passed down Piccadilly and to do so, positioned himself up on a balcony overlooking the road... and executed numerous rapid sketches of guards and footmen in their processional regalia” (McConkey, p.200).
€5000 - 7000
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14 Sir John Lavery RA RSA RHA 1856-1941 STEAMERS IN THE HARBOUR, ST JEAN DE LUZ Oil on canvas, 24" x 29½" (61 x 75cm), signed lower left, J LAVERY. Provenance: Dublin, James Adam, 1 June 1989; London, Sotheby’s, 16 May 2003; Whyte’s Dublin, 14 March 2011.
Exhibited: Edinburgh, Royal Scottish Academy, 1920, No. 187
In April 1917 John and Hazel Lavery embarked on a spring holiday – their first since the outbreak of war. Fear of U-boat attack on passenger vessels following the sinking of the Lusitania two years earlier, was intense and the painter’s studio at Tangier was permanently out of bounds. Although the German Navy remained active, by this time supply routes across the English Channel were less risky and with Lavery’s commission as an Official War Artist looming in a few weeks, the couple set off. Travelling first to Paris, they visited the painter’s old friend Jacques-Emile Blanche, and then journeyed south to the Duke of Westminster’s shooting lodge at Mimizan on the Atlantic coast, before finally repairing to the Grand Hotel de l’Angleterre at St Jean de Luz1. The town that, along with neighbouring Biarritz, had been a fashionable watering hole for King Edward VII, was now merely a safe haven for ships sailing north and south through the hostile seas of the Bay of Biscay. During their stay, the spacious natural harbour was filled with Norwegian cargo vessels, their bows painted with the bold flags of neutrality.
As always, Lavery travelled with an ample supply of canvases, and at the southern resort he painted the famous Maison Louis XIV in the central square. Being close to the Spanish border, he also made a brief foray to Fuenterrabia to paint the Good Friday celebrations2. However, his main task during the holiday was a suite of six pictures, all painted from the same location looking south over the harbour at St Jean de Luz. Each contains the strip of distant headland with its ancient tower. Throughout the series, the boats change position and the artist, echoing Cezanne on the motif at Mont St Victoire, only needed to move his line of sight to create a new composition. The Harbour, St Jean de Luz, Early Morning, (Sheffield City Art Galleries), and A Still Morning, (Ferens Art Gallery, Kingston-upon-Hull), indicate the painter’s fascination with changing light effects. Working throughout the day, Lavery was obliged to change his palette for the sharper ceruleans of the Côté de l’Atlantique at midday in The Sands (Private Collection), and in the present example, while in Twilight, St Jean de Luz, (Private Collection), he returns to the more muted mauves and pinks of evening3. One further picture, Norwegian Cargo Boats, (Private Collection), excludes the foreground beach and concentrates upon ships pulling out into the deep channel and setting off along the coast. It could almost act as a prelude to the present work in which the lead vessel approaches the harbour entrance with its breaking waves.
S urveying this important interlude, it is impossible not to appreciate the artist’s sense of liberation. Having been confined in London since his last visit to Morocco at the beginning of 1914, opportunities to ‘wash the studio light from his eyes’ were few. Gazing on the majestic sweep of the bay at St Jean de Luz, he clearly recalled the early work of Whistler who, in his youth, had painted on the shore at Biarritz. But it was the magical softness and fluidity of Whistler’s Valparaiso seascapes and nocturnes that haunted him here, as the still morning turned to a bright, blustery midday and the coasters steamed off into hostile waters.
€15000 - 20000
1
Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Edinburgh, Atletier Books), pp. 133-6.
2 The Procession, Fuentarrabia, 1917 (Merrion Hotel Collection, Dublin) along with Jaixquibel, A Mountain in Spain, (sold Dreweatt-Neate, 18 September 2002) and The Basque Country, (formerly Art Gallery of New South Wales, Sydney) were also painted on this part of the holiday. 3
See McConkey 2010, figs 156 and 157 for comparison.
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15 Micheal Farrell 1940-2000 A SHORTER HISTORY OF IRELAND Oil on canvas, 57½" x 76" (146 x 193cm), signed, inscribed & dated 1980 verso.
orn in Kells, Co. Meath, Farrell studied at the St Martin’s and Colchester Colleges of Art . His work B has been exhibited all over the world. A retrospective of his work was held in the Douglas Hyde Gallery in 1979 and was accompanied by a monograph by Cyril Barrett. His work can be found in the Hugh Lane Municipal Gallery, IMMA, the Ulster Museum, the Georges Pompidou and The Museé d’Art, Moderne de Paris.
F arrell was Ireland’s foremost political painter. These works come from a series produced in 1981/82. When exhibited in 1982 Cyril Barrett commented on A Shorter History of Ireland; “Michael Farrell returns, twelve years later, to a much more mellow view of the Irish situation than the Pressé Poitique series, and even the Miss O’Murphy series. One could describe it as cynical, but it might be better described as mature. In fact, it is a depiction of a view of Ireland of that mature, humane, slightly cynical, troubled observer of the Irish Situation and eminent writer Jonathan Swift. The situation has not changed much since Swift wrote in the 1720s. His satire was lost on the British government, as, no doubt, Micheal Farrell’s will be now- even if it ever comes to their attention. But, while governments come and go, art has a way of persisting”.
See ‘Micheal Farrell- The life and Work of an Irish Artist’ by David Farrell
€10000 - 15000
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16 Sean McSweeney HRHA b1935 LANDSCAPE Oil on canvas, 40" x 44" (102 x 112cm), signed & dated 1966.
Provenance: The Dawson Gallery, Dublin (label verso).
â‚Ź6000 - 9000
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17 Mainie Jellett 1897-1944 COMPOSITION, TWO ELEMENTS Oil on canvas, 36" x 24" (91.5 x 61cm), signed Jellett 1925 verso.
Provenance: The Neptune Gallery, Dublin; these rooms 2000; Private Collection.
Exhibited: 1974, Neptune Gallery, No.30 (illustrated)
Literature: Mainie Jellett, Irish Museum of Modern Art Dublin 1991, page 70, No. 78
F rom 1921-1924 Mainie Jellett continued her studies of abstract art with Evie Hone under the tutelage of Albert Gleizes. Together they developed his new art which was based on a method he called translation and rotation, a technique which involves taking the shape of the canvas and moving it up and down or sideways (translation), and pivoting it (rotation), the overlapping of these forms creating a varied composition. During this period the works were characterised by simple forms and strong colour. In 1924 Jellett exhibited at the Dublin Painter’s Gallery. The works were multiple element works and not always successful.
By 1925 Jellett’s compositions were much more successful. The artist began using a more limited colour range, frequently dark greens, blues, greys and earth tones which gives a sense of unity to the paintings. Surface patterning is increasingly important, becoming more geometric and the paintings are sharply delineated into two or three elements.
See Mainie Jellett, Irish Museum of Modern Art Dublin 1991
€30000 - 50000
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18 Louis le Brocquy HRHA 1916-2012 JAMES JOYCE, STUDY 49 Watercolour, 16" x 14" (40.5 x 35.5cm), signed & dated 1977.
Provenance: Gimple & Hanover Galerie, Zurich; ex collection of Garech Brown, Luggala, Co Wicklow; Private Collection.
le Brocquy painted over 100 studies of Joyce, in oil, watercolour and charcoal. Discussing his series of studies of James Joyce, le Brocquy explained: “ I have never known Joyce, but am bound to him as a Dubliner. For it is said that no-one from that city can quite escape its microcosmic world, and I am no exception. Joyce is the apotheosis, the archetype of our kind and it seems to me that in him – behind the volatile arrangement of his features – lies his unique evocation of that small city, large as life and therefore poignant everywhere” (quoted in Louis le Brocquy, Portrait Heads, exh cat., National Gallery of Ireland, 2006, p.62).
€8000 - 12000 22
19 Melanie le Brocquy HRHA b.1919 WOMAN WITH CHILDREN WALKING (1988) Bronze, 12" high (30.5cm), including base, from an edition of 6. An example of this piece was included in the Melanie le Brocquy Retrospective, RHA, 1999 (Cat. No. 30).
Provenance: From the estate of Dr Carmel Long and Richard Dennis Esq; Sold Adams 8th Dec 2009 (lot 75), where purchased by the present owner. â‚Ź3000 - 4000
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20 Louis Le Brocquy HRHA 1916-2012 TORSO F.39 Oil on canvas, 12" x 10" (30.5 x 25.5), signed. Provenance: Gimple Fils, London, where purchased by a private collector, November 1959; Sotheby’s 11 May 2006, lot 111; Private Collection.
Executed in 1959, the present work was made the year after le Brocquy married the artist Anne Madden at Chartres Cathedral. During this she was undergoing dramatic surgery on her spine and her fragile state both raised le Brocquy’s awareness of the human condition and prompted him to explore ideas concerning the fundamental nature of human existence and the dichotomies of life and death, being and nonbeing. Torso F.39 strongly relates to one of his first explorations of this theme, Young Woman (Anne) (1957, private collection), where the female form has been reduced to a shadowy presence whose only tangible reference is her spine running along the central vertical axis of the composition.
€10000 - 15000 24
21 Deborah Brown b.1927 SHIPWRECK Bronze, 20" (w) x 10" (d) x 7½" (h) (51x25.5x19cm).
€2000 - 3000
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22 Mildred Anne Butler RWS RUA 1858-1941 PLOUGHING Watercolour, 6½" x 10¼" (16.5 x 27cm).
€600 - 900
23 Gladys Maccacabe HRUA ROI FRSA b.1918 HORSE FAIR Oil on board, 10" x 14" (25.5 x 35.5cm), signed, inscribed verso.
€800 - 1200
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24 Dermod O’Brien PPRHA 1865-1945 PASTORAL LANDSCAPE Oil on canvas, 9½" x 13½" (24 x 34.5cm), signed & dated 1923.
€800 - 1200
25 Hilda van Stockum HRHA 1908-2006 STILL LIFE – FRUIT Oil on board, 14" x 18" (36 x 46cm), signed with initials.
€1500 - 2500
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26 Hughie O’Donoghue b. 1953 RETURN OF ULYSSES (SOUVENIR OF ST. VALERY) Oil and mixed media, 18" x 30" (46 x 76cm), signed; signed, inscribed & dated 2005/2006 verso.
€12000 - 16000
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27 Felim Egan b. 1952 UNTITLED Acrylic on canvas, 63" x 63" (160 x 160cm), signed & dated 2008 verso.
â‚Ź5000 - 7000
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28 Walter Frederick Osborne RHA 1859-1903 PASTORAL LANDSCAPE MALAHIDE Oil on panel, 12½" x 16" (32 x 41cm).
Provenance: The Artists Family; The Gorry Gallery, Dublin; Private Collection, Dublin.
€8000 - 12000
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29 James Humbert Craig RHA RUA 1877-1944 GATHERING TURF Oil on board, 15" x 20" (38 x 51cm), signed.
€3000 - 5000
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30 Charles Tyrrell b.1950 P25.00 Oil on aluminium, 13" x 13" (33 x 33cm), signed & dated 2000 verso.
€1400 - 1800
31 Eamon Coleman, Contemporary UNTITLED Acrylic on board, 24" x 64" (61 x 103cm), signed.
€1500 - 2500 32
32 Jill Dennis, Contemporary TRACTOR, CRONODY Mixed media, 31" x 23" (79 x 58.5cm), signed & inscribed verso.
Provenance: Taylor Galleries, Dublin (label verso).
â‚Ź800 - 1200
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33 Roderic O’Connor 1860-1940 NATURE MORTE – FLOWERS ON A TABLE Oil on canvas, 21¼" x 25½" (54 x 65 cm), signed & dated 1910; signed & inscribed verso. Provenance: Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956; with Roland, Browse & Delbanco, London; with Schoneman Galleries, New York, as ‘Flowers on Table�, where purchased by the previous owner.
Exhibited: Paris, Salon d�Automne, 1910, no. 895, as ‘Nature morte�.
Literature: J. Benington, Roderic O�Conor: A Biography with a catalogue of his work, Dublin, 1992, pp. 113, 120, 210, no. 165, pl. 45.
T his radiant floral still-life depicts a group of everyday domestic items laid out as if for a light meal on a table positioned directly below one of O�Conor�s large studio windows at 102 rue du Cherche-midi. A shaft of brilliant sunlight enters from the right and renders the objects pale and ethereal, whilst behind them the darkly shaded studio wall creates contrast and depth. A few accents of brighter colour – vermilion and dark green – draw the eye towards the central bowl of flowers. To capture the mid-tones, O�Conor uses feathered or scumbled brushstrokes, whereas the heavier build-up of paint applied for the darks and lights ensures a lively picture surface.
faint inscription on the back confirms that it was exhibited shortly after it was painted, besides A indicating the title the artist gave it on that occasion. It was one of two ‘Nature Mortes’ (still-life’s) that comprised O�Conor�s submission to the 1910 Salon d�Automne.
€60000 - 90000
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34 Roderic O’Conor 1860-1940 JEUNE FILLE AU BOUQUET DE VIOLETTES Oil on canvas, 21¾" x 18" (55 x 46cm), with Atelier stamp verso.
Provenance: Studio sale, Hotel Drouot, Paris 1956; Private Collection, France; by descent 1970: Serge Tesson, Commissaire Priseur, Parthenay, France; Private Collection, Dublin; de Veres, 13 June 2006, 9lot 25), where purchased by the present owner; Private Collection, Dublin.
Exhibited; Milmo-Penny Fine Art, ‘Roderic O’Conor Private View’ 2001 (illus p.40), which catalogue entry reads:
the time this study was painted, about six years after his arrival in Paris, O’Conor was By well established in a fine studio on rue du Cherche-Midi. O’Conor painted this model several times.
Although O’Conors sumptuous reds, crimsons and violets are very much in evidence in this work, the lighter colours of the girls costume subdue them. The model wears a delicate posy of violets pinned to her blouse (a nosegay). The facial features are built up with a minimum of brush strokes.
€40000 - 60000
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35 Charles Vincent Lamb RHA RUA 1893-1964 COTTAGES IN THE WEST OF IRELAND Oil on canvasboard, 10½" x 14" (26.5 x 35.5cm), signed.
€1500 - 2000
36 John Skelton 1924-2009 LAUNCHING THE CURRACH Oil on board, 16" x 20" (40.5 x 41cm), signed.
€1500 - 2000 38
37 Kenneth Webb RWA FRSA RUA b.1927 ROSSES POINT TOWARDS STRANDHILL, CO SLIGO Oil on canvas, 12" x 28" (30.5 x 71cm), signed.
€2500 - 3500
38 John Skelton 1924-2009 HOWTH HEAD Oil on board, 20" x 24" (54 x 61cm), signed.
€2000 - 3000 39
39 Gerard Dillon 1916-1971 RESTING BY THE LINE Gouache, 9" x 13¾" (25 x 35cm), inscribed in the artist’s hand verso.
Provenance: Previously in the collection of Arthur Armstrong RHA; sold de Veres 30th September, 1996 (lot 19). This was one of two works by Dillon from the Armstrong Estate sold in that auction. The second (lot 20, see image) was signed on the front.
€3000 - 5000
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40 Gerard Dillon 1916-1971 ROUNDSTONE Oil on canvas, 13½" x 20" (34 x 40cm), with inscription from James Whyte verso.
€10000 - 15000
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41 Hughie O’Donoghue b. 1953 LAST POEMS (VERSION 1) Mixed media, 18" x 29½", signed; signed, inscribed & dated 2007 verso.
€10000 - 15000
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42 Barrie Cooke HRHA 1931-2014 NIGHT BEASTS AND WATER Watercolour, 37½" x 39¼" (95 x 100cm), signed.
Provenance: Ritchie Hendriks Gallery, Dublin, May 1974 (label verso).
€2000 - 3000
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43 Patrick Hickey 1927-1998 LAKE WITH YELLOW WOODS Oil on canvas, 30" x 40" (76 x 102cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso); Private Collection Dublin.
â‚Ź2000 - 4000
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44 Séan McSweeney HRHA b.1935 MAY DAY Oil on canvas, 14" x 18" (35.5 x 45.5cm), signed & dated 06.
Provenance: Taylor Galleries, Dublin (label verso).
€2000 - 3000
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45 William John Leech RHA ROI 1881-1968 THE HOUSEKEEPER Oil on canvas, 32" x 24" (81 x 61cm), signed.
Provenance: Private Collection, Dublin.
E xhibited: National Gallery of Ireland ‘William John Leech: An Irish Painter Abroad,’ 23rd Oct – 15th Dec 1996, no. 114
Literature: Denise Ferran, Leech, NGI & Merrell Holberton, London, 1996, Illus.in colour, p. 293.
I n 1958, May Botterell’s niece Margaret Wallace, encouraged May and William John Leech to move out of London, from May’s home at 20, Abbey Road and from Leech’s Steele’s Studio, which had been damaged in the 1943 blitz. Over thirty years after their first meeting, May Botterell, had become Leech’s second wife in April 1953. Her first husband, Percy Botterell, had died in 1952 and Leech’s first wife, Elizabeth, who was the subject of ‘Convent Garden, Brittany’ and ‘The Sunshade’, both in the collection of the NGI, had previously died in Quincy, Mass, USA, in 1951.
ay and Bill Leech bought Candy Cottage, a detached mock Tudor house in West Clandon, Surrey, close M to where Margaret Wallace lived. Although, the couple were then in their late 70’s, Leech entered the last decade of his life with a new happiness and optimism. He built a studio in the garden and began a series of paintings, of self-portraits, of scenes in his garden, of his house and the house opposite, of boats moored along the Wey in the Surrey countryside, a commissioned portrait of his neighbour Chloe Abbott and portraits of the Wallace children, all with a renewed fervour, seeking the sunlight and shadow he first began capturing in 1906. One of these works was ‘The Housekeeper’.
T he pine table and pine chair, which were objects in his Steele’s Studio, and the potted plants on the table, suggest that this work was painted in Leech’s new studio. From information gathered from some of Leech’s other sitters, in particular Chloe Abbott, he worked slowly from life, only using photographs as additional or introductory information. He only painted when the light was right and when he was in the right mood which explains his small output of finished works. One can only surmise that little housework was completed during these painting sessions as Leech spent months on a painting, particularly one of the scale and skill of The Housekeeper.
In 1996, I wrote in “William John Leech: An Irish Painter Abroad” that: “Seen from a high vantage point, she poses sitting in a floral overall, shining a copper kettle, a harmony of creams and turquoises. She is highlighted by the sunlight coming in through the window, and the pattern of her overall, in blues and pinks… has more than a passing reference to Bonnard, who Leech professed to admire. The table top, bathed in light, diverges diagonally to the background, in a customary Leech composition, adhering to his appreciation of Degas’s composition.”
As May’s health was failing, the housekeeper came daily, except on a Sunday from 1958 until May’s death in July 1963, just five years after their arrival in West Clandon. Leech tragically died, as a result of a fall onto the railway track at West Clandon, in July 1968, three years almost to the day after May’s death.
Dr Denise Ferran, February 2016
€30000 - 50000
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46 Paul Henry RHA RUA 1876-1958 WINTER TREES (1930/1931) Oil on canvas, 20" x 18" (51 x 45.5cm), signed.
E xhibited: Exhibition of Irish Landscapes & Scenes in Co. Wicklow, Combridge’s Gallery, Dublin, 12-24 October 1931.
Paul Henry rarely painted trees, but when he did it was winter trees that attracted him, trees without foliage so that one can see their architecture (see S.B. Kennedy, Paul Henry: with a catalogue of the Drawings, Paintings, Illustrations, Yale University Press, New Haven & London, 2007, Wind-blown Trees, 1918-19 (number 507), The West Wind, 1920-1 (558), Trees, County Wicklow, 1930-1 (747), Winter Trees, 1930-1 (748), Windswept Trees, c. 1930-1 (751)).
T he setting is almost certainly County Wicklow, probably near to Kilmacanogue where Henry settled after he moved from Dublin. The range of colours, with an emphasis on olive greens and umbers, and the fluid handling of the paint are characteristic of his work at the time, while the lattice-like tracery, especially in the upper reaches of the branches of the trees, harks back to a number of compositions, all of which are listed above. Reviewing Henry’s 1931 exhibition at Combridge’s Gallery in Dublin – Exhibition of Irish Landscapes & Scenes in Co. Wicklow – where this work may have been exhibited, the Irish Times (10 October 1931) noted that in painting County Wicklow the artist had ‘invaded a ground of literature’, a place that was formerly the ‘preserve of the poets’; and what a ‘gladdened eye’, it said, he had cast on it. The richer landscape of County Wicklow also contrasts with that of the rugged west of Ireland. Winter Trees represents not only a change of emphasis in Henry’s subject matter but also a lightening of his mood which remained for the rest of his career.
inter Trees is dated c. 1930-1 on stylistic grounds and is numbered 1302 in S. B. W Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.
Dr. S.B. Kennedy, February, 2016
€30000 - 50000
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47 Gerard Dillon 1916-1971 A TREE IN THE LANDSCAPE Watercolour and collage, 15" x 21" (38 x 53.5cm) signed; inscribed verso.
Provenance: The Dawson Gallery, Dublin (label verso).
â‚Ź6000 - 9000
50
48 Gerard Dillon, 1916-1971 INSTALLATION FIGURE Mixed media, 11" (h) (28cm), encased in a perspex box.
Provenance: Phil Rafferty Studio Sale, de Veres, 1996.
â‚Ź1000 - 2000
51
49 George Russell (AE) 1867-1935 FIGURE IN A WOOD Oil on board, 18½" x 24" (47 x 61cm), signed with monogram.
€3000 - 5000
52
50 Letitia Marion Hamilton RHA 1878-1964 DUNMANUS BAY Oil on canvas board 11" x 15½" (28 x 38cm), signed with initials.
€2000 - 3000
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51 John Skelton 1924-2009 GALWAY HOOKERS NEAR KINVARA Oil on canvas, 12" x 16" (30.5 x 40.5cm), signed; inscribed & dated 1992 label verso.
€1000 - 1500
52 John Skelton 1924-2009 CURRACH ON THE STORMY SEA Oil on canvas, 24" x 36" (61 x 91.5cm), signed.
€2000 - 4000 54
53 Markey Robinson 1918-1999 THE POTATO DIGGERS Gouache on board, 12" x 26" (30 x 66cm), signed.
â‚Ź2500 - 3500
55
54 Liam Belton RHA b.1947 FIVE EGGS Oil on canvas, 20" x 16" (51 x 41cm), signed; inscribed & dated 2003 verso.
â‚Ź2000 - 3000
56
55 Patrick O’Reilly b.1957 THE BOXER Bronze and mixed media, 62½" high (158cm).
€3000 - 5000
57
56 Charles Brady HRHA 1926-1997 BALL OF WOOL Oil on paper, 16" x 12" (40 x 30cm) signed & dated 1971.
57 Tony O’Malley HRHA 1913-2003 PHYSICIANSTOWN LANDSCAPE AND SOUTH WEST WIND AND CROWS AND CATTLE Oil on paper, 18" x 11½" (46 x 29cm), signed & dated 22/1/92, opus no. 7560.
€1000 - 2000
58
€3000 - 5000
58 Louis le Brocquy HRHA 1916-2012 THE TAIN - Cúchulainn Displayed Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed, inscribed & dated 1969, ed. 53/70.
59 Louis le Brocquy HRHA 1916-2012 THE TAIN - The Boy Cúchulainn Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed, inscribed & dated 1969, ed. 53/70.
€1500 - 2000
59
€1500 - 2000
60 Charles Brady HRHA 1926-1997 EMPTY MATCH BOOK (1979) Oil on canvas, 10" x 10½" (25.5 x 27cm), signed; signed, inscribed & dated 1979 verso. Provenance: Taylor Galleries, Dublin, 1979 (label verso).
€1500 - 2000
61 Felim Egan b. 1952 STRAND NOTE E Mixed media on wood, 19" x 19" (48 x 48cm), signed & dated 2004/05 verso, with artists studio label verso.
60
€800 - 1200
62 Tony O’Malley HRHA 1913-2003 WINTER PLACE – KILKENNY Oil on board, 36" x 24" (92 x 61cm), signed & dated 12/81; signed; inscribed & dated 1981 verso.
Provenance: Taylor Galleries (label verso).
€6000 - 9000 61
63 Elizabeth Taggart, Contemporary COTTAGE CHAIR Oil on panel 7¼" x 5½" (18.5 x 14cm), signed, inscribed verso.
€400 - 600
64 Tony O’Malley HRHA 1913-2003 LANDSCAPE – CORNWALL Oil on paper, 10" x 13½" (25.5 x 34cm), signed & dated Feb. 1965.
€1000 - 1500 62
65 Cecil King 1921-1986 MINE SHAFT Oil on board, (21 x 17cm), signed & dated 1961. Provenance: The Ritchie Hendriks Gallery, Dublin (label verso); ex Collection of Sir Basil Goulding; Private Collection.
€800 - 1200
66 Charles Brady HRHA 1926-1997 USED MATCH BOOK Oil on canvas, 7½" x 10½" (19 x 27cm), signed.
Provenance: Taylor Galleries, Dublin, (label verso).
€1500 - 2000 63
67 William Osborne RHA 1823-1901 DOGS Oil on canvas, 13¾" x 17¾" (35 x 45cm), signed with initials.
The father of Walter Osborne, William devoted his life to painting animals. He was a regular exhibitor at the Royal Hibernian Academy. €3000 - 5000
64
68 Walter Frederick Osborne RHA 1859-1903 FEEDING TIME (1877) Oil on canvas, 13¼" x 11¼" (34 x 29cm), signed with initials.
Provenance: With a Mrs Parker, Winter 1903-04 (a relation of the artist�s father); Sold at auction (unknown), Dublin, 1971; Sotheby�s, 19th century European Paintings, Olympia, 13 July 2006, lot 89; Private collection; Whytes, 10 october 2011 (lot 81), catalogue entry below; Private Collection, London.
E xhibited: ‘Memorial Exhibition of the works of Walter Osborne�, Royal Hibernian Academy, Winter 1903-04, catalogue no. 71 (Lent by Mrs. Parker).
Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Co. Cork, 1974, p.110, catalogue no. 1 (listed).
ontained in original gilt frame with exhibition plaque dating to the artist�s Memorial Exhibition at the RHA, Dublin C 1903-1904.
Sheehy’s text on Osborne was the first book about the artist, and the only one to contain a full catalogue raisonné. The catalogue lists his works in chronological order with ‘Feeding Time’, 1877 as his first recorded work. The painting is not illustrated and Sheehy’s information is sourced from the exhibition catalogue for Osborne’s Memorial Exhibition, 1903-04. The author notes the work was lent to the exhibition by a Mrs Parker as per a label verso (since disappeared). Additionally, Sheehy notes: “This picture seems to be related to ‘A Bit in Co. Wicklow’ (Memorial Exhibition, no. 105) which The Freeman’s Journal (7 December, 1903) said was the first specimen of his work. The Parkers were related to Walter Osborne’s father.”
t the age of 17 years Osborne entered the schools of the RHA and exhibited for the first time with the Academy A [Nora, catalogue no. 312, price £5-0-0] the following year. Osborne exhibited annually with the RHA until his death and the testaments to this lifelong relationship serve to trace his maturing ability from his formative years, when ‘Feeding Time’ was executed, through to his last work ‘Milking Time’ shown in 1903.
€7000 - 10000 65
69 Louis Le Brocquy HRHA 1916-2012 IMAGE OF SAMUEL BECKETT Aquatint overpainted in watercolour, 12" x 9½" (31 x 24cm), signed in pencil; signed, titled, dated & inscribed on the reverse: PROOF/ TRIAL PROOF OVERPAINTED IN WATERCOLOUR 1998 Provenance: Sotheby's, London, 24 October 2006, lot 1; Private Collection.
le Brocquy first met Beckett in Paris in 1978, although he had already used Beckett as a subject in 1965 when he painted ‘Reconstructed Head of Samuel Beckett (Opus no.171)’. They became good friends during the last eleven years of Beckett’s life and le Brocquy illustrated his ‘Stirrings Still’, which was published in 1988. He also designed the costumes and set for Walter Asmus’s production of ‘Waiting for Godot’ in 1988, the year before Beckett’s death.
€2000 - 3000
70 Jack Butler Yeats RHA 1871-1957 DESIGN FOR A CHRISTMAS CARD Ink, 3¾" x 7" (10 x 18cm), signed & inscribed.
66
€1500 - 2000
71 Frank McKelvey RHA RUA 1895-1974 GLIMPSES OF LOUGH INAGH Oil on canvas, 13¾" x 17¾" (35 x 45cm), signed, inscribed verso.
€3000 - 5000
67
72 Markey Robinson 1918-1999 WALK TO THE SHORE Gouache on board, 15" x 19½" (38 x 49.5cm), signed.
Provenance: The Oriel Gallery, Dublin (letter attached verso).
€3000 - 5000
68
73 Brien Vahey, Contemporary KERR PINKS Oil on board, 24" x 35" (61 x 89cm), signed.
Exhibited: Royal Hibernian Academy 1997 (winner of the de Veres award).
â‚Ź800 - 1200
69
74 David Crone b.1957 GARDEN Oil on canvas, 18" x 23" (46 x 58.5cm), signed, inscribed & dated March 1976 verso.
€600 - 900
75 Geraldine O’Brien b.1922 DAISIES Oil on canvas, 30" x 40" (76 x 102cm), signed. Provenance: Royal Hibernian Academy, 1991 (label verso).
€1000 - 1500 70
76 James Nolan RHA b.1929 GRAND CANAL, SHERLOCKSTOWN Oil on canvas, 18" x 24" (46 x 61cm) signed.
€400 - 600
77 Harry Kernoff RHA 1900-1974 DUKE ST., HALIFAX 1957 Watercolour, 11" x 14" (28 x 35.5), signed & dated.
€600 - 900
71
78 Robert Ballagh b.1943 ADOLPH GOTTLIEB BOX Mixed media, 12" x 16" (30 x 40cm). Provenance: David Hendriks Gallery, Dublin, 1974 (exhibition label verso).
â‚Ź1500 - 2000
72
79 Patrick O’Reilly b.1957 FLOUR BAGS Bronze, 12" high (30.5cm), signed, ed 1/1. €2000 - 3000
80 Melanie le Brocquy HRHA b. 1919 ULYSSES – HOMAGE TO BARBARA HEPWORTH Bronze, 16" high excluding base (41cm), signed with initials, ed 1/6.
€1000 - 1500
73
81 Mary Swanzy HRHA 1882-1978 CLOWN Oil on canvas board, 10" x 8" (25.5 x 20cm), with studio stamp verso. €800 - 1200
82 James English RHA b.1946 BOATS IN HARBOUR Oil on canvas, 12" x 16" (30.5 x 40.5cm), signed.
€500 - 700 74
83 Basil Rakoczi 1908-1979 COMMUNICATION Oil on canvas, 36¼" x 18" (92 x 46cm) signed, inscribed & dated 1962 verso, No.2592.
€1500 - 2000
84 Trevor Geoghegan, Contemporary EVENING, BALTINGLASS Oil on panel, 6" x 10½" (25.5 x 27cm), signed.
€300 - 500 75
85 Edwin Hayes RHA RI ROI 1819-1904 STORMY SEA AT BUDE, NEAR CORNWALL Oil on canvas, 9½" x 13½" (24 x 34cm), signed; inscribed verso. Exhibition Label Verso.
€1500 - 2000
86 Nathaniel Hone RHA 1831-1917 COASTAL LANDSCAPE Watercolour, 4" x 6¾" (10 x 7.2cm), inscribed no. 296.
€500 - 700 76
87 Nathaniel Hone RHA 1831-1917 LANDSCAPE Watercolour, 4½" x 7½" (11 x 19cm). Provenance: The Dawson Gallery, Dublin (label verso, inscribed by Leo Smith). Literature: Prof Thomas Bodkin, FOUR IRISH LANDSCAPE PAINTERS, Talbot Press, Dublin 1920, Cat. No. 153 in appendix.
€600 - 900
88 St George Hare RI ROI 1857-1933 COASTAL SCENE, WATERFORD Watercolour, 7" x 9½" (18 x 24cm), signed.
Provenance: Gorry Gallery, Dublin.
Born in Limerick where Hare studied under Nicholas Brophy. He then went to London to further his studies and was a regular exhibitor at the Royal Academy. In 1891 he founded The Chelsea Arts Club. His work is included in The National Gallery of Ireland, The Victoria & Albert Museum and The National Gallery of Victoria in Melbourne.
He exhibited 27 works at The RHA in Dublin between 1881 and 1916.
€500 - 700 77
89 Grace Henry HRHA 1868-1953 SPRING IN MOUGIN Oil on canvas, 5½" x 7" (14 x 18cm), signed, signed & inscribed label verso.
E xhibited: On Reflection-Modern Irish Art 1960’s-1990’s, The Crawford Gallery, Cork, Aug-Oct 2005; and afterwards at Galway City Museum, 2006 Literature: On Reflection, full page illustration, page 57.
€600 - 900
90 Thomas Ryan PPRHA b.1936 SINGLE ROSE Oil on board, 6" x 8" (15 x 20cm), signed; signed verso with reference number.
€1000 - 1500 78
91 Peter Curling b. 1955 RIDING OUT Watercolour on paper, 16½" x 24" (42 x 61cm), signed.
€1400 - 1800
92 Barrie Cooke HRHA 1931-2014 BALLYPORTRY CASTLE Oil on board, 14½" x 16" (37 x 41cm) signed verso.
Provenance: David Hendriks Gallery, Dublin (label verso).
€1400 - 1800 79
93 Ian Humphreys b.1956 LOVER�S RETURN Oil on canvas, 20" x 30" (51 x 76cm), signed, inscribed & dated 2007 verso.
94 William Crozier HRHA 1930-2011 VASE AND LANDSCAPE Oil on paper, 23½" x 32½" (60 x 82.5cm), signed & dated May 1982.
€2000 - 3000
€800 - 1200
95 Jeremy Henderson 1952-2009 BORDER SCAN NO.2 Oil on canvas, 24" x 30" (61 x 76cm), signed, inscribed & dated 1998 verso.
Exhibited: The Fenderesky Gallery, 1994.
Jeremy Henderson was born in Enniskillen and died in 2009 from a brain tumour. He was the first holder of the Stanley Picker Fellowship in Painting and went on to study at the Chelsea School of Art.
“ This series of paintings is about the Irish border and specifically the border country around County Fermanagh and the connotations it has for me, having grown up there”. Jeremy Henderson, 1986 €2000 - 3000 80
96 Jeremy Henderson 1952-2009 CUILCLAGH Mixed media, 21½" x 30" (55 x 76cm), signed & dated 1986.
€1500 - 2000
98 Niccolo d’Ardia Caracciolo 1941-1989 The Bridge at Celbridge, Co. Kildare Oil on board, 12" x 16" (30 x 40 cm), signed.
97 Niccolo d’Ardia Caracciolo 1941-1989 Swans on a Lake at Castletown Oil on board, 12" x 15" (30 x 39cm), unsigned.
€ 1500 - 2000
81
€ 1500 - 2000
ART AUCTIONEERS & VALUERS
The Design Auction Monday, 25th April at 6pm
Catalogue coming soon‌
82
Tense intensity. The Irish Hare
by Pauline Bewick, tireless yet at 80. Just one of 25 individual masterpieces, each 1 metre tall, to go to
A U C T I O N in aid of the Jack & Jill Foundation, including hares by: John Shinnors
Donald Teskey
Elaine Tobin
Thomas Banahan
Geraldine O’Neill
Keith Payne
Peter Curling
Graham Knuttel
Martin Gale
Noirin Dodd
Maser
Brian Lalor
Felim Egan
Elizabeth Cope
Mick O’Dea
Stephanie Hess
kennardphillipps
Paul Finn & John Murphy
Orla de Brí
Dr PJ Crook
Neil Shawcross
Jennifer Kingston
John Doherty
Patrick O’Reilly
Own something wonderful, in a wonderful cause. Bid online, on the phone, or join us in the Royal College of Physicians of Ireland (RCPI), No 6, Kildare Street, Dublin 2 on Tuesday 15th March at 7pm.
Proudly Sponsored by:
Jack and Jill Children’s Foundation, Johnstown Manor, Johnstown Naas, Co Kildare Tel: +353 (0) 45 894 538 / 660 hares@jackandjill.ie 83
www.haresonthemarch.ie
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Cover illustrations Front cover: Lot 17, Mainie Jellett 1897-1944, COMPOSITION, TWO ELEMENTS Inside front cover: Lot 33, Roderic O’Connor 1860-1940, NATURE MORTE – FLOWERS ON A TABLE Inside back cover: Lot 18, Louis le Brocquy HRHA 1916-2012, JAMES JOYCE, STUDY 49 Back cover: Lot 46, Paul Henry RHA RUA 1876-1958, WINTER TREES (1930/1931)
B Ballagh, R Belton, L Brady, C Brown, D Butler, M.A C Coleman, E Cooke, B Craig, J.H Crone, D Curling, P
78 54 56,60,67 21 3,22 31 42,91 29 74 90
D Dennis, J 32 Dillon, G 6,39,40,47,48 Egan, F 11,27,61 English, J 82 Flanagan, T.P 1 G Geoghegan, T Glenavy, B
84 9
H Hamilton, L.M Hare, St G Hayes, E Hennessy, P Henry, G Henry, P Hickey, P Hone, N Humphreys, I J Jellett, M K Kernoff, H King, C
50 88 85 2,8 13 46 43 86,87 92 17 77 66
L Lamb, C.V 35 Lavery, J 15, 16 LeBrocquy, L 18,20, 58,59,69 LeBrocquy, M 19,80
M MacCabe, G McGuinness, N McKelvey, F McSweeney, S
23 5 71 44
N Nolan, J 76 O’Brien, D 24 O’Brien, G 75 O’Conor, R 33,34 O’Donoghue, H 26,41 O’Reilly, P 55,79 O’Malley, T 57,62,63 O’Neill, D 7 Osborne, W 67 Osborne, W.F 28,68 R Rakoczi, B 83 Robinson, M 53,72 Russell, G 49 Ryan, T 14 Skelton, J 36,38,51,52 Swanzy, M 81
T Taggart, E Teskey, D Tyrrel, C
65 10 30
V Van Stockum, H Vahey, B
25 73
W Warren, B Webb, K
4 37
Y Yeats, J.B
12,70
ART AUCTIONEERS & VALUERS
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