June 2018 Catalogue by James Gorry

GORRY GALLERY

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

June 2018 - Gorry Gallery

SAMUEL ANDREWS (c.1767-1807) (13) ‘Portrait of a Gentleman in Profile’ Watercolour and gouache 8.5 x 7 Signed and dated: S. Andrews. Calcutta 1802

Front Cover: Hugh Douglas Hamilton 1740-1808 Catalogue Number: 1 © GORRY GALLERY

GORRY GALLERY requests the pleasure of your company at the private view and sale of

An Exhibition of 18th - 21st Century

IRISH PAINTINGS & SCULPTURE on Thursday 7th June 2018 wine reception at 6pm

This exhibition can be viewed prior to the opening by appointment also on Tuesday and Wednesday 5th and 6th June from 11.30am - 5.30pm and on the day of the opening. www.gorrygallery.ie

All measurements in this catalogue are in centimetres (height precedes width).

7th - 23rd June 2018

buttons contrasting beautifully with the frothy, delicate lace at his neck and wrists. Further juxtapositions of textures, from the smooth passages of paint defining the sitter’s close-fitting breeches to the remarkably loose, impressionistic strokes of the tree stump, equally highlight Hamilton’s virtuosity in handling paint. The sitter’s unusual pale colouring and flushed cheeks give the portrait a wonderful sense of individuality; indeed Hamilton was particularly celebrated among his contemporaries for his production of ‘striking resemblances’1

(1) HUGH DOUGLAS HAMILTON (1740-1808) ‘Portrait of a Young Gentleman in Naples’ c. 1789 oil on canvas 169.5 x 125

Hugh Douglas Hamilton spent ten successful years in Italy. He arrived in 1781 or 1782 and finally settled in Rome, where he remained with his wife and daughter until 1791 when upheaval prior to the French Revolutionary Wars forced him to return to his native Dublin. Having run a highly successful pastel portrait studio in London prior to his departure, it was in Italy that Hamilton began to flex his artistic muscles and experiment with larger formats and different media. This striking portrait of a young gentleman posed in a woodland setting, with Vesuvius smoking in the background, is a fine example of the work that Hamilton produced while in Italy. Leaning against a tree stump, the unknown sitter stares contemplatively into the middle distance, his gaze averted from the viewer and his thumb marking a page in his book as if he has just been interrupted while reading. He cuts a solitary figure and the autumnal leaves and the allusion to literary pursuits frame him as a somewhat melancholic ‘man of feeling’, as the fashion of the time required. The fine detail of his fashionable clothes is carefully recorded, as was typical of Hamilton’s style; the bright hard sheen of the sitter’s

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The painting sits easily amongst other well-known examples of Hamilton’s Italian portraiture, such as William Milbank in front of the Temple of Vespasian (NGI) and Frederick North 5th Earl of Guilford standing in the Roman Forum (National Gallery of Art, Washington DC), which functioned as souvenirs for English and Irish Grand Tourists. However, unlike these works and contrary to Hamilton’s usual practice, this portrait was executed in oils rather than pastel. While not the only surviving example of a Grand Tour portrait by Hamilton in this medium – his portrait of Frederick Hervey, Bishop of Derry and 4th Earl of Bristol with his granddaughter , Lady Caroline Crichton (NGI) is perhaps the finest example – it does make it something of a rarity. While Hamilton had experimented with oil-painting earlier in his career it was in Italy that he decided to pursue it more persistently. We can speculate that this may have had something to do with the company he was keeping at this time. By the late 1780s, Hamilton was at some remove from the popular, small-scale pastellist of his London days. Through his close friendships with artists such as John Flaxman and Antonio Canova, he was associating with the Roman avant-garde and was witness to their ongoing attempts to push artistic boundaries. Flaxman was attracting widespread critical acclaim for his spare neo-classical style at this time, with which it was said he had virtually reinvented drawing. Within a few years he was to become one of the most famous and influential artists in Europe and ‘the idol of the dilettanti’.2 Perhaps under his influence, Hamilton was encouraged to raise his artistic sights and test his skills in the more prestigious medium of oil paint. The inclusion of Vesuvius in the background would appear to locate this portrait quite precisely; drawing comparison with a pastel ‘Reclining Woman with Child in an Interior, Naples’ (NGI) which depicts the same volcano through a window. It may have been executed during the trip Hamilton made to Naples, Pompeii and Paestum in the company of Flaxman and his family in January 1788 or on a second trip in 1789-90, when the Conte della Torre di Rezzonico noted that ‘Hamilton the Pastellist’ was present at one of Emma Hamilton’s celebrated performances of ‘Attitudes’ at the Palazzo Sessa in Naples.3 An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

However, the fact that this portrait cannot be dated more assuredly owes something to Hamilton’s working practices. As a similar portrait of John David La Touche [Private Collection], executed in 1789, reveals, Hamilton’s marriage of figure and landscape in these works was not always as straightforward as it seemed. La Touche’s portrait, featuring the theatre at Taormina and Mount Etna was actually executed in Rome.4 It was probably based on studies made by Hamilton on a further trip to Sicily later in 1788, much like his careful gouache landscape Ruins at Paestum [Private Collection] from which elements could be adapted, with subtle variations, for each new commission. The inclusion of Piranesi’s The Amphitheatre of Verona, Pianta di Roma and Views of Rome in Hamilton’s posthumous sale of effects may indicate a further source of inspiration.5 While this can be read, alongside Hamilton’s use of stock poses, as the pictorial strategy of a sharp businessman, eager to turn out as many portraits as possible, the habitual deployment of these recognisable settings also signified as a singular act of cultural requisition on the sitters’ part. Treating the Italian landscape rather like painted theatrical scenery into which any figure could be inserted (an effect heightened by the frequent use of pasted-on heads in his Grand Tour pastel portraits, which suggests that they alone were executed from life), Hamilton’s full-length portraits of English and Irish travellers, transposed Northern European mores over an Italian backdrop.6 John Moore, writing in 1781 noted that Italians never sat for portraits and they were rarely seen on display in their palazzi: With countenances so favourable for the pencil, you will naturally imagine that portrait painting is in the highest perfection here. The reverse, however, of this is true; that branch of art is in the lowest estimation all over Italy. In palaces, the best furnished with pictures, you seldom see a portrait of the proprietor, or any of his family. […] the Italians in general, very seldom take the trouble of sitting for their pictures. They consider a portrait as a piece of painting, which engages the admiration of nobody but the person it represents, or the painter that drew it.7 As Sabrina Norlander-Eliasson’s research confirms, the mania for portraiture had not infiltrated Italian society to any significant extent and artists such as Hamilton (and his predecessors Mengs and Batoni) catered exclusively for tourists.8 Thus, the familiar landscapes of Italian ruins and volcanoes and the sheen of cosmopolitan sophistication and learning they offered, were ripe for visual appropriation, apparently signalling the sitters’ An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

unique appreciation of their magnificence. Thus, as he had in London, Hamilton displayed a keen awareness of what his clients wanted while in Italy. Many artists who came to Italy struggled financially but Hamilton appears to have been more successful than most, judging from the standard of his Roman accommodation; in 1783 he was living off the Piazza di Spagna in the Casa Mignanelli, described as ‘very comfortable’ by Mary Flaxman, and from 1786 until 1792 he lived at the more expensive Casa Guarnieri The constant stream of visitors and foreign money creating a competitive but potentially highly rewarding cultural marketplace. Flexibility and an entrepreneurial spirit were required to gain maximum advantage and many artists were quick to capitalise on the opportunities it presented. This handsome example of Hamilton’s Italian output amply demonstrates just how effective he was in doing so. Dr Ruth Kenny References: 1

Robert Merry ‘To the Criticks’, The Florence Miscellany (Florence, 1785), p.215

The contemporary German critic August Wilhelm Schlegel quoted by David Bindman, ‘John Flaxman: Sculptor and Illustrator’ in Francesca Salvadori (ed.), John Flaxman: The Illustrations for Dante’s Divine Comedy (London, 2005), 13 -14

Letter from Mary Flaxman to her sister, 22 July 1788, BL Flaxman Add MS 39780 f.179. Anne Hodge ed. Hugh Douglas Hamilton. A Life in Pictures, 74 (NGI, 2008)

Anne Crookshank and the Knight of Glin, ‘Some Italian Pastels by Hugh Douglas Hamilton’, Irish Arts Review Yearbook (1997), 63. This tendency reached its logical conclusion in Hamilton’s work in an oil portrait of Colonel Hugh O’Donel painted back in Dublin in 1796. O’Donel is depicted in the garb of a traveller against the back-drop of an imaginary gallery of antiquities, yet there is no evidence that O’Donel ever went to Italy.

Lots 73, 74, 75 & 96, A Catalogue of the Valuable Collection of Engravings, Books of Prints, and Few Pictures, the Genuine Property of that Ingenious and Admired Artist, Hugh Hamilton, Esq, Deceased… Christies, London, Wednesday 15 May 1811 (London, 1811).

The reason for Hamilton’s use of pasted-on heads, most evident in Canova and Tresham, Frederick Augustus, 4th Earl of Bristol and Bishop of Derry seated before a prospect of Rome and Reclining woman with child in an interior remains something of a mystery. It may reflect his lack of confidence in the transition from the head and shoulders format to the fulllength format. More probably, he was copying a well-known technique popularised by Maurice Quentin de La Tour, who also used pastedon heads on occasion, most notably in his 1751 portrait of Madame de Pompadour.

John Moore, A View of Society and Manners in Italy, 2 vols. (London, 1781), 2, 71.

Sabrina Norlander-Eliasson, ‘A Faceless Society? Portraiture and the Politics of Display in Eighteenth-century Rome’, Art History, 30:4 (2007), 503-20.

Nicola Figgis, Irish Artists, Dealers and Grand Tourists in Italy in the Eighteenth Century (Ph.D. thesis, University College Dublin, 1994), 14, 83-4.

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HUGH DOUGLAS HAMILTON (1740-1808)

(2) ‘Portrait of Jane Ormsby’, 1790s

(3) ‘Portrait of Hannah Wynne’, 1790s

This fine pair of portraits of mother and daughter Hannah Wynne and Jane Ormsby form part of a group of portraits executed by Hugh Douglas Hamilton of the Ormsby family, which recently came to light during the sale of the Harlech Collection at Glyn Cywarch in North Wales. They were executed after Hamilton’s return from Italy in 1791 and are assured examples of his late style, further positioning him as Ireland’s most accomplished lateeighteenth century portrait painter.

Ormsby), suggests that Hamilton and Tonelli may have worked together on a larger family commission.

oil on canvas 68 x 56

Hannah Wynne of Haselwood, County Sligo married William Ormsby of Willowbrook, Co. Sligo, M.P for that county. Together they had four children, the eldest of whom – Owen Ormsby – married the Welsh heiress Margaret Owen. Jane was the couple’s eldest daughter and both she and her younger sister Maria Susannah Ormsby are known to have sat to Hamilton alongside their mother. The presence in the same collection of a number of pastels by Anna Tonelli, Hamilton’s pupil and copyist in the early 1790s, (including one of William

June 2018 - Gorry Gallery

oil on wood 68.7 x 58.5

Jane Ormsby is fashionably dressed in the relatively simple, French-inspired style of the time; wearing a diaphanous white muslin dress with a length of cloth loosely containing her un-powdered hair, dressed simply in a mass of curls. The red sash which encircles her waist echoes her charmingly flushed cheeks, noted with an eye for individual character and detail typical of Hamilton’s sensitive approach to his sitters. Her mother Hannah, is more conservatively dressed, in a formal fur-trimmed gown and a gathered mob cap with a large ribbon bow, showcasing Hamilton’s facility with the textures of fine clothing to particular effect. The inscriptions in the top left-hand corner of both paintings were added at a later date Dr Ruth Kenny

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(4) MARGARET ALLEN HRHA (1832-1914) ‘Interior with Man Reading’, c.1863 oil on canvas laid down on board, 61 x 46 signed l.r. M. ALLEN.

Only a few of Margaret Allen’s paintings have yet come to light. She exhibited 53 titles, including many portraits, some of children, at Dublin’s Royal Hibernian Academy between 1853 and 1894. She lived in Dublin initially, then also showed her work regularly from addresses in Manchester, in the 1880’s and ‘90’s.

This insightful and accomplished portrait is one of at least two, unmistakably of the same carpenter, identically dressed in his characteristic working clothes. The other (illustrated right), slightly larger, closer portrait, has him looking directly at the viewer, smoking the same pipe (with its distinctive colours and facetted metal cover), which can be seen here tucked into his hatband. The other, also signed, which is dated 1863, is apparently ‘St Patrick’s Day in the Morning’ as lent to the Dublin Exhibition of Arts, Industries and Manufactures in 1872 (No. 280) and featuring in an exhibition in these rooms, in October 1991. Portraits of specific people, such as this study, are quite unusual, within Irish genre painting at this time. In terms of composition, this painting shares common characteristics with another of Allen’s more complex, later narrative works. ‘Bad News in Troubled Times “An important arrest has been made – that of a young man named –” (exhibited

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

R.H.A. 1886, and Irish Exhibition in London, 1888), was also exhibited here (March, 2008), and is symbolically and patriotically narrative. Both full length portraits centre on a man reading a newspaper. Each is seated at the same angle, facing towards a suggested hearth, which is out of sight to the right. Each includes arrangements of objects in the upper right hand corner, which combine narrative with deliberate suggestions about the man’s range of possessions and diet. A pair of leather clad bellows, carefully painted to show the swirling grain of the wood, hang alongside the lathe-turned wooden beetle; useful for many tasks, including mashing potatoes. There is also a wrought iron ‘flesh fork’, that enabled people to take choice pieces of food, safely, from the ubiquitous boiling pot. In the same corner can be glimpsed the edge of what is likely to be a Bow or Frame saw, telling us that he is woodworker, whose work includes cutting curves. The latter explains his unbleached linen apron, protecting his waistcoat, and worn over a full-sleeved shirt, with the cuffs turned back. His hobnailed working boots are polished to a shine. Such neat clean clothing in good condition, at a time when the working population were frequently observed to be ragged or poorly dressed, suggests that he is a carpenter, furniture maker or cabinetmaker (whose status and income was usually higher). A small table suggests his own handiwork, with cleated ends and ‘honest’ or revealed construction. Also built to last, is his carpenter’s side chair, with nicely turned front legs, imitating more fashionable examples, but with stretchers linking the legs. His newspaper tells of his literacy. Perhaps it’s the end of the day, as he relaxes with his glass of porter, poured from an elaborate pink jug that traditionally was filled and carried home from the public house. Beneath the table an earthenware jug is a type then imported on a large scale through Dublin from Buckley, with its distinctive gleaming black glaze. The artist shows us that he combines his trade with growing his own potatoes, which can be seen in abundance tumbling from a potato harvesting basket, beside his spade. The entire room, with its floorboards, speaks of comparative comfort, when the homes of many working Irish people had earthen floors and they ate their potatoes directly from a basket, rather than from a table. Claudia Kinmonth MRIA

References: Joe Hogan, Basketmaking in Ireland (Wordwell, 2001), 74-77. C. Kinmonth, Irish Country Furniture 1700-1950 (Yale University Press, 1993), 45-50, fig. 48. Ann. M. Stewart, Irish Art Loan Exhibitions 1765-1927 Index of Artists vol.1 A-L (Manton, 1990), 6. Ann M. Stewart, Royal Hibernian Academy of Arts Index of Exhibitors 1826-1979, vol. 1 A-G (Manton, 1985), 10-11.

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(5) WILLIAM ASHFORD c. 1746-1824 ‘A View of the Dargle Valley, County Wicklow, showing the Moss House and Elegant Figures in the Foreground’ oil on canvas 46 x 64.5 Signed

Literature: David Fleming, Ruth Kenny, William Laffan (eds), Exhibiting Art in Georgian Ireland; The Society of Artists Exhibitions Recreated (Irish Georgian Society, Dublin 2018) pp. 98-99, no.2.

A newspaper report of a fatality in County Wicklow sheds incidental light on the artistic practice of William Ashford and Irish picturesque tourism, and indicates that, for one unfortunate at least, the delightful terror of Edmund’s Burke’s Sublime could have more than aesthetic consequence. In the late summer of 1790 Ashford was part of a ‘pleasure party’ at Powerscourt Waterfall, in company with the painter and architect Vincent Waldré and the jeweller James Vigne (whose daughter George Chinnery was soon to marry). While admiring the scene, they discovered ‘at the vortex below the precipice’ the body of a man, which ‘with difficulty they drew out’. It was suggested in the press the following week that in attempting to cross the Dargle River (‘that rolls the water to the fall’), the poor man ‘was swept along the current, and plunged

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down the dreadful steep’. It was further surmised from his dress that the deceased was a farmer. The large sum of four guineas and three shillings was found in a leather purse, ‘which money was delivered to the keeper of Lord Powerscourt’s park, in trust for the friends of the deceased’. 1

The loan of this painting of the Dargle River has been requested for the exhibition Exhibiting Art in Georgian Ireland –The Society of Artists’ Exhibitions Recreated – which returns many eighteenth-century paintings to the Exhibition Room, on South William Street, purpose-built by the Artists of Ireland where they had first been displayed. Ashford emerges as one of the stars of the show and it is noteworthy that he exhibited views of the Dargle Valley An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

and the largely untamed beauty of County Wicklow, specifically A View in Powerscourt Park; A View of Part of Sugar-Loaf Hill and A View of the Scalp in the 1780 exhibition. The chance survival of this account of a picturesque trip to the Dargle by a group of artists nicely bring to life what the dry lists of exhibited works in any case demonstrate, that this remarkable scenery so close to Dublin was sought after repeatedly as a source of inspiration and that while he certainly made sketches when touring the Wicklow mountains, Ashford did not rely on these alone to produce his more finished works but, instead, engaged directly, and repeatedly, with the Dargle landscape. It is not coincidental that ten years after he first exhibited Enniskerry views, in 1790, the year of the Powerscourt Waterfall accident, Ashford exhibited a Wicklow landscape in London.

Described by one visitor as ‘most exceedingly Romantick and beautiful’, the scenery of the Dargle Valley which Ashford paints here ‘introduced the picturesque and sublime landscape aesthetic to a Dublin audience’ and the Society of Artists’ exhibitions were a vital catalyst in this process. 2 James Coy exhibited views of the Dargle and the Powerscourt Waterfall at the Society of Artists in 1772 and what became the iconic view of the river looking back up to the Moss House was painted by several of Ashford’s contemporaries including the rather older George Barret (illustrated below) who, under the patronage of Viscount Powerscourt, had painted repeatedly in the area. It was also the subject of an aquatint after Thomas Sautelle Roberts, with both images sharing much the same view as Ashford’s here. No doubt, there was an element of rivalry among artists painting this famed Wicklow view with each vying to outdo the other. Barret had left Dublin for London in 1763 and his first two exhibits in the Society of Artists in London (in 1764) were of the Powerscourt Waterfall and the Dargle. Back home, this left the field open to young landscape painters such as Ashford and Thomas Roberts and it has been suggested that they knowingly used the exhibitions to attract the attention of Barret’s patron Lord Powerscourt, whose brand new townhouse was next door to the Exhibition Room. 3

Ashford’s painting shows an elegant couple, clearly visitors who have travelled from Dublin or else are guests at one of the adjoining grand houses, coming to admire the picturesque landscape and, indeed, by the time that he painted the Dargle ‘had become a destination of choice for fashionable women’ with Emily, Duchess of Leinster An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

recording a ‘delightful day’ spent with friends ‘at the Dargle’. 4 After enjoying visiting the Waterfall, Emily and friends ‘dined in the dear Octagon Room’ one of several strategically placed ornamental buildings which Lord Powerscourt had constructed to accommodate his family and guests in their picnicking and view-finding as well as to facilitate the increasing numbers of well-heeled visitors. Another of these was the Moss House which is shown at the top right of Ashford’s view in which he captures the effect that one visitor noted of how it seemed ‘suspended, like an aeronautic car, from some vast impending oaks’. 5 Perhaps unsurprisingly, the Moss House became ‘notorious as a trysting place’ as was commemorated in contemporary cartoons (illustrated above).6 In Ashford's painting the gentleman instructs his elegantly dressed companion in the sublimities of the scene perhaps en route to the Moss House for less elevated discussion. As well as brilliantly capturing the highly-charged atmosphere that the Dargle Valley was famous for – the interplay of light and shadow melding with the variegated verdure – Ashford includes charming details such as the figure in the foreground who uses his hat to drink and the dog who sits up on his hind legs to beg. William Laffan The Irish Georgian Society has requested the loan of this picture for inclusion in the ground-breaking exhibition, Exhibiting Art in Georgian Ireland: Recreating the Exhibitions of the Society of Artists. Curated by Dr Ruth Kenny, this will take place in the recently restored Exhibition Room of the City Assembly House, between 16 June and 27 July 2018. References: 1 Dublin Chronicle, 4 Sept. 1790. 2 Richard Pockocke quoted Finola O’Kane, Ireland and the Picturesque, Design, a Landscape Painting and Tourism 1700-1840 (New Haven and London, 2013) p. 113; ibid., p. 112. 3 William Laffan and Brendan Rooney, Thomas Roberts, Landscape and Patronage in Eighteenth-Century Ireland (Tralee, 2009) p. 211. 4 Quoted O’Kane, Ireland and the Picturesque, p. 112. 5 John Carr, The Stranger in Ireland (London, 1806) p. 20, see Edward Malins, and Desmond FitzGerald, Knight of Glin, Lost Demesnes, Irish Landscape Gardening, 1660-1845 (London, 1976) p. 176. 6 O’Kane, Ireland and the Picturesque, p. 123.

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(6) THOMAS FRYE 1710-62 ‘Portrait of a Gentleman’ oil on canvas 76 x 62 Signed and dated 1750

The middle years of the century was a busy time for Thomas Frye. He had settled in England some years earlier, having left his native Offaly with the itinerant painter Herbert Stoppelaer. In London Frye quickly won prestigious commissions including, in November 1736, one for a full-length of Frederick, Prince of Wales. However, he diversified his artistic practice, producing prints from at least the following year and eventually scraping the mezzotints for which he is best known today. From the mid-1740s he also explored the possibilities of producing fine porcelain in England. Frye received a patent in December 1744 and three years later established the Bow Porcelain Manufactory. He received a further patent in November 1749 and ran the factory for a further decade. The present vigorous portrait is dated to the following year, showing that he continued his practice side by side with his manufacturing. Indeed, a return to the studio must have

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been a welcome break from the ‘laborious work’ in the factory. As Strickland wrote ‘the time spent among the furnaces impaired his heath’ and at the end of the decade he was forced to retire from the business.

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(7) JAMES ARTHUR O'CONNOR 1792-1841 ‘Wooded Landscape with Figures by a Lake’ oil on canvas 36 x 45.5 Signed and dated 1828

(8) JAMES ARTHUR O'CONNOR 1792-1841 ‘Wooded Landscape with Man and Dog on a Path’ oil on canvas 35.5 x 46 Signed and dated 1836

Exhibited: Literature: Provenance:

The Victorian Era Exhibition, Earls Court, London 1897. 'Fine Art Section' Exhibition Number 722 as "Landscape, a peasant and dog on a Road," lent by the Countess of Normanton. (original label verso). James Arthur O'Connor: John Hutchinson, National Gallery of Ireland, Nov-Dec 1985 p. 196. Christies, London 1876, 5th June, Lot number 49, Purchased for 73 Guineas by Lord Normanton (Vendor D.W. Turquand. 'An Exhibition of 18th-21st Century Irish Paintings,' Gorry Gallery, March 2014, catalogue number 2.

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

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(9) THOMAS SAUTELLE ROBERTS 1760-1826 ‘Bray Head and the Little Sugarloaf ’ watercolour on paper, 25.5 x 37.1 Signed and dated 1793

With original wash and line mount and inscription

This delightful view shows some of the dramatic landscape of north-east County Wicklow, seen from the west. The Irish Sea with shipping can be glimpsed at the extreme left, with the crenulated bulk of Bray Head just visible behind the wind-sheared tree in the foreground. At the foot of the tree at bottom left a path leads to a farm gate, with a thatched cottage tucked into the hillside and sheltered by a small grove of trees. A woman appears to be hanging out washing, and in the field beyond a man with a cart is being greeted by a passerby. There is a winding river in the right foreground.

Behind these intimate close-up details Roberts has painted a broad sweep of undulating scenery rising to several peaks. The nearest of these, bare on the north side but with a lengthy and prominent double line of trees extending up towards the summit on the south, would appear to be Knockree, at the entrance to Glencree and 2.5 miles (4 km) east of the Military Road. The shallow peak in the far distance behind is the Little Sugar Loaf, lying quite close to Bray Head, and the conspicuous mountain is the Great Sugar Loaf, seen from an angle at which its conical peak is not evident. The most likely viewpoint would appear to be in upper Glencree below the Military Road and Lough Bray Lower, although this view is now obscured by forestry.

Thomas Sautelle Roberts was the young brother of the tragically short-lived Thomas Roberts. Having originally studied architecure – his father was the famous Waterford architect John Roberts – he turned to landscape painting and excelled in particular in topographical watercolours of the Wicklow mountains. He exhibited a series of these – with an emphasis on the new military road – in a one man show at the old Parliament House on College Green in January 1802. Roberts was one of the key founding members of the RHA which exhibited nine of his works postumously in 1826.

What is likely to be the pendant to our drawing is in the collection of the National Gallery of Ireland and shows the countryside near Bray looking towards Killiney Bay. Also dated 1793 and of almost identical dimensions, it has a repoussoir framing device of trees on the left to balance the tree on the right in the present work. William Laffan notes of the NGI picture in the recent Yale dictionary that it ‘perfectly illustrates the theory of the Picturesque as it has been codified just the previous year by William Gilpin’ (AAI, Vol. 2. 433).

Mary Davies

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(10) SAMUEL LOVER RHA (1797-1868) ‘The Colleen Bawn and the Colleen Dhu Peasants of the County of Galway’ watercolour on paper 76 x 63.5 Signed and dated: S. Lover / 1840 / RHA (lower right) with an inscription on the reverse probably in the artist’s hand. Framed in the original carved and gilded frame. Exhibited: Royal Hibernian Academy annual exhibition, 1841, no. 228; Gorry Gallery, Exhibition of 18th, 19th and 20th century Irish Paintings, 15-28 June 2000. Literature: Bernard, B. Life of Samuel Lover with selections from his papers, London 1874; Caffrey, P. ‘Samuel Lover’s Achievement as a Painter’ Irish Arts Review, vol. III, no. 1, Spring 1986, pp. 5154; Caffrey, P. Treasures to Hold Irish and English Miniatures 1650-1850, Dublin, 2000; Symington, A. J. Life Sketch of Samuel Lover, London 1880.

Samuel Lover, though born in Dublin, acquired an early interest in the customs and traditions of country people, initially in Co. Wicklow, later further afield, in Connemara and the west of Ireland generally. There Lover became immersed in the folklore, songs and stories of rural Ireland. These were to be the constant sources for his work as a poet, novelist and painter. Lover was one of the first artists to document everyday life in rural Ireland.

Lover acquired his early interest in music and poetry from his mother, Abigail Maher (d. c.1810), who came from a substantial Catholic family in Co. Wicklow. She was an accomplished singer and encouraged her son’s artistic musical interests. Lover was sent to the Dublin Society’s drawing schools for lessons and he was then apprenticed to John Comerford (c.1770-1830) the leading miniature portrait painter, who taught Lover to paint in watercolours.

During his early life, Lover went on sketching tours. These included visits to places of antiquarian interest such as Clonmacnoise, as well as to other places of natural beauty, where he sketched both the people and the landscape. Lover used these sketches as inspiration for his painting. He continued to use these sketches as sources long after he left Ireland in 1835 when he went to live in and work in England. Throughout the 1820s and 1830s, Lover painted views of the Irish countryside which included picturesque figures such as fisherfolk, kelp and shellfish gatherers and pretty

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young girls. Lover adopted Comerford’s meticulous watercolour painting technique and combined this with his own individual skilful drawing. The results are accomplished and highly characteristic watercolours, of which the Colleen Bawn and the Colleen Dhu is an excellent example, typical of his work during this period. The Colleen Bawn and the Colleen Dhu displays a mixture of the traditional on the one hand and the fashionable on the other. The young women, with their washing have been idealised, they are presented in traditional clothing, bare foot, with short red flannel skirt or dress. Their hairstyles exemplify the fashionable coiffeurs of the year 1840. Both have a central parting in their hair, and the Colleen Bawn has long flowing tresses and the Colleen Dhu has dark curled locks.

This picture was exhibited at the RHA in 1841 along with another watercolour Mustapha an Egyptian Interpreter. Lover exhibited at the RHA from 1826-1864. He was elected an ARHA in 1828, a full member in 1829, and was appointed a trustee and secretary in 1831. Between the first exhibition in 1826 and 1863 he exhibited 115 pictures at the annual RHA exhibitions. Lover passed on his skill as a watercolourist, and his interest in painting scenes for everyday life, landscape and antiquities to his pupil, Frederic William Burton (18161900) in whose work Lover’s influence may be detected.

Dr Paul Caffrey June 2018 - Gorry Gallery

(11) DENNIS MALONE CARTER (c. 1827-1881) â&#x20AC;&#x2DC;A Village Debateâ&#x20AC;&#x2122; oil on canvas 91.5 x 128 Signed and dated 1858

The rediscovery of this oil painting, by the Irish-American artist Dennis Malone Carter, ties in with two similar works, also by Carter, shown at the Gorry Gallery in 2008. The present painting depicts an outdoor village scene in Ireland, with a group of people, seated around a table, debating the merits of emigrating to America. Although a harvest dance is taking place behind the group on the village green, empty wicker baskets and firkins in the foreground tell a bleaker story, of impending hardship and famine. The two Carter paintings shown at the Gorry Gallery in 2008, Departure for the New World (illustrated right) and Arrival at the New World, also addressed the theme of emigration. One depicted villagers setting off on a journey from Ireland to America, while the other showed the immigrantsâ&#x20AC;&#x2122; arrival in the New World, beset by hazards. In his choice of subject matter, Carter, who lived most of his life in New York City, was often inspired by religion, history and literature, and it is likely that the present work,

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as well as the two paintings shown in 2008, form part of a single narrative, that may be based on a book of the period. That said, the scenes are also generic and echo similar works painted by artists of the period, such as Breaking Home Ties by Thomas Hovenden, another Irish-born painter who emigrated to the United States, not long after Carter. It is reasonable to conjecture that in the present painting, which can be given the working title A Village Debate, a man is urging a clergyman to consider the merits of moving to America, pointing to a newspaper that contains an article outlining the attractiveness of this plan. That the plea is made to a clergyman perhaps indicates that religious freedom is an inducement, in addition to economic advancement. Judging by the costumes, the scene is set in the eighteenth century, although it may be that Carter intended it to represent an earlier period, when many people also departed from Ireland to settle in the New World. The An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

composition of the painting divides into two halves. In the left hand section sits the clergyman, surrounded by parishioners and family, as he listens to the middle-aged man make representations while pointing to the newspaper. Leaning on the chair behind the advocate, a young man, holding a hat, is inspired by the idea of such an adventure, but beside him his companion seems less certain, as she points to a harvest dance taking place behind her on the village green. The dance, on the right hand side of the painting, is clearly intended to represent Old World values and that settled pastoral life the villagers will put behind them if they choose to emigrate. The setting is generalized, and does not depict a specific location; the architecture is also generalized; the buildings are English in style, of the seventeenth and eighteenth centuries. However, the presence of an uileann piper, seated beside the dancers, firmly locates the painting in an Irish context. It is probable that Carter, painting for an American audience, was seeking to counter negative images of Irish rural poverty, by portraying a more bucolic picture of the Old Country--in much the same manner as Currier and Ives, in their contemporary lithographs. Although there is no record of his having travelled to France or Italy, Carter would have been familiar with Old Master paintings through prints, and through seeing European works in American museums. The influence of Dutch genre painting is evident in his depiction of the overall scene, while Italian Renaissance paintings inspired the treatment of figures. There are echoes of Poussin in the group of dancers, and perhaps also of James Barryâ&#x20AC;&#x2122;s Arcadian dancers in the Society of Arts in London, both images that were translated into prints and widely distributed.

Although it is generally agreed that Carter was born in Ireland, the dates of his birth are less certain, and are variously given as 1818, 1820 and 1827. According to the United States Federal Census of 1880, there was an artist named Dennis Carter, aged 61, living in New York, who had been born in Ireland around 1819. His English-born spouse's name was Jane, and she was aged 45. They had one daughter Agnes, aged 20. According to Mantle Fieldingâ&#x20AC;&#x2122;s Dictionary of American Artists, in 1839 Carter and his parents had emigrated to America. Except for a brief residence in New Orleans in 1845 and 1846, he seems to have spent the rest of his life in New York City, where, between the years 1848 and 1882, he exhibited frequently at the National Academy of Design. During his forty-year career as an artist, Carter also exhibited at the Pennsylvania Academy of Art, the American Art Union, the Boston Athenaeum, and in 1857, at the Washington Art Association. He was a founder member, in 1858, of the Artists' Fund Society, an organisation which sought to raise the status of American artists, partly by lobbying for tariffs on imported European works of art. Carter painted mainly genre, still-life, portrait and religious paintings, although an entry for him in Dorothy Brewington's Dictionary of Marine Artists (Peabody An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

Museum of Salem 1982) suggests he also did marine views. Fielding records his painting Washington's Reception (to Alexander Hamilton after his marriage to the daughter of General Schuyler) as well as numerous portraits. In the Fraunces Tavern Museum, at Pearl Street in New York, there is a dramatic battlefield scene from the American War of Independence in 1777, Molly Pitcher and the Battle of Monmouth. This dramatic canvas was painted by Carter in 1854, and depicts the heroic wife of an infantryman named Hayes who brought water to the troops, to drink, and also to cool their red-hot cannon while the battle raged. Another female hero of American wars - in this case the Civil War - an elderly woman named Barbara Frietchie, was depicted by Carter in the act of defying "Stonewall" Jackson's Confederate troops, waving the stars and stripes as they passed through the town of Frederick, Maryland, an event celebrated in John Greenleaf Whittier's poem Barbara Frietchie. The painting is now in Layfayette College at Easton, Pennsylvania, In 1856, Carter commemorated the 1815 Battle of New Orleans in another historical painting, while in the Naval Historical Foundation in Washington DC, there is a canvas measuring 43" x 59" of Decatur Boarding the Tripolitan Gunboat, a vivid depiction of Lieutenant Stephen Decatur in mortal combat with the captain of the gunboat, during an action which occurred during the U.S. Navy bombardment of Tripoli, on the 3rd August 1804. The carved and gilded frame of the present painting, with its arched top, is significant in terms of ornamentation. Instead of the usual motif of acanthus leaves or acorns, the frame is embellished with a sawn tree trunk motif, one that relates to the iconography of American nineteenth century art, where tree felling and forest clearances are often indicated or suggested in depictions of landscape.

Peter Murray

References: [Maria Taylor The National Academy of Design Exhibition Record 18611900 (Kennedy Galleries, New York NY 1973) p. 143; New York Historical Society Dictionary of Artists in America 1564-1860; American Art Review, II (1881), 175; New York Daily Tribune July 9 1881; Mantle Fielding Dictionary of American Artists]

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(12) WILLIAM BATE (floruit 1799-c.1845) ‘Portrait of Anne ‘Ninon’ de l’Enclos (1620-1705)’

Painted in metal oxides on an oval enamel on copper base. The portrait is set into the lid of a tortoise shell and gold-lined snuff-box. 4.5 x 3.7 Inscribed, signed and dated on the counter-enamel: Ninon de L’Enclos/Painted by Wm. Bate/1808

Bate was born into a family of Dublin jewellers and watchmakers where enamelling was extensively used in decoration. He worked in Dublin as a watchmaker and painter of miniature portraits on enamel. These would have been framed in lockets or incorporated into snuffboxes. He spent prolonged periods working in London where he exhibited miniatures at the Royal Academy exhibitions from 1799-1827. He was appointed Painter in Enamel to Princess Elizabeth and Frederick, Duke of York. His two sons W.H. Bate and Thomas were enamellers. Bate was an expert enamellist and he specialised in working from engravings of full-scale oil portraits. This portrait of the French writer, patroness of the arts and courtesan, Ninon de l’Enclos was famous for her freethinking ideas, independence and great beauty. She was known as ‘the woman who never aged’. Bate’s enamel would have been painted after an engraving of a contemporary seventeenth century portrait of l’Enclos by the French artist Louis Ferdinand Elle, the elder (16121689) (Chateau de Versailles).

(14) EDWIN HAYES R.H.A., R.I. 1820-1904 ‘The Coast at Padstow’ watercolour and pencil on paper, 10.5 x 17.5 Signed and Inscribed

June 2018 - Gorry Gallery

(13) SAMUEL ANDREWS (c.1767-1807) ‘Portrait of a Gentleman in Profile’ Watercolour and gouache 8.5 x 7 Signed and dated: S. Andrews. Calcutta 1802

Andrews has always been described as an Irishman by birth but almost nothing is known of his background and training as an artist. In 1791 he applied to the East India Company for permission to go to Bengal. Although permission was refused he went to Madras that year. He was married there in 1795 having moved into the house previously occupied by the English miniaturist John Smart. In 1798 he moved to Calcutta. He died at Patna in 1807.

Andrews painted miniatures in watercolours and en grisaille in neat pointed brushstrokes against dark backgrounds. He specialized in painting neo-classical profile miniatures which were inspired by antique Roman intaglio or cameo portraits. Andrews work is usually signed and dated. There are examples of his work in the Victoria and Albert Museum, London. Dr Paul Caffrey

(15) EDWIN HAYES R.H.A., R.I. 1820-1904 ‘Fishing Boats returning to Harbour’ oil on wood, 17 x 21.5 Signed

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

NATHANIEL HONE The Elder RA (1718-84)

(16) ‘Portrait of a Lady Known as the Countess Cornwallis’ Watercolour with gouache highlights 3.5 x 3 Signed and dated: NH [monogram] 1764 Framed in a gold bracelet setting

(17) ‘Portrait of a Gentleman’

Watercolour with gouache highlights 3.5 x 2.8 Signed and dated: NH [monogram] 1767 Framed in a gold locket

Hone was born in Dublin but spent most of his career in London whilst making frequent visits to Ireland. He occupies a significant place in the history of Irish and English miniature portrait painting during the mideighteenth century. Hone’s contribution to the technical development of miniature painting on enamel and in watercolour and gouache on ivory and his virtuosity as a miniaturist has not been given sufficient attention in accounts of his life and work. Hone is known as an oil painter, founder member of the Royal Academy and for his dispute with Sir Joshua Reynolds.

1764 in a powder blue/grey dress. Hone used tiny linear brushstrokes of watercolour and for the details of dress, hair and other details he mixed gum Arabic with gouache to help the paint stick to the surface. This created a raised effect which may be seen in this portrait. Miniatures were worn as jewellery and this one would have been worn in a bracelet on the wrist. It is not known where Hone learned to paint miniatures. He applied his earlier enamel technique to the painting of watercolours on ivory by building up his portraits in layers of tiny brushstrokes. In ‘Portrait of a Gentleman,' the sitter’s coat and linen shirt are painted in gouache. Dr Paul Caffrey

(18) GEORGE BERNARD O'NEILL 1828-1917 ‘The Birdcage’

(19) SAMUEL MCCLOY 1831-1904 ‘The Letter’

George Bernard O’Neill was born in Dublin in 1828. He left Ireland and studied at the Royal Academy Schools from 1845, winning a gold medal for painting. O’Neill later settled in the small Wealden town of Cranbrook with his friends and fellow artists George Hardy, Frederick Daniel Hardy, John Callcott Horsley, Augustus Edwin Mulready and Thomas Webster – this group of painters became known as ‘The Cranbrook Colony.’

Genre and landscape painter. Born in Lisburn, Co. Antrim. Studied in Belfast and London. Appointed Master of the Waterford School of Art in 1854. Exhibited at the R.H.A., R.A., R.B.A. and the R.I. Works by him are in many public institutions including the Ulster Museum, National Gallery of Ireland, Lisburn Museum and the Victoria and Albert Museum, London.

This lady is wearing pearls and is fashionably dressed for

oil on canvas 47.5 x 61.5 Signed

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

Watercolour on Paper, 24.5 x 33.5 Signed

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GEORGE BARRET R.A. c.1732-1784

(20) ‘The Hay Wain, A Landscape with Harvesters Going Home at the End of the Day’ oil on canvas 64 x 76.5 George Barret is often said to have been influenced by the aesthetic theories of his friend Edmund Burke, and his views around Powerscourt, County Wicklow, have been seen as proto-romantic essays in a sublime idiom. Arguably, however, his art never quite attains the status of the Sublime but on occasion he rather better exemplifies – and arguably rarely more so than here – Burke’s other aesthetic category ‘the Beautiful’. Almost all of the component parts of Burke’s idea of beauty can be found in this pleasing composition, The Hay Wain, A Landscape with Harvesters Going Home at the End of the Day. Its polish, as opposed to the more broadly worked impasto that often characterized his art, recalls Burke’s remarks on smoothness: ‘A quality so essential to beauty, that I do not now recollect any thing beautiful that is not smooth. In trees and flowers, smooth leaves are beautiful; smooth slopes of earth in gardens; smooth streams in the landscape; smooth coats of birds and beasts in animal beauties’.

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Similarly the muted palette mixing variegated greens, a pastel pink distance with pleasing chromatic highlights in the figures echoes Burke’s comments on beauty in colour: ‘Those which are most appropriated to beauty, are the milder of every sort; light greens; soft blues; weak whites; pink reds; and violets’. In his discussion of ‘gradual variation’, Burke notes his agreement with ‘the very ingenious Mr Hogarth’ who some decades earlier had proposed the centrality of the serpentine ‘line of beauty’ to any aesthetic system and it is noticeable how Barret clearly structures his composition around the curve of the path which leads the viewer into the painting from almost its lower right-hand corner. All these components of palette, structure and handling combine, quite consciously, to make for an understated but immensely pleasing piece of controlled landscape painting. Here, the subject matter anticipates George Stubbs’s Haymakers (1785, Tate) which has been characterized by

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(21) ‘A Landscape with Two Horses Meeting at a Fountain’ oil on wood, 22 x 29.8 Provenance: Arthur Ackermann and Son, London. Original trade label verso.

(22) ‘A Landscape with Deer by a Gnarled Oak’ oil on wood, 22 x 29.5 Provenance: Arthur Ackermann and Son, London. Original trade label verso.

Judy Egerton as ‘among the most lyrical or his paintings’. Egerton describing the longstanding iconography of harvest scenes, notes that as here, ‘a centuries-old focal point in almost all haymaking subjects is a laden hay-cart, with the conspicuous figure of a man wielding a pitchfork on top of it to distribute the load’. An overlap between the art of Barret and Stubbs is less unlikely than in might at first seem. They had in fact collaborated on a painting for the Duke of Grafton exhibited in 1764 almost immediately after Barret’s arrival from Dublin and worked side by side a little later at Welbeck for the Duke of Portland. A further overlap with the contemporaneous work of Stubbs is to be found in a small painting on panel showing two horses, one with rider, jostling by a fountain. It may be an interaction between a horse and mare, a subject, that Stubbs as well as Sawrey Gilpin and James Ward were to

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paint. The pendant to the painting shows a more tranquil scene of deer by a gnarled oak. This relates closely to another work by Barret, also on panel (and curiously also with a provenance to the famous London firm of Ackerman’s) that was included in a Gorry Gallery exhibition in September 1996. Here the inspiration is, as often with Barret, both from nature and art. Although Burke once asserted that Barret sought inspiration solely in nature and ‘did not even look at the pictures of any of the great masters’, several borrowings from artists as varied as Piranesi, Giovanni Battista Busiri and John Wootton have been detected in his work, and here it seems likely that he has looked at the art of the French animal painter JeanBaptiste Oudry and specifically at works such as A Family of Roe Deer (1734, Schwerin, Staatliches Museum). William Laffan

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WILLIAM CUMING P.R.H.A. 1769-1852

(23) ‘Mrs Cuming, the Painter’s Mother’ oil on canvas 61 x 51 Provenance: E.D. Cuming, London (The Great-Grandson of the artist) Literature: Walter Strickland, Dictionary of Irish Artists, Vol I, p 245.

(24) ‘William Cuming, the Painter’s father’ oil on canvas 61 x 51 Provenance: E.D. Cuming, London (The Great-Grandson of the artist) Literature: Walter Strickland, Dictionary of Irish Artists, Vol I, p 245.

Dublin portrait painter. Studied in Dublin Society’s Schools from 1785, becoming President in 1811. Foundation member of the R.H.A. in 1823 and President in 1832. Regular contributor to Dublin exhibitions receiving commissions for portraits of Lord Mayors, Provosts of Trinity College Dublin and a Lord Lieutenant, among other dignitaries, throughout his career.

(25) CHARLES SKOTTOWE 1793-1842 ‘Portrait of a Young Girl’ oil on canvas 142.5 x 112 Signed and dated 1833 This portrait of an impish young girl who is playing with mother’s jewel box is a rare survival of the work of the Cork artist Charles Skottowe, by whom very few works survive. Skottowe is recorded as practicing in Cork in the 1820s, and exhibiting with the Cork Society for Promoting the Fine Arts. He also exhibited, once, at the RHA, showing two works in 1829 and in the following decade at the Royal Academy and the British Institution. In contrast to the immense charm and sense of fun, of the present work, are robust male portraits of Captain Sir William Edward Parry in the National Maritime Museum, Greenwich, and John Ayrton Paris, in the Royal College of Physicians in London.

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An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(26) DANIEL MACDONALD 1820-1853 ‘Still-life of Crab, Fish and Vegetables’ oil on canvas 71 x 91.5 Signed, inscribed ‘Cork’ and dated 1843 In original gilt frame most likely of Cork manufacture

Provenance: Sotheby’s, London, 16 November 1988, lot 114 Exhibited: Cork Art Union, 1843, no. 58

Literature: Cork Examiner, 6 September 1843; Niamh O’Sullivan, In the Lion’s Den: Daniel Macdonald, Ireland and Empire, Quinnipiac University Press, 2016. Macdonald attracted high praise for his still life paintings of ‘faultless, startling fidelity’ (Cork Examiner, September 6, 1843). This large painting features two red herrings, a plaice, a crab, a head of cabbage, a bunch of radishes, a pewter jug and a large earthenware crock. From such quotidian produce, Macdonald executed a work of impressive realism, especially for one so young.

Macdonald was an audacious artist who evolved a spirited form of realism. His work was anchored in scholarly knowledge of rural Irish life. His father, James McDaniel was an erudite folklorist, painter, caricaturist, inventor and musician, who was part of a remarkable group of Cork intellectuals that included Thomas Crofton Croker, Samuel Carter Hall, William Maginn, Daniel Maclise, Fr Francis Sylvester Mahony and John Hogan. Through his father, and his father’s friends, Daniel became aware of both the learned and political debates of the immediate pre-Famine period. Working across the genres — history painting, portraiture, still life, landscape and genre painting - Macdonald shows himself to have been an incisive observer of everyday life and material culture. He focused on rural Ireland and its people - not stereotyped, aggrandized, or romanticized -

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climaxing with An Irish Peasant Family Discovering the Blight of their Store (1847, National Folklore Collection, UCD).

The Great Famine culminated in the depletion of the population of Ireland by almost one half by the end of the nineteenth century. While eviction and emigration were painted (albeit infrequently), the Great Hunger was not. Macdonald’s Famine painting drew unequalled attention to that most cataclysmic event. To paint a subject as troubling as the Great Famine for British audiences was a challenge, but Macdonald was adept at insinuating nuanced narratives into the salons of Britain, normally hostile to Irish material of this nature.

Long assumed to be of Irish artisan stock, the MacDonald’s, it transpired, were Scottish bluebloods. When James McDaniel discovered that he was in fact the 8th Macdonald of Castleton, with a claim to the important Annandale and Hartfell peerage (dormant since 1792), the family moved to London to stake their claim. Given complications of legitimacy (and lunacy), they remained claimants, not heirs. On the cusp of a major reputation, Macdonald died of fever at the age of 33. Professor Emerita Niamh O’Sullivan June 2018 - Gorry Gallery

(27) JAMES FRANCIS DANBY (1816-1875) ‘Wreck on Exmouth Bar’ oil on canvas 77 x 123

Signed and dated lower right J. F. Danby 1861, and signed and inscribed with title and address on artist’s label, verso Exhibited: London, Royal Academy, 1861, no. 388 Provenance: Original Label verso H. Koekkoek Fine Art Gallery, Piccadilly, London.

Painted and exhibited at The Royal Academy, London in the year of his father, Francis’s, death the scene depicted of a wreck on Exmouth Bar is a poignant reminder of the close association of father and son both as artists and boat building seafarers. With the failure of his marriage and the subsequent desertion by his wife of their seven children, Francis Danby and his mistress Ellen Evans (with whom he would have three further children) lived a peripatetic and often poverty stricken life fleeing creditors both in England and across Continental Europe. It was while living in Geneva in 1831 that James Francis and his brother and fellow painter, Thomas, learned the craft of boat building under the tutelage of their father. James Francis brought this intimate knowledge to bear on his marine compositions which were to be a mainstay of his artistic career. Francis Danby ultimately settled in Exmouth in the mid 1840’s and would remain there until his death. While based in London’s Camden Town, James Francis was a frequent

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visitor to his father’s home, Shell House, amongst the sand dunes by the Maer River, just outside Exmouth.

Judging by the similarities of topographical subject matter, composition and tone in both of their outputs at this time it seems likely that father and son often painted together. When comparing Francis Danby’s ‘Dead Calm-Sunset’, at the Bight of Exmouth, 1855 (The Royal Albert Memorial Museum, Exeter), one his last great maritime compositions and our painting, both have low horizon lines accentuating a crimson dusk. The uncluttered nature of both compositions allows for the calm observation of their narrative, in the case of Wreck on the Exmouth Bar, the salvage of a foundered merchant ship at sunset. The keenly observed rigging in both paintings is evidence of their shared understanding of and passion for boats which, combined with their great technical dexterity, underlines their considerable contribution to British and Irish 19th century painting.

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

NATHANIEL HONE R.H.A. 1831-1917

(28) ‘Cows in a Park’ oil on canvas, 33.5 x 45

Signed with initials lower right

Provenance: The Artist's Studio. Bodkin: 381.

Last year 2017 marked the centenary of the death of landscape painter Nathaniel Hone in 1917, and in 1919 his widow Madeleine bequeathed a large collection of his oils and watercolours from Hone’s studio to the National Gallery of Ireland (NGI). These were meticulously catalogued by Hone’s friend and fellow artist Dermod O’Brien P.R.H.A. and then listed in Thomas Bodkin’s book Four Irish Landscape Painters, published in 1920 (Bodkin, 1920). The NGI was able to accept hundreds of Hone’s oils and watercolours, but not all, and some of his studio collection remained in private or family collections.

In 2002 the Gorry Gallery held an historic exhibition of 81 paintings by Hone, mainly watercolours but also oils, from a private collection in County Dublin, the majority of them never seen in public before. Now, eight oils by Hone are being included in the Gorry’s 2018 exhibition of Irish Art, two of which were shown in 2002, but the majority of which are unfamiliar to the general public.

Hone was a keen traveller and he painted some remarkable subjects, such as the Roman aqueduct at Nismes, the Parthenon in Athens, and the pyramids and Sphinx in Egypt. But he was also inspired by ‘the ordinary,’ and was content to paint the familiar scene around him: the cattle and pastures on his farm, woodlands, the estuary at Malahide, fishing boats, sky and clouds. Most of the pictures here are relatively late works, some simply for the An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

artists own pleasure, or to capture a sensation before nature. Thus we can see Hone’s free, unselfconscious technique. The paintings are executed boldly and rapidly, showing his fluid, ‘buttery,’ brush marks. Some include passages of impasto, but also of thin paint; in some areas the canvas is almost bare, while in others small lumps of pigment are visible on the picture surface, as if the artist was applying the paint directly from the tube.

This pastoral landscape with cattle in a field with trees and clouds on a breezy day, is a most characteristic painting by Hone. The subject is comparable to the artist’s best-known canvas ‘Pastures at Malahide’ (NGI, cat. no. 588), ‘Cattle at Muldowney’ (Gorry Gallery, June 1997, no. 75), and many other landscapes. Although on a medium-sized canvas, the painting has the grandeur of Hone’s large landscapes, yet the freshness of his small, direct studies, the forms being brushed in broadly. The areas of blue sky, the sunlight lighting up the cloud and the backs of the cattle, add a lightness and colour to the artist’s earthy tones.

Julian Campbell

References:

Thomas Bodkin, Four Irish Landscape Painters, Dublin and London, 1920. Appendix XVI (from catalogue b Dermod O’Brien) (Bodkin, 1920). Nathaniel Hone R.H.A., Gorry Gallery, Dublin 2002, with essays by James Gorry, Paul Caffrey and Julian Campbell, and catalogue by Paul Caffrey (Gorry Gallery,

June 2018 - Gorry Gallery

(29) ‘Shore and a Windy Sky’

(30) ‘River Scene with Figure’

oil on canvas laid down on board, 22 x 31.7

oil on canvas laid down on board, 25.3 x 37

This picture shows a flat landscape, stretching beneath a cloudy sky, with low blue hills in the distance, perhaps set at Portmarnock or Malahide, the scene is very characteristic of Hone. The foreground is lightly brushed in, indicating tufts of marram grass, while the plains behind are conveyed with broad, horizontal strokes. It is a breezy day, and particularly striking is the upright cloud, sunlight catching its left-hand side, boldly painted with impastoed strokes, in the centre left of the composition.

Hone’s river scene with poplar trees and figure is most likely a French scene, perhaps set by the river Seine, and dating from Hone’s period in France. The landscape is quite dark, but there is a golden glow in the sky, suggesting an afterglow after the sun has set. The figure of a woman in white shawl stands near the river bank, perhaps another figure crouching beside her, giving a wistful, ‘Corot-esque’ mood.

Provenance: The Artist's Studio. Bodkin: 266.

Provenance: The Artist's studio

(31) ‘Tree Study (Studies on Both Sides)’ oil on canvas laid down on board, 30.5 x 25.4 Provenance: The Artist's Studio. Bodkin: 395.

Perhaps aware of the tree subjects of John Constable, Hone represents a tree in close-up on an upright canvas. He paints with rapidity and fluidity, suggesting the leaves with soft, bold strokes and the branches with flickering touches, to express a fresh, gusty day. On the left of the tree a wood is visible, on the right a field lit by sunlight and, above, blue sky. On the reverse of the board another landscape with trees and meadows on a windy day has been painted.

June 2018 - Gorry Gallery

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(32) ‘Coastal Landscape’

(33) ‘Study: Autumn Trees’

Provenance: The Artist's Studio. Hone’s landscape shows a coastal scene with rocks in the foreground, a stretch of sea and land behind, with a beach and sailing boats. This is just the sort of picture that his fellow painter Walter Osborne painted at Rye, 1889-1890, but is set, most likely, on the coast of north county Dublin, and is more boldly painted. The picture is quite dark in tone, but sunlight falling on the strand on the upper edge, where there may be a farm with thatched cottages or haystacks, adds a joyous touch to the picture. Hone has smudged in the russet and dun sails in an expressive way, and there is the suggestion of other vessels in the sea, partially painted over.

Artists stamp lower left: NH

oil on canvas laid down on board, 23.5 x29.5

(34) ‘Study: Autumn Trees’ oil on card, 19 x 26.7

Provenance: The Artist's studio. Bodkin: 494. Exhibited: Gorry Gallery Paintings from the Studio of Nathaniel Hone RHA 1831-1917, June-July 2002, cat. no. 52, illustrated page 24.

Hone was a keen observer of the changes in nature over the seasons. This picture of trees in autumn may date from his late period because of its great boldness of painting. The trees are stirred by the breeze and the clouds move across the sky. Hone’s colours; green pastures in the foreground, russet and green leaves, and light blue sky, have particular warmth and freshness. An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

oil on card, 12.7 x 17.8

Provenance: The Artist's studio.

Exhibited: Gorry Gallery Paintings from the Studio of Nathaniel Hone RHA 1831-1917, June-July 2002, cat. no. 46.

Hone painted several pictures of trees in their autumn colours. This small study is unusual in that the wood is close to the viewer, with touches of white impasto between the trees, giving a modern, almost expressionistic feel. The painting may be study for, or related to, a larger oil ‘A Grove of Trees’ in the NGI, (cat. no. 1490).

(35) ‘Cows’

oil on canvas laid down on board, 25.4 x 35.9 Provenance: The Artist's studio. Bodkin: 375.

Owning land and having a farm, Hone had a favoured subject-matter: cattle in pasture, close to hand. Here he makes studies of five cows, some brown, most brown and white, lying in the grass in different postures. Some are seen in profile, others with their backs to us; some looking at the viewer, others looking away, and one resting its head on the ground. These are clearly studies which could be used in the artist’s larger paintings of cattle in pasture. Hone treats each subject individually, leaving white canvas around it, as he did in his sketch of hay carts (NGI, cat. no. 1539).

Julian Campbell

June 2018 - Gorry Gallery

TERENCE PHILIP FLANAGAN (1929-2011)

(36) ‘Gortahork Series 1, Co. Donegal’ oil on board 75 x 90 Signed

‘One of the most important landscape painters and, arguably, the finest watercolourist of his generation’, T.P. Flanagan was born in Enniskillen (where he studied with Kathleen Bridle, attended Belfast College of Art and exhibited consistently from 1952 onwards (S.B. Kennedy, Art and Arcitecture of Ireland, Vol. 5, p. 178’. Noting that his ‘sensibility inclines to the lyric’, his friend Seamus Heaney positioned him within the great European tradition of landscape painting: ‘Romantic it may be, but what it calls to mind is more the fluvial intimacies of Corot than the sublimities of Caspar David Friedrich’. Flanagan painted the landscape of his native County Fermanagh, and of County Sligo, where in part he grew up, and also in Donegal – and also found inspiration for his art in trips to the Mediterranean. Seamus Heaney recalled the carefree, creative atmosphere of visits to the Flanagans at Gotahork: ‘we went partly for the gregariousness and the Guinness in McFadden’s Hotel…but also for the refreshment of being exposed to the land and sea and skies of Bloody Foreland;

June 2018 - Gorry Gallery

and for the mutual inspiration which all of that entailed’. From 1960 onwards, urged on by Heaney, Flanagan started exploring the landscapes – and interiors – of the GoreBooth house of Lissadell, County Sligo, which in addition to its Yeatsian resonances had personal associations for the artist who as a child spent holidays with an aunt nearby. Not long after his death the first painting by T.P. Flanagan was acquired by the National Gallery of Ireland.

Literature: S.B. Kennedy and Martyn Anglesea, T.P. Flanagan RHA, PPRUA, exh. cat. UM, HL and Fermanagh County Museum, Enniskillen (Dublin 1995); Liam Kelly, Correspondences: Selected Works by T.P. Flanagan, exh. cat. Ormeau Baths Gallery (Belfast 2010); S.B. Kennedy, T.P. Flanagan: Painter of Light and Landscape (London 2013); S.B. Kennedy, ‘Flanagan, Terence Philip’, in Art and Architecture of Ireland, Vol.5, Twentieth Century, ed. Catherine Marshall and Peter Murray (Dublin 2014).

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(37) ‘Shaw’s Bridge, 1998’ watercolour on paper, 27.5 x 32

(38) ‘Breezy Series 1’ oil on board, 40 x 40

(39) ‘The Little Weir’ watercolour on paper, 49 x 70

(40) ‘Towpath’ watercolour on paper, 53 x73

(41) ‘Owena, Ardara, Co. Donegal, 2010’ watercolour on paper, 27 x 34.5

(42) ‘Navar, Co. Fermanagh, 2009’ acrylic on canvas, 40 x 40

Signed

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

Signed

June 2018 - Gorry Gallery

PHILIP FLANAGAN b.1960

Philip Flanagan is noted for his portrait busts of which we exhibit three major examples depicting three of the leading figures of recent Irish public life, Taoiseach, Charles J. Haughey, President Michael D. Higgins and poet – and great friend of the artist’s father – Seamus Heaney. He has also produced some of the most sophisticated and knowing abstract painting created in Ireland in recent years. Landscape, however, is the fundamental underpinning of his art. For many years he had a studio overlooking Lough Erne where he was ‘surrounded on the one hand by ancient ash forests, outcrops of rock and exhausted stone quarries and, on the other, by soft, moist terrain reeds’. However, his approach is distinctly different from almost all other painters of the Irish landscape which may owe something to his early formation.

(43) ‘Charles J Haughey’, 1994 bronze, edition number 1/5, height 32 Signed

June 2018 - Gorry Gallery

Flanagan trained as a sculptor working with John Behan and F.E. McWilliam before studying at the Camberwell School of Art and hestill acknowledges the influence of the rigorous Coldstream tradition which he learned there. An instinctive sense of structure underpins his art and he extracts geometric (and often hard-edged) shape from soft, mistily defined outlines and an often prismatic range of colour from the greys of Fermanagh. In a telling phraseology he describes his work as being ‘abstracted from the landscape’ and elsewhere writes: ‘I want to convey the landscape in an abstract sense, to see how far I can push it – abstract it, and still maintain its character’. In addition to these formal concerns man’s shaping of the environment, the traces of history on Ireland’s landscape is a constant source of inspiration. Here by contrast he takes inspiration from the landscape of the Mediterranean island of Gozo.

(44) ‘Seamus Heaney’, 1990 bronze, edition of 9, A.P., height 35 Signed by the artist and the sitter

(45) ‘Michael D Higgins’, 1995 bronze, edition number 1/6. height 33 Signed

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(46) ‘Along the Garden Wall, Ta Cenc, Gozo’ acrylic on canvas, 60 x 80 signed, inscribed and dated 2017 verso

‘This work is inspired by vegetation growing along an old South facing stone wall. The yellow coloured upright form is a reference to the tall, wild fennel on Gozo, the deeper tones employed refer to the after-heat of the day, the orange disc represents the setting sun heading towards the sea.’ - Philip Flanagan

(47) ‘Moonlight Walk from Kentra, Ta Cenc, Gozo’ acrylic on canvas, 60 x 80 Signed and inscribed verso

‘The moonlight was creating strong silhouettes across the landscape, reflected light and deep tones giving a sense of calm, various upright forms were redolent of columns, it felt like walking through the ruins of a classical temple.’- Philip Flanagan An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

June 2018 - Gorry Gallery

(48) ALOYSIUS O’KELLY 1853-1936 ‘Connecticut Lane’ oil on canvas, 55.5 x 38 Signed

This painting is set in the southern New England state of Connecticut renowned for its splendid autumnal scenery. In 1895, O’Kelly emigrated to America where he reconnected with the Fenian firebrands of his youth. In America, he acquired a reputation as a European artist of note. The New York Times described him as ‘a Parisian foreigner whose work has a distinct individuality of its own’ (11 February 1912). From his training in the École des Beaux-Arts in Paris in the 1870s, where he had gained access to the prestigious studio of Jean-Léon Gérôme, O’Kelly also studied with Joseph-Florentin-Léon Bonnat, under whose influence he lightened his palette and broke up his brushstroke, producing images of great charm and iridescence.

In the summer months, along with artists of all nationalities, he made the annual painting pilgrimage to Brittany. Henceforth his landscapes became increasingly impressionistic (although he retained more traditional but nonetheless impressive academic techniques for his indoor scenes). His blend of academic, realist and plein-air

June 2018 - Gorry Gallery

elements resulted in a pleasing mode of naturalism. He returned to Brittany, again and again until he was well into his 70s.

The path draws the eye into this exuberant and spontaneous painting. O’Kelly lived in New York, but made many painting trips up the East coast, from Connecticut to Maine, traveling around the art colonies of Maine, East Gloucester and the Palisades on the Hudson. The rugged coastline of Maine has a distinctive flavour and wild interior landscape that attracted painters as diverse as Thomas Cole, Frederic Edwin Church and Winslow Homer. The landscape of Connecticut is tamer, but no less beautiful. These paintings are characterized by the lush use of pigment, vibrant, broken brushstrokes and the shimmering juxtaposition of the myriad colours of autumn. From the style and signature, this painting can be dated to around 1910–15.

Professor Emerita Niamh O’Sullivan

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(49) DANIEL MACDONALD (1820-53) ‘The Sunset’ pen and ink with gouache, 23 x 34cm Signed and dated 1849

A country girl and her dog have stopped to look at the setting sun. Macdonald was a consummate draughtsman, capable of imbuing his sketches with agency, energy and wit, and they were avidly collected. In 1842, Queen Victoria acquired Going Home after a Funeral (Royal Collections). This charming sketch is unusually elegiac for Macdonald. Given the date, the bifurcation of the sun – the life force that enables food to grow –would appear to symbolise the national tragedy in train, the Great Famine.

Professor Emerita Niamh O’Sullivan

(50) JOSEPH MALACHY KAVANAGH R.H.A. 1856-1918 ‘Sheep in a Snowy Field’ oil on canvas, 15.6 x 22.8

Signed, also signed and dated 1895 verso.

Joseph Malachy Kavanagh studied in Dublin and Antwerp, then painted in Brittany and Normandy. But his favourite locations were in the old streets of Dublin, in the landscapes of Fingal, north county Dublin, and on Sandymount Strand. Snowscapes were relatively rare in Irish painting, but were featured several times by Kavanagh, and here, in this humble subject of sheep grazing in a snowy field beneath a cloudy, pewter-coloured sky (worthy of Nathaniel Hone), he conveys his strong feelings for nature.

Kavanagh became keeper at the R.H.A. This year, 2018, marks the centenary of his death in 1918. Julian Campbell

(51) GEORGE BARRET JNR. 1767-1842 ‘An Arcadian Landscape with Figures’ pencil and watercolour on paper, 32.5 x 47.5

An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(52) THOMAS WALMSLEY 1763-1805 ‘White Abbey Near Limerick’ bodycolour on paper, 26 x 36.5 Inscribed with title verso. Provenance: Feigen Incorporated, Chicago

June 2018 - Gorry Gallery

(54) CHARLES RUSSELL R.H.A. 1852-1910 ‘Little Mischief ’ oil on canvas, 76.5 x 63.5 Signed and dated 1881 (twice)

Exhibited: Royal Hibernian Academy 1881 number 398. Provenance: Gorry Gallery Exhibition of 18th, 19th and 20th Irish Paintings, 12th-28th September 1996, cat. no. 19, illustrated page 11.

Dublin portrait and landscape painter. He exhibited 96 works at the Royal Hibernian Academy between 1869 and 1910.

(53) JOHN HENRY FOLEY R.A., R.H.A 1818-1874 ‘Caractacus’

bronze, height 79 Inscribed: Executed in Bronze by J.A. Hatfield for the ArtUnion of London 1879 from the original by J.H. Foley R.A. (The 1856 marble is in the City of London Corporation’s collection)

Foley was born in Dublin and entered the Royal Dublin Society’s School in 1831 at the age of 13 to study sculpture like his elder brother Edward. He left Dublin in 1834 to study at the Royal Academy School in London and was later to establish himself as one of Ireland’s most successful sculptors in the 19th Century, completing numerous private and public commissions.

Among his works are: statues of Burke and Goldsmith, Trinity College; Henry Grattan, College Green; The O’Connell monument, O’Connell Street; and Sir Benjamin Lee Guinness, Bart. in the grounds of St. Patrick’s Cathedral, all in Dublin. ̽Caractacus was a British tribal chieftain who led a revolt against the Romans from A.D. 43 to 47. Defeated and captured, he was taken to the Roman Emperor Claudius who spared his life.

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(55) WILLIAM SADLER II c.1782-1839 ‘Eruption of Mount Vesuvius’

oil on wood, 19.5 x 26.5 Old inscription verso: Mount Vesuvius, painted by Sadler, Dublin, for Mrs Wm Carstin, 1837.

It is interesting to note that ‘in April, 1838, C. Bennett, auctioneer, sold by Sadler’s instructions “the entire of his last years paintings,” including … an “Eruption of Mount Vesuvius.”’ (Walter G Strickland, A Dictionary of Irish Artists, vol. II, p 317). An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(56) JAMES FRANCIS DANBY 1816-1875 ‘Shipping in a Storm’ oil on canvas laid down on board, 23 x 38. Signed.

(58) DAVID HONE R.H.A. b.1929 ‘Moonlight Near the Blaskets' oil on canvas laid down on board, 20.3 x 25 Signed also signed and inscribed verso

(60) WILLIAM OSBORNE R.H.A. 1823-1901 ‘Comrades’ oil on wood, 30.5 x 25

Signed and inscribed with title on original label verso Exhibited probably RHA 1885 number 191 and Dublin Arts Club 1886 number 168. An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

(57) THOMAS ROSE MILES fl.1869-1910 ‘Return of the Fishing Fleet in a Stormy Sea’ oil on canvas, 25 x 46.5. Signed.

(59) J. JOHNSTON INGLIS R.H.A. fl.1885-1903 ‘River Scene, Evening’ oil on board, 46.3 x 61. Signed.

Inglis was a Dublin landscape painter. He exhibited widely including nearly seventy works at the Royal Hibernian Academy, the Dublin Sketching Club, and in London at the Royal Academy and the Grosvenor Gallery, as well as Royal Society of Artists Birmingham, the Walker Art Gallery Liverpool and the Manchester City Art Gallery. References: W.G. Strickland, A Dictionary of Irish Artists. Theo Snoddy, Dictionary of Irish Artists: 20th Century.

(61) GEORGE BERNARD O'NEILL 1828-1917 ‘The Garland of Daisies’ oil on canvas, 30.5 x 25.5. Signed. June 2018 - Gorry Gallery

(62) EDWIN THOMAS ROBERTS (1840-1917) ‘Rory O’More Courting Kathleen Bawn or Good Omens’ oil on canvas 92 x 76.5

Signed and dated: E T Roberts / 1876 (lower right) Exhibited at the Royal Academy in 1876

Roberts was born in London, the son of the artist Thomas Edward Roberts (1820-1901). Between 1862-1886 he exhibited 46 pictures at the Society of British Artists at the Suffolk Street Gallery, London, and three pictures at the Royal Academy. He depicted scenes from literature and everyday life and children as his subjects, and he would often portray them in a comic manner. This approach proved enormously popular with the Victorian public.

Roberts drew on Irish subject matter in his genre painting and his depiction of Rory O’More and Kathleen Bawn was inspired by the work of the Irish writer, composer and artist Samuel Lover (1797-1868). Although Lover’s work was later dismissed for its stereotypical stage Irishness he was one of the first to explore Irish identity in his paintings of the west of Ireland and in his poems, novel and plays. From an early age Lover observed the customs and traditions of rural Wicklow and Connemara. He recorded the stories and poetry of country people which would have a profound influence on his literary career. Lover was encouraged to write comic love songs with an Irish theme by Lady Morgan. In 1826 he published his most popular ballad Rory O’More which made his reputation in Ireland, England and America. In 1837 Lover returned to his hero

June 2018 - Gorry Gallery

in his first novel Rory O’More A National Romance. He later successfully dramatized the novel for the Adelphi Theatre, London.

Rory O’More and Kathleen Bawn are seated on a rustic wooden bench in the interior of her humble cottage. Rory has placed his hat and blackthorn stick on the table. Although Kathleen is bare foot and dressed in a rather ragged and patched red flannel skirt, she wears a fashionable hairstyle for 1876. The scene is an idealized portrayal of an intimate moment at the end of Lover’s ballad which show Rory attempting to kiss Kathleen for the ninth time: The Rory the, the rogue, stole his arm round her neck, So soft and so white - without freckle or speck; And he look’d in her eyes that were beaming with light, And he kiss’d her sweet lips; - don’t you think he was right? “Now Rory, leave off, sir; you’ll hug me no more, That’s eight times today you have kissed me before.” “Then here goes another,” says he, “to make sure, For there’s luck in odd numbers,” says Rory O’More

Dr Paul Caffrey An Exhibition of 18th - 21st Century Irish Paintings and Sculpture

Index of Artists and Catalogue Number Allen, Margaret

(11)

12, 13

Miles, Thomas Rose

(27, 56)

20, 31

O’Kelly, Aloysius

(36-42)

24, 25

Osborne, William

(12)

(43-47)

Frye, Thomas

Hamilton, Hugh Douglas

Hayes, Edwin Hone, David

Hone, Nathaniel

16, 17

Flanagan, Philip

Foley, John Henry

(50)

(20, 21, 22)

(23, 24)

Flanagan, Terence Philip

Kavanagh, Joseph Malachy

6, 7

Cuming, William

Danby, James Francis

(5)

(51)

Carter, Dennis Malone

(16, 17)

Barret Jnr., George

Bate, William

Hone, Nathaniel the Elder

(4)

(13)

Barret Snr., George

page

Andrews, Samuel

Ashford, William

cat. no.

(53) (6)

14 29 14 18

26, 27 30 8

(1, 2, 3)

2, 3, 4

(58)

(14, 15) (28-35)

21, 22, 23

Inglis, J. Johnston

(59)

Lover, Samuel

McCloy, Samuel

MacDonald, Daniel

(10) (19)

31 11 15

(26, 49)

19, 29

O’Connor, James Arthur

(7, 8)

O’Neill, George Bernard

(18, 61)

15, 31

Roberts, Edwin Thomas

(62)

(57)

Roberts, Thomas Sautelle

(48) (60) (9)

Russell, Charles

(54)

Skottowe, Charles

(25)

Sadler II, William

Walmsley, Thomas

(55) (52)

We are grateful to the following for their kind assistance in the preparation of this catalogue: Christopher Ashe Hannah Baker

Gillian Buckley

Dr. Paul Caffrey

Dr. Julian Campbell Mary Davies

Aisling Gorry

James Gorry Jnr. Dr. Ruth Kenny

Claudia Kinmonth MRIA William Laffan Logan Morse

Susan Mulhall Peter Murray

Colin Rafferty

Design: Des Kiely Design Photography: Gillian Buckley Printing: Print Run Ltd.

31 28 31 10 30 30 18 29

GORRY GALLERY, 20 MOLESWORTH STREET, DUBLIN 2 TELEPHONE / FAX: 01 679 5319 The Gallery is open Monday to Friday, 11.30am to 5.30pm Saturday (during exhibition only) 11.30am to 2.30pm

June 2018 - Gorry Gallery

www.gorrygallery.ie

An Exhibition of 18th - 21st Century Irish Art & Sculpture