Irish Art Auction by de Veres Art Auctions

Auction:

Tuesday 29th November at 6pm.

Venue: The D4 Berkeley Hotel, Lansdowne Rd, Dublin 4. On View: Sunday Monday Tuesday Contact:

27th November 28th November 29th November

11am - 5pm 9am - 7pm 9am - 3pm

01 238 2778 / 238 2779 (Viewing Times Only)

COLLECTION: D4 Berkeley, Wednesday 30th November, 9am - 1pm. FEES: 17Â˝% plus VAT (21.175%)

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:

www.facebook.com/deveresArtAuctions

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Arthur Armstrong RHA 1924-1996

LOW TIDE, ROUNDSTONE Oil on board, 16" x 20" (40.5 x 51cm), signed; inscribed verso.

Auctioneers: John de Vere White

Provenance: Tom Caldwell Gallery (label verso).

Est. €1,000 – 1,500

Rory Guthrie

John de Vere White Managing Director

Rory Guthrie Director

Aisling Foran Associate Director

john@deveres.ie

roryguthrie@deveres.ie

info@deveres.ie

Fred Yates 1922-2008, English School

EZE-SUR-MER, COTES D’AZURE Oil on canvas, 7½" x 9½" (19 x 24cm), signed & inscribed verso. A much loved naive painter whose popularity continues to grow. He has a fine CV having exhibited extensively throughout his life. I became aware of his work when the John Martin Gallery in London took him on. In the introduction to the show John put on in 2003 he wrote “ The small Yates figures were still present but now it was the landscape and architecture that dominated. He lingered over every detail with loving attention and imagined the landscape before him in strokes of colour so thick that one wondered how much quantities of paint could be crammed onto a tiny canvas without it spilling over the edge”. John deVere White

Michael Cullen rha b.1946

DAY OF THE DEAD, MEXICO, (1993/94)

Est. €1,400 - 1,800

Oil on linen, 11" x 15" (28 x 38cm), signed, inscribed & dated 1993/94 verso. Est. €1,000 - 1,500 5

Althea Garstin RUA 1894-1973

BREAKFAST TRAY Oil on board, 11" x 14½" (28 x 30cm). Provenance: Molesworth Gallery, March 2001 (No. 9) Label Verso. Althea Garstin was the daughter of the renowned painter Norman Garstin (1847-1926). The family were originally from Cahirconlish in Co. Limerick, though they were to spend the main part of their life in Newlyn in Cornwall where Norman Garstin became the spokesperson for the famous “Newlyn School”. Althea accompanied her father on many of his painting trips to France. She was an extremely good painter in her own right as can be seen from this charming work.

Est. €800 - 1,200

Padraig MacMiadhachain RWA b.1929

NEARLY HOME – CORNWALL (1994) Oil on canvas, 10" x 12" (25.5 x 30.5cm), signed, inscribed verso. Est. €400 - 600

Hughie O’Donoghue b.1953

Donald Teskey RHA b.1956

Friesian Calf

NIGHT WALKERS

Oil on board, 12" x 18" (30.5 X 46cm), signed; signed & dated 2004/05 verso.

Oil on paper, 23" x 31½ (58.5 x 79 cm), signed & dated ’98; signed & inscribed verso.

Est. €5,000 - 7,000 Provenance: Rubicon Gallery, Dublin (label verso). Est. €6,000 - 9,000

Frank McKelvey RHA 1895-1974

FARMYARD, COUNTY ANTRIM Oil on canvas, (38 x 50.5cm) inscribed verso. Literature: Frank McKelvey by S.B Kenendy published 1993, page 85 No. 29.

Niccolo d’Ardia Caracciolo RHA 1941-1989

Provenance: Whyte’s, 30th November 2004, Lot 63.

Painted in the early 1950’s, the subject-matter is unchanged from earlier decades, but the scale of colours is brighter than before and the brushwork is more delicate with at times a feathery quality to it. These compositions of the 1950s, too, represent a way of life on the eve of change, when farming began to assume its contemporary ‘industrial’ character. The farm buildings depicted are traditional in style and construction, the chickens run freely about the farmyard, all exist in perpetual summer. It is the recording of such scenes that, apart from the aesthetic qualities of his art, makes the work of Frank McKelvey so appealing to us nowadays. (Taken from A Painter In His Time by S B Kennedy)

STILL LIFE WITH FRUIT AND SCALES Oil on board, 20" x 23½" (51 x 60cm), signed & dated 80. Provenance: The Solomon Gallery, Dublin, 1982 (label verso); The Frederick Gallery, Dublin, 1995 (label verso); Private Collection. Est. €4,000 - 6,000

Est. €14,000 – 18,000

10 Daniel

O’Neill 1920-1974

KING AND QUEEN Oil on board, 30" x 22¾" (76 x 58cm). Provenance: Whyte’s, 25th February 2008 Lot 54. ‘King and Queen’ was painted as a tribute to the artist’s brief but significant friendship with the previous owner. The two met in 1969 at a Belfast clinic where she was then working and where O’Neill was undergoing treatment for alcoholism. In a written account of their meeting, the owner recalled that O’Neill was “quietly spoken and unassuming in his manner; we managed to build up a good rapport quite readily and he was able to converse freely with me”. They discussed O’Neill’s early years and frequently spoke of painting. O’Neill amused her with anecdotes about his career, such as his mother’s reaction to an early painting of a nude – “Oh Dan, cover her up” – to which request he complied; the resulting work, The Blue Skirt is now in the Ulster Museum. As their friendship grew O’Neill presented a number of impromptu gifts, including a William Conor sketch and two landscape paintings of his own. He asked his new confidante to sit for a portrait, to which she agreed. During one of the portrait sittings, she was accompanied by her then nine year old son. O’Neill encouraged the young boy to do some painting of his own, and promised that one day he would paint a clown for him. Some months later O’Neill telephoned to say he was unable to complete the portrait, and had instead transformed the work into a clown; this too he presented as a gift. In a series of letters to the owner, O’Neill gave news of his progress in the studio, telling her he had been “painting mostly at nights when everything is still and quiet”. An old transistor radio kept him company and he painted to the music of Brahms, Debussy, Mozart, Schubert and Sibelius. Most significantly he credited his return to painting to their friendship. “You without knowing it have given me the most priceless gift possible for any one person to give and this I have recently realised myself – that is the will to paint”. King and Queen was the fourth and final gift. The owner recalls the occasion on which it was presented to her: ”Dan phoned to ask if I would mind meeting him for coffee in town as he had a painting which he would like to discuss with me. I met up with him in the agreed café. He had a large picture with him, he referred to it as the King and Queen. The painting he said was for me if I would like it, otherwise he would destroy it as it was far too personal for him and he did not want to sell it”. The gift was accepted but the two were to never see each other again, for shortly thereafter Dan O’Neill died.

(Taken from Whytes catalogue when the painting sold, 25th February, 2008)

Est. €20,000 - 30,000

11 No Lot

12 Charles

Brady HRHA 1926-1997

DREAM BOX (1995) Oil on linen, 12½" x 20" (32 x 51cm), signed. Provenance: Taylor Galleries, Exhibited July 1995 (label verso). Est. €3,000 - 5,000

14 Camille

Souter HRHA b.1929

FOUNTAIN, ST STEPHEN’S GREEN (1992) Oil on paper, 10¼" x 10" (26 x 25.5cm), signed. Camille Souter was born in England in 1929, however she moved to Ireland as a child and has made Ireland her home since 1956. Now resident on Achill Island she lived for man years on Calary Bog in Wicklow.

13 Sean

McSweeney HRHA b.1935

SHORELINE BOG POOL Oil on board, 14" x 17" (35.5 x 43cm), signed & dated ’98, inscribed verso. Est. €2,500 - 3,500 12

Sir Basil Goulding a noted art collector became a great admirer of her paintings at an early stage. Represented by Taylor Galleries in Dublin, Camille has won numerous awards and for this writer she is unquestionably one of the finest painters to inhabit this island of ours. My late father once commented to me how Souter, like Dillon, when they were “on song” a magic power took over at the easel. We are delighted to offer this and lot 40, both exceptional examples of her work. John deVere White, November 2011 Est. €4,000 - 6,000 13

15 Tony

O’Malley HRHA 1913-2003

17 Basil

Blackshaw RHA RUA b.1932

FISHING

NUDE

Gouache, 11" x 15½" (28 x 39cm) signed with initials twice, inscribed & dated 1/81.

Oil on paper, 8" x 9¾" (20 x 25cm), signed; signed & inscribed verso.

Provenance: Taylor Galleries, Dublin (label verso).

Exhibited: Boyle Arts Festival 1996 (label verso).

Est. €2,000 - 3,000

Est. €3,000 - 5,000

16 Tony

O’Malley HRHA 1913-2003

MOTHS I (1980) Gouache, 11" x 16" (28 x 40.5cm), signed with initials, inscribed & dated. Provenance: Taylor Galleries, Dublin (label verso). Est. €2,000 - 4,000 14

18 Charles

Brady HRHA 1926-1997

artist’s paint tray Oil on canvas, 10" x 14" (25.5 x 35.5cm), signed. Est. €2,500 - 3,500 15

19 Sean

McSweeney HRHA b.1935

BOGLAND Oil on board, 24" x 32" (61 x 81cm), signed; signed, inscribed & dated 88 verso. Provenance: Taylor Galleries, Dublin.

20 John

Shinnors b.1950

Est. €5,000 - 7,000

STRAWBOY 8 Oil on canvas, 16" x 16" (41 x 41cm), signed. Provenance: Taylor Galleries, Dublin, November-December 2004, Cat. No.89 (label verso). Est. €4,000 - 6,000

21 Hughie

O’Donoghue b.1953

FIRES V Oil on canvas, 36" x 42" (92 x 104cm), signed, inscribed & dated 1990 verso. Provenance: Art Now Gallery, Sweden; Private Collection, Dublin.

22 Norah

McGuinness HRHA, 1901-1980

DUBLIN BAY MUD FLATS Oil on canvas, 27" x 36" (68.5 x 91.5cm), signed.

Est. €15,000 - 20,000

Provenance: From the artist’s family by descent to the previous owner; Private Collection, Cork. Norah McGuinness entered the Dublin Metropolitan School of Art in 1921. Her training was under, among others, Harry Clarke who had a strong influence on her earlier work as an illustrator. In 1929 on the advice of Mainie Jellet, McGuinness travelled to Paris to study under Andre L’Hote. Although she never embraced cubism to the extent of Jellet, it still influenced her work particularly in this period. The characteristic use of bold colour and the exactness of her painting makes this a wonderful example of her work. Est. €10,000 - 15,000

24 Daniel

O’Neill 1920-1974

JESSICA 23 Hector

McDonnell RUA, b.1947

Oil on board, 10" x 8" (25.5 x 45.5cm), signed. Est. €10,000 - 15,000

THE ANTLER INN II, 1982 Oil on canvas, 50" x 30" (127 x 76cm), dated 1982 verso. Provenance: Fischer Fine Art, London (label verso); Galerie Valentien, Stuttgart, where purchased by the previous owner; Private Collection, Dublin. Est. €7,000 - 10,000 20

25 Colin

Middleton RHA RUA, 1910-1983

AUGUST LANDSCAPE, BALLYMOTE (1951) Oil on canvas, 18" x 24" (46 x 61cm), signed; signed, inscribed & dated Aug.1951 verso. Provenance: Sold these rooms 29th November 2006. Colin Middleton painted at least three works around Ballymote, close to his home at Ardglass, in the late summer of 1951. September Evening, Ballymote is in the collection of the Ulster Museum and Charlock, Ballymote was acquired by the Ferens Art Gallery, Hull. The present painting is closer in its view to the Ulster Museum painting, looking across an extensive landscape from a wooded hillside, but all three have a distinctly individual mood. Middleton frequently used the device of placing trees across the foreground, as in the present painting, to create a relationship between foreground and distance as well as to set up verticals to counterbalance the horizontal planes that dominate the landscape. While they share an intense and luminous palette, August Landscape, Ballymote has a less naturalistic use of colour and also a bravura but less abrupt handling of the paint surface that creates a very physical sense of moving through planes within the painting. By mid 1951 the darker edge that was present in a number of Colin Middleton’s earlier Ardglass paintings had been overtaken by the energy and confidence exemplified in the Ballymote landscapes.

Dickon Hall, October 2011

26 Grace

Henry HRHA 1868-1953

SAILING BOATS AT CHIOGGIA, VENICE Oil on canvas, 14" x 10½" (35.5 x 26.5cm), signed. Est. €4,000 - 6,000

Est. €40,000 - 60,000

28 Maurice

Canning Wilks ARHA, RUA 1910-1984

IN GLENDUN Oil on canvas, 14" x 18" (35.5 x 46cm), signed; inscribed verso. Est. €1,500 - 2,000

27 James

Humbert Craig RHA RUA, 1877-1944

MUCKISH RIVER, BEHIND GLENVEIGH Oil on board, 12" x 16" (30.5 x 540.5cm), signed, inscribed verso. Est. €4,500 - 6,000

29 Frank

McKelvey RHA 1895-1974

CATTLE GRAZING Oil on canvas board, 8½" x 11¾" (21.5 x 30cm), signed. Est. €2,500 - 3,500 24

30 Moyra

Barry 1885-1960

SUMMER FLOWERS Oil on canvas, 40" x 30" (112 x 76cm), signed. Est. €1,500 - 2,500

31 Peter

Collis RHA b.1929

STILL LIFE Oil on canvas, 24" x 24" (61 x 61cm), signed; Artist’s label verso. Est. €3,000 - 5,000 26

32 Barbara

Warren RHA b.1925

MEMORY OF CONNEMARA Oil on canvas, 18½" x 21½" (47 x 54.5cm), signed, inscribed & dated '92 verso. Est. €2,000 – 3,000

33 Barbara

Warren RHA b.1925

PORT DE LA SELVA, NORTH SPAIN Oil on canvas, 20" x 24" (51 x 61cm), signed, inscribed & dated ’90 verso. Est. €2,000 - 3,000 27

35 Gerard

Dillon 1916-1971

THE PAST IN THE PRESENT Oil on board, 20" x 24" (51 x 61cm), signed & inscribed verso.

34 Colin

This painting was executed in the late 1940’s on one of the artist’s visits to the Boyne Valley staying with his friend Nano Reid (1905-1981). It is not certain when the two artists first met, but it may have been in Dublin in the early 1940’s. Their friendship must have at first appeared odd to the outside world, as they came from very different backgrounds. Reid, sixteen years older than Dillon was a publican’s daughter, trained at the Metropolitan School of art, and was known for her loose expressive style of painting. Dillon, a Nationalist from the Falls Road area in Belfast, had no formal artistic training, and had a quirky primitive style of painting. Both however, became close friends, and sketched in Drogheda, the area around Slane, Mellifont Abbey, the great passage graves of Knowth, Dowth and Newgrange, and later in the 1950’s, Reid joined Dillon to sketch on Inishlackan Island, and the surrounding area in Connemara.

Middleton RHA RUA 1910-1983

FLOWERS IN ACCEPTANCE (1944) Oil on canvas, 24¼" x 201/8" (61.5 x 51cm), signed indistinctly (lower right); inscribed verso. Still life are rare within Colin Middleton’s body of work, so it is tempting to search for significance in this choice of subject. In many ways this painting belongs to the group of symbolist paintings of the mid-1940s that followed the more deliberately surrealist work of the early war years, but while bunches of flowers often play a role within these full and complex works, they rarely dominate and thus immediately suggest a mood of romance or remembrance.

The title of the painting “The past in the Present” depicts how the artist imagined the past in a landscape of the present, drawing on the Celtic relief sculpture on Muiredach’s High Cross that the artist saw during his visit to Monasterboice with Nano Reid. The viewer is confronted with a wall of panels depicting Celtic figures, animals and motifs. The birds may be Doves, a symbol of peace, and the larger bird, a Phoenix representing resurrection. The serpent may be from the megalithic art carved on the back of the stones at the entrances to Knowth, the largest of the passage graves. Through an open doorway from the past to the present, two-shawled woman are in discussion in a landscape of ploughed fields and cottages. Dillon often divided his compositions into sections or panels to convey a message. He embraced the idea of Monks imparting a message much like the frescoes in Continental churches. Perhaps in this instance, the artist draws our attention to the survival of our richly decorated Celtic crosses, and relics from successive generations of civilizations through thousands of years.

The war years affected Middleton profoundly; he was almost unique in documenting the effect of the blitz and the war on Belfast and its communities, while the broader horrors of the holocaust infused the compassion of his post-war work. More personally, however, his first wife died tragically young in 1939 and he remarried around 1944, to Kathleen. Were these flowers intended to mark her acceptance of him or do they mark the end of the war and represent the artist’s acceptance of the unspeakable suffering it caused.

On a visit to Nano Reid in Drogheda, the artist wrote a letter to the Australian art historian Bernard Smith (1916-2011), who he had met in London at the Abbey Art Centre in the outer London suburb of New Barnet “I have done a lot of watercolours of early Christian carvings on an old Celtic cross near here, they are wonderful all the male figures have big walrus moustaches like Douglas Hyde, the last President.” Similar Celtic motifs, and monks with long curly moustaches are depicted in other pictures from this period, “Fish Eaters”, “Fast Day”, and “The Community”.

Middleton creates a dreamlike ambiguity within the painting; the flowers spring from a vase constructed almost like a wall. In a drawing towards this painting, dated 10th October 1944, the vase sits on a sea wall, with cottages and boats drawn up on the beach behind, but another drawing has already integrated the wall with the vase, as it is in the painting, balanced on a small temple-like building with the suggestion of the landscape behind. Dickon Hall, October 2011

Years later, Dillon developed the Celtic idea in other works, “Little Girls Wonder.” c.1955, which depicts a seated Celtic figure in a room of modern paintings, and the “The Holy Island” c.1958, where the artist incorporates iconography from Celtic Christianity.

Est. €10,000 - 15,000

Est. €25,000 - 35,000 28

Karen Reihill November 2011

Karen Reihill is currently researching the life and work of Gerard Dillon.

36 Conor

Fallon rha 1939-2007

HORSE Polished steel The Independent of London wrote in their obituary of Fallon “Conor Fallon was one of the pre-eminent Irish sculptures of the last Century, his steel birds and animals capturing their essence with a spare beauty and elegance” Amongst many public commissions his best known are Chanticleer (1991) and Horse (1994) both located in the ground of University College Dublin and Horse (1992) which is in Athenry in Galway. A much admired piece that was done near the end of Fallon’s life is the Three Winged Horses outside Independent Newspapers Printing Press on the Naas Road. In 1964 Fallon went to visit his friend Tony O’Malley in Cornwall. While there he met and married the painter Nancy Wynne Jones in 1966 and only returned to Ireland with his bride in 1972. The well known British sculpture Denis Mitchell was a major influence on Fallon. He believed that he was “born to sculpt” and he encouraged him throughout his life. In Ireland he was represented by Taylor Galleries. His trade mark pieces of horses, birds and fish featured in numerous well received exhibitions. He was awarded the Oireachtas medal in 1980 and became a full member of the RHA in 1989. Est. €7,000 - 10,000

37 Patrick

O’Reilly b. 1957

GARDEN Bronze, 17¼" (44cm) high, signed, ed. 4/8. Est. €2,000 - 4,000

37A

Patrick O’Reilly b.1957

SUBMARINE Bronze, 22" wide, signed & dated ’09, unique with foundry stamp. Est. €1,500 - 2,500 30

38 Charles

Brady HRHA 1926-1997

BALLINASPICK – NOT SO LONG AGO (1996) Oil on linen, 8½" x 16½" (21.5 x 42cm), signed; inscribed verso. Provenance: Taylor Galleries, Dublin (label verso). Est. €3,000 - 5,000

40 Camille

Souter HRHA b.1929

QUIET, CALARY BOG (1962) Oil on paper, 22½" x 32" (57 x 81.4cm), signed & dated 1962. Provenance: The Dawson Gallery, Dublin (label verso); ex Collection of Lady Dunsany; Taylor Galleries, Dublin (label verso). Exhibited: The Arts Council ‘Twelve Irish Painters’, New York, 1962, Cat. No. 59 (label verso). Est. €14,000 - 18,000

39 Sean

McSweeney HRHA b.1935

GREY FIELDS Oil on board, 11½" x 17½" (29 x 44.5cm), signed & dated '94; signed & inscribed verso. Est. €2,000 - 3,000 32

41 Paul

Henry RHA 1876-1958

REFLECTIONS ACROSS THE BOG (1918-19) Oil on canvas 25" x 30" (63.5 x 76.2cm), signed. Exhibited: This work was most probably exhibited at both Exhibitions ‘PAINTINGS BY Mr & MRS PAUL HENRY, Magee’s Gallery, Belfast, April 1919 and April 1920. Provenance: Acquired by the present family in Dublin in the late 50s; thence by descent. “It was purchased from an auction house on Bachelor's Walk [Note of interest: these are mentioned by Joyce in Ulysses]. The auction house was near to O'Connell Street but Jac says there were a few of them and she doesn't remember the name. She thinks that it was purchased either before or just after they were married, so 1959 or 1960-ish. It cost £60 approx. She remembers the price because it was nearly all the money that they had at that time.” The setting of this scene is probably the west of Ireland and in spirit it is close to several paintings Paul Henry made during 1918-19. Having decided to depart Achill Island in the latter year, he and his first wife, Grace, spent time looking for somewhere to live, before settling in Dublin, although briefly they had thought of moving north, as Paul had been born in Belfast. Yet, perhaps unexpectedly, their northern thoughts bore fruit for both of them and in the spring of 1919 they held a joint exhibition at Magee’s Gallery in Belfast. Reviewing that show, the News-Letter (17 April 1919) thought Paul had imparted to his landscapes ‘a depth of feeling… [a] silence and mystery [which] belongs to the eternal order of things,’ a comment that well describes this bogland scene. Many of Paul’s compositions from the time are similar in concept and execution to this piece. Great importance is given to the sky, with its heavy massing of clouds which define the mood of the scene. The landscape itself is reduced to a narrow band of terrain at the bottom of the picture plane and there is, for Henry, relatively heavy impasto to the paint surface, which is set down with great assurance and deliberation. The blue strip of distant hills, which separate the landscape from the sky, also halts the eye’s recession and the upward thrust of the dark turf stacks, which link these two areas, lends a feeling of theatricality to the composition and is a device commonly used by Henry throughout his career. This composition is a good example of Henry’s style and manner of execution at the time he left Achill – which was the defining point of his life – and before the often repetitive landscapes which, brought about by domestic and personal problems, predominate in his work of the 1920s.

Dr. Brian Kennedy

Reflections Across the Bog is numbered 1262 In S. B. Kennedy’s ongoing cataloguing of Henry’s oeuvre.

Estimate: €70,000 - 100,000

42 Pat

Harris b.1953

43 Jane

EMPEROR’S CAP (2002)

O’Malley b.1944

TOWARDS THE GAZEBO IN MEMORY OF TONY, GOOD FRIDAY 2006

Oil on canvas, 20" x 16" (51 x 41cm), signed, inscribed & dated 2002 verso.

Oil on canvas, 40" x 30" (102 x 76cm), signed & inscribed verso.

Est. €1,000 - 1,500

Ex-collection Jim O’Driscoll.

45 Markey

Robinson 1918-1999

MARKET DAY Gouache on board, 20" x 12½" (51 x 32cm), signed. Est. €3,000 - 5,000

Est. €2,000 - 3,000

45A 44 David

Crone b.1937

Mary Swanzy HRHA 1882-1978

THE JESTER

GLOVE

Oil on canvas, 8" x 10" (20 x 25.5cm), studio stamp verso.

Oil on canvas, 16" x 19" (40.5 x 48cm), signed, inscribed & dated verso.

Provenance: Artists Studio Sale, Christies, 10 May 2007.

Est. €1,500 - 2,000

Est. €3,000 - 5,000 36

46 Niccolo d’Ardia

Caracciolo RHA 1941-1989

ENNISCORTHY, CO. WEXFORD Oil on canvas, 9½" x 11½" (24 x 29cm), signed with initials. Provenance: Solomon Gallery (label verso).

Brady HRHA 1926-1997

DONEGAL STRAND Oil on linen, 13" x 15" (32 x 38cm), signed. Provenance: Taylor Galleries, exhibited July 1995 (label verso). Est. €3,000 - 5,000

Est. €1,500 - 2,000

47 Daniel

48 Charles

O’Neill 1920-1974

49 Tony

O’Malley HRHA 1913-2003

WINTER LANDSCAPE

COLLAGE 1962

Oil on board, 9" x 13½" (23 x 34.5cm), signed; inscribed verso.

Mixed Media, 10" x 14" (25.5 x 35.5cm), signed with initials & dated.

Est. €3,000 - 5,000

Est. €1,000 - 2,000 38

50 Hughie

O’Donoghue b.1953

51 Sean

McSweeney HRHA b.1935

ON OUR KNEES

BOG POOLS

Watercolour, 40" x 60" (102 x 153cm) signed.

Oil on board, 18" x 24" (46 x 61cm), signed & dated 88, inscribed verso.

This series was done for the Famine Exhibition in Claremorris. AIB have a version in oil in their Collection.

Est. €3,000 - 5,000

Est. €9,000 - 12,000

52 Imogen

Stuart RHA b.1927

Madonna AND CHILD Portuguese Limestone, 21" high (53.5cm), signed. Est. €4,000 - 6,000

53 Conor

Fallon RHA 1939-2007

HORSES HEAD Steel, 28" x 28" (71 x 71cm), unique. Provenance: Acquired by the previous owner at the Lad Lane Gallery Sept 1978, exhibition entitled “Conor Fallon & Nancy Wyne Jones”; Private Collection, Dublin. Est. €6,000 - 9,000

54 John

Coen b.1941

DANCERS Bronze, 16" high (40.5cm). Provenance: Taylor Galleries, Dublin. Est. €2,000 - 4,000

57 George

Campbell RHA, 1917-1979

MY WINDOW, PALO (1952) Oil on board, 24" x 18", (61 x 45.5cm), signed, signed & dated 1952 verso. 56 William

Conor RHA RUA ROI 1881-1968

BEFORE THE CURTAIN RISES Wax crayon, 16" x 12½" (40.5 x 32cm), signed. Exhibited: The RHA, 1942, No. 36 (price £50-0-0) Belfast born Conor is one of the best loved Northern painters, having captured people’s hearts by his depictions of every day life in his unique use of wax crayon. He started exhibiting in the RHA in 1918 and up to 1967 he was to exhibit a total of 200 works. In 1944 and 1948 he exhibited with Victor Waddington in Dublin. Est. €8,000 - 12,000

Provenance: The Ritchie Hendriks Gallerie, Dublin (label verso). It is notable how frequently Campbell and his circle, such as Dillon and Armstrong, combined painting the interior with a view on to the landscape through a window. This becomes particularly interesting in Campbell’s case as his gentle adoption of some principles of cubism creates a picture space that suggests a tilting forward and slight flattening of space while describing each plane from foreground to distance, uniting both internal and external spaces while maintaining clarity in his treatment of the image. While the table and still life presents a nearly self-contained focus of attention, with high toned whites and a single strong orange note, the curve of the fruit bowl is echoed in the boats outside the window and draws the eye towards the beach outside, while the wrought iron of the balcony connects with the ornate chair back in the near foreground, so that the painting has a dynamic internal rhythm. The painting is evocative of a way of life and a place; the formal links the artist explores between inner and outer worlds reflect his pleasure in both. Dickon Hall, October 2011

Est. €10,000 - 15,000 44

61 David 58 Gladys

Maccabe HRUA ROI FRSA b.1918

THE HORSE FAIR Oil on board, 16" x 20" (41 x 51cm), signed. Est. €1,500 - 2,500

SUMMER, KINSALE Oil on board, 10" x 14" (25.5 x 35.5cm), signed; signed and inscribed verso. Est. €600 - 900

62 Henry 59 Markey

Robinson 1918-1999

RETURNING HOME Gouache, 12" x 15½" (30.5 x 39cm), signed.

Hone pprha b.1928

Healy RHA 1909-1982

COASTAL LANDSCAPE, CONNEMARA Oil on canvas board, 20" x 24" (51.5 x 61.5cm), signed. Est. €800 - 1,200

Est. €1,500 - 2,500

60 Kieran

McGoran 1932-1990

63 Paul

Kelly b.1968

AT THE START

BOATS IN HARBOUR

Mixed media, 17" x 22" (43 x 56cm), signed.

Oil on board, 14" x 18" (35.5 x 46cm) signed & dated 88.

Est. €1,200 – 1,600

Est. €800 - 1,200

65 Oisin

Kelly RHA (1915-1981)

KERRY FOOTBALLERS Bronze, 8½" high (21.5cm). Born in Dublin, Kelly left Ireland in 1937 to attend art school in Frankfurt. He returned to Ireland and attended the National College of Art and Design. In 1946 he joined the staff of St Columbus College in Rathfarnham and he remained on there as a teacher until 1964. Shortly after joining the school he took a two term sabbatical and went to London to the studios of Henry Moore (1898-1986). In 1949 he received the first of many church commissions. “Our Lady of Fatima” for the church of Our Lady of the Rosary in Limerick. He was elected to the membership of the RHA in 1965. After leaving Columbus’ he went to work with the Kilkenny Design workshop. His largest public work, and best known, is The Children of Lir commissioned in 1966 and now standing in the Garden of Remembrance, Parnell Square. In 1978 the Arts Council arranged a retrospective of his work. We are grateful to the Artist’s family for titling this work. Est. €3,000 - 5,000

64 Felim

Egan b.1952

BLUE CRESCENT (2005) Acrylic on canvas, 47¼" x 47¼" (119.5 x 119.5cm), signed & dated ’05 verso. Est €3,000 - 5,000 66 Michael

Warren b.1950

67 Caroline

COUNTER MOVEMENT

GLIMPSE II, MAN WITH A KITE, SANDYMOUNT

Steel, 19" x 14½" (48 x 37cm).

Bronze, 12" x 20½" (30.5 x 52cm), signed inscribed & dated ’01.

This is a Maquette for the sculpture in Trinity College Dublin.

Est. €1,500 - 2,000

Est. €1,400 - 1,800

Mulholland b.1944

The following works by Gerard Dillon RHA RUA (1916-1971) were done by the artist on Waddington Galleries, London Exhibition Invitations.

68 THE MELON SELLER

69 MOUNTAIN SIDE TEA PARTY (Double sided)

Mixed media, 6¼" x 8¼" (16 x 21cm), signed.

Mixed media, 6¼" x 8¼" (16 x 21cm), signed & inscribed.

This work is on a September 1967 invitation to an exhibition of Milton Avery (see verso).

This work is on a 1958 Milton Avery Catalogue. Est. €400 - 600

€700 - 1,000

70 GIRL WITH BIRD NECKLACE (Double sided)

71 TEA NIC-PIC ON BEACH (Double sided)

Mixed media, 6" x 8½" (15 x 21.5cm), signed & inscribed.

Mixed media, 6" x 8½" (15 x 21.5cm), signed with initials & inscribed.

This work is on a 1948 Milton Avery Catalogue.

This work is on a 1945 Milton Avery Catalogue.

Est. €400 - 600

72 Gerard

Dillon, RHA, RUA 1916-1971

BLACK ART Mixed media, 40" x 30" (102 x 76.5cm), signed & inscribed verso. Est. €2,000 - 4,000

73 Neill

Shawcross RHA RUA b.1940

STILL LIFE Acrylic, 30" x 40" (76 x 102cm), signed & dated 2000. Est. €2,500 - 4,000 74 Felim

Egan b.1952

TEXTURE Acrylic on canvas, 82½" x 82½" (210 x 210cm), signed & dated 98 verso. Provenance: Purdy Hicks Gallery, London. Est. €5,000 - 7,000

75 Markey

Robinson 1918-1999

SHAWLIES AT THE PIER Gouache on board, 28" x 36" (71 x 91.5cm), signed. Est. €5,000 - 7,000

76 Tony

O’Malley HRHA 1916-2003

IRISH INSCAPE – GOTHIC – JERPOINT ABBEY (1981) Oil on board, 36" x 24" (91.5 x 61cm), signed with initials; signed, inscribed & dated 1981 verso. Exhibited: “Tony O’Malley Exhibition”, IMMA, July 2001 - Jan. 2002. Est. €10,000 - 15,000

78 Markey

Robinson 1918-1999

THE ROAD TO THE SEA Gouache on board, 24" x 48" (61 x 122cm), signed. Est. €4,000 - 6,000

77 William

Percy French 1854-1920

EVENING LIGHT ACROSS THE BOG Watercolour, 10" x 14" (25.5 x 35.5cm), signed & dared 1907. Est. €2,500 - 3,500

79 Ivan

Sutton b.1944

BOATS MOORED, CARRAROE PIER, CO GALWAY Oil on canvas board, 20" x 30" (51 x 76cm), signed; signed & inscribed verso. Est. €1,800 - 2,400 56

80 Mary

Swanzy HRHA 1882-1978

MOORED BOAT IN PORT Coloured Crayons, 7" x 10" (18 x 25.5cm).

83 Gerard

Dillon RHA 1916-1971

DEAR OLD DAN

Provenance: Pyms Gallery London (label verso).

Oil on canvas, 5" x 5½" (12.5 x 14cm), inscribed “To Phil, love Gerard” verso.

Est. €400 - 600

Est. €1,500 - 2,000

81 Mary

Swanzy HRHA 1882-1978

SIDE VIEW AND FISHING BOATS IN FULL SAIL Coloured crayons, 7½" x 10" (19 x 25.5cm). Provenance: Pyms Gallery, London (label verso). Est. €400 - 600

84 Colin

Middleton rha RUA 1910-1983

LANDSCAPE Watercolour, 5" x 7" (12.75 x 17.75 cm), signed with monogram. Painted on a Tom Caldwell exhibition invitation for Colin Middleton in September 1971. Est. €600 - 900

82 Jack

Butler Yeats RHA 1871-1957

VULTURES Pencil and wash, 3¾" x 4¾" (9 x 12cm), inscribed. Provenance: From a sketch book given by the artist to the previous owner. Est. €1,500 - 2,000

85 Pádraig

MacMiadhacháin RWA b.1929

THE PASSING Oil on linen canvas, 9¾" x 12¼" (25 x 31cm), signed; signed, inscribed & dated 2003 verso. Est. €600 - 900

86 Kenneth

Webb RWA FRSA RUA, b.1927

HOWTH HEAD

88 Mary Theresa

Keown b.1974

Oil on canvas, 16" x 48" (40.5 x 122cm), signed.

AFTER HITCHENS – JANUARY ANNAGHMAKERRIG

Est. €3,000 - 5,000

Oil on canvas, 9¾" x 19¾" (25 x 50cm), signed; signed & inscribed verso. Est. €400 - 600

89 Gwen

87 Gladys

Maccabe HRUA ROI FRSA b. 1918

PILGRIMAGE, CROUGH PATRICK

O’Dowd b. 1957

90 Eamon

UNTITLED

WHEELER BIRD

Oil on canvas, 42" x 53" (107 x 135 cm).

Mixed media on Fabriano paper, 20" x 25½" (51 x 65cm), signed.

Provenance: Kerlin Gallery (label verso).

Provenance: Rubicon Gallery (label verso).

Est. €800 - 1200

Est €700 - 1,000

Oil on board, 24" x 36" (61 x 91.5cm), signed. Est. €2,000 - 4,000

Coleman b.1957

94 Charles

Cullen b.1939

PORTRAIT 91 John

Behan RHA b.1938

92 Jakki

McKenna, 20th Century

THE FINAL PUTT

MEETING PLACE (1988)

Bronze, 7¼" high (18.5cm), with Dublin Foundry stamp, ed. 3/9.

Bronze, 9½" x 10½" (24 x 26.5cm)

Oil on canvas, 12" x 10" (30.5 x 25.5cm), signed & dated ’08 Est. €300 - 500

Also known as ‘The Hags with the Bags’, this is the maquette for the sculpture situated on the North Quays besdide the Halpenny Bridge.

Est. €500 - 700

Est. €600 - 1,000

93 John

Behan RHA b.1938

95 Sarah

Purser HRHA 1848-1943

96 Sarah

Purser HRHA 1848-1943

SELF PORTRAIT

STUDY OF A LADY

BULL

Pencil 9" x 4¾" (23 x 12cm).

Pencil, 7¾" x 4½" (19.5 x 11.5cm), dated 17/3/87.

Bronze, 6¼" x 8½" (16.5 x 21.5cm), signed & dated 2010.

Exhibited The Gorry Gallery, May-June 1993 (label verso).

Exhibited The Gorry Gallery, May-June 1993.

Est. €900 - 1,200

Est. €600 - 900

99 Desmond

Carrick rha b.1928

LANDSCAPE Oil on linen, 18" x 24" (46 x 61cm), signed. Est. €1,500 - 2,000 97 Derek

Rowan (Guggi), Contemporary

VESSELS Oil on canvas, 28" x 20" (71 x 51cm), signed & dated 2002. Est. €2,000 - 4,000

100 Ivan

Suton b.1944

GALWAY HOOKERS BECALMED, CARRAROE BAY Oil on canvas board, 20" x 30" (51 x 76cm), signed; signed & inscribed verso. Est. €1800 - 2400

98 Elizabeth Taggart b.1943 BAY AT ST TROPEZ Oil on canvas, 52" x 50" (132 x 127cm), signed, inscribed & dated 81 verso. Elizabeth Taggart was born in Donaghadee, Co Down. She studied at the Belfast College of Art under John Luke and Romeo Toogood. In the mid-1960s she went to England and did further studies at the Leicester College of Art. She has a highly impressive CV having been a regular exhibitor at the Royal Academy in London, The Irish Exhibitions of Living Art, the RA in Belfast and the RHA in Dublin.

101

Markey Robinson 1918-1999

GABLE ENDS Gouache, 13" x 26" (33 x 66cm), signed. Est. €1,400 – 1,800

Est. €1,500 - 2,000

105

Nevill Johnson 1911-1999

THE TURF CUTTER (1981) 102

Acrylic on board, 5" x 5½" (12.5 x 14cm), signed & dated 80.

Paul Kelly b.1968

Provenance: Tom Caldwell Gallery (label verso).

CHILDREN IN THE SEA

Est. €600 - 900

Oil on canvas, 8¼" x 9¼" (21 x 23.5cm), signed & dated 91. Est. €400 - 600

103

Fergus O'Ryan RHA ANCA 1911-1989

104

David Ffrench le Roy b.1971

May Guinness 1863-1955

Patrick Scott HRHA b.1921

THE CANAL AT BAGGOT STREET

STILL LIFE

106

Oil on board, 14" x 18" (35.5 x 46cm), signed.

Oil on board, 16" x 20" (40.5 x 51cm), signed.

THE BOATYARD

UNTITLED

Est. €700 – 1,000

Watercolour, 11¾" x 9¼" (30 x 23.5cm), signed.

Carborundum with gold leaf, 39¼" x 39¼" (100 x 100cm), signed & dated 2004, ed. 44/75

Est. €300 - 500

Est. €1,500 – 2,500

Est. €800 - 1200

107

108

Patrick Scott HRHA b.1921

109

Patrick Scott HRHA b.1921

TANGRAM 1 (2004)

TANGRAM 11 (2004)

Carborundum with gold leaf, 23½" x 23½" (60 x 60cm), signed & dated 2004, ed. 63/75.

Carborundum with gold leaf, 23½" x 23½" (60 x 60cm), signed & dated 2004, ed. 52/75.

Est. €700 – 1,000

111

Dorothy Blackham 1896-1975

112 James

English ARHA b.1946

SOLDEN, TYROL

DOOLIN CURRACHS

Oil on board, 27" x 20" (68.5 x 51cm), signed; inscribed label verso.

Oil on canvas laid on board, 11½" x 9¼" (29 x 23.5cm), signed, inscribed verso.

Est. €600 – 1,000

Provenance, Kilcock Art Gallery, 1991 Exhibition label verso. Est. €600 - 900

113 A rthur b.1942

K. Maderson

THE PINK CLOUD, DOGS BAY, CONNEMARA Oil on board, 31" x 24" (78.5 x 61 cm), signed, inscribed verso. Est. €2,000 – 3,000

110

Louis le Brocquy HRHA b.1916

PROCESSION WITH LILLIES, DUBLIN 16 JUNE 1939 Lithograph 24" x 29" (61 x 74cm), Artist’s trial proof 1/1, signed, inscribed & dated 1991. Est. €2,000 – 4,000 68

114

Daniel O’Neill 1920-1974

115

Veronica Bolay RHA b.1941 Peter Collis RHA b.1929

118

Conor Fallon RHA 1939-2007

ABRAHAM, ISAAC & JACOB

A PLACE YOU LIVE IN

117

Wool tapestry, 8" x 9½" (20 x 24cm), signed.

Oil on board, 16¾" x 19" (42.5 x 48cm), signed.

GLENASMOLE FARM

VIEW OF THE COAST

This image is taken from the ceiling of the church of “Guh” in Ethiopia, a rock hewn church mentioned in “Churches in Rock” (see details verso).

Est. €400 - 600

Oil on canvasboard, 10½" x 10½" (26.5 x 26.5cm), signed artist’s label verso.

Gouache, 10" x 12" (25.5 x 30.5cm), signed verso. Est. €600 - 900

Est. €800 - 1,200

An inscription on the back suggests this work was connected to a Helen Laine of the Country Shop in St Stephen’s Green. Est. €500 - 700

116

Robert Ryan b.1962

Roy Lyndsay b.1945

THE ORHARD POOL

119

Oil on canvas laid on board, 13" x 14½" (33 x 37cm) signed, inscribed & dated 2006 verso.

SEAN THE HORSE BREEDER

Est. €500 - 700

Est. €2,000 - 3,000 70

Oil on canvas, 15" x 20" (38 x 51cm), signed.

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.

120 John

Kingerlee b.1936

121

Basil Ivan Rakoczi 1908-1979

ABSTRACT COMPOSTITION

LOVERS

Mixed media on board, 23" x 11", (58.5 x 28cm), signed with monogram and dated ’89.

Crayon, 17" x 13" (43 x 33cm), signed. Est. €400 - 600

Est. €700 - 1,000

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 .

122

Elizabeth Rivers 1903-1964

123

Sean O’Sullivan RHA 1906-1964

CORMORANT ON ROCKY CLIFF

JULIEN, THE ARTISTS DAUGHTER

Wood engraving, 9" x 7" (23 x 18cm), signed.

Pen, 6¼" x 4½" (16 x 11.5cm).

Est. €150 - 200

Provenance: The Artist’s Family Est. €150 - 250 72

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. The following lots (5,19,43,53,54,57,65,67,74,76,98) are being sold on behalf of a member of staff. 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. 17.5%+ 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.

Coming in Spring 2012 at de Veres

The Interiors Sale An Auction to include Furniture and Fine Art from the 18th, 19th, 20th and 21st Centuries

If you would like to include any items or would like advice please contact Rory Guthrie or Aisling Foran

A Armstrong, A

G Garstin, A

Guinness, M B Barry, M

Behan, J

106

91,93

H Harris, P

Blackham, D

111

Healy, H

Blackshaw, B

Henry, G

Bolay, V

115

Henry, P

Brady, C

12,18,38,48

Hone, D

C Cambell, G

Caracciolo, N

9,46

J Johnson, N

105

Coen, J

Kelly, P

Coleman, E

Keown, M

Kingerlee, J

120

31,117

Conor, W

Craig, J.H

Crone, D

Cullen, C

Cullen, M

65 63,102

L leBrocquy, L Lyndsey, R

35,68,69,70,72,83

E Egan, F English, J

F Fallon, C Ffrench LeRoy, D French, W.P

64,74 112

36,53,118 104 77

O’Neill, D

6,21,50 89 11,24,47,114

O’Malley, J

O’Malley, T

15,16,49,76

O’Reilly, P

37,37A

O’Ryan, F

103

O’Sullivan, S

123

P Purser, S

95,96

R Rakoczi, B

121

Rivers, E

122

Rowan, D

45,59,75,78 97

Ryan, R

116

S Scott, P

107,108,109

Shawcross, N

Shinnors, J

110

Souter, C

14,40

119

Sutton, I

79,100

Stuart, I

Swanzy, M

M Maccabe, G D Dillon, G

O’Dowd, G

Robinson, M

K Kelly, O

Carrick, D

Collis, P

O O’Donoghue, H

45A, 80,81

58,87

MacMiadhachain, P

3,85

T Taggart, E

Maderson, A

113

Teskey, D

McDonnell, H

McGoran, K

W Warren, B

32,33

McGuinness, N

Warren, M

McKenna, J

Webb, K

McKelvey, F

8,29

Wilks, M.C

Y Yeats, J.B

McSweeney, S Middleton, C Mullholland, C

13,19,39,51 25,34,84 67

Yates, F