Modern irish art collection

The Modern
Irish Art Collection
Athlone Institute of Technology

The Modern
Irish Art Collection
Catalogue compiled by
Kate Bateman and Harman Murtagh
Institiúid Teicneolaíochta Bhaile Átha Luain

First published in 1996 by
Athlone Regional Technical College
Athlone
Ireland
Second edition published in 2000 by
Athlone
Ireland
© Athlone Institute of Technology
All rights reserved. No part of this
publication may be reproduced, stored
in a retrieval system, or transmitted in
any form or by any means, electronic,
mechanical, photocopying, recording
or otherwise without prior permission
of the publishers.
ISBN 0-9528142-0-X
Front cover:
Brian Ferran: Colmcille Theme 12
Back cover:
John Behan: Maeve’s army
Photographs by Brian Redmond AIPPA, Roscrea, Co. Tipperary and
Joe O’Sullivan LIPPA, Tullamore, Co. Offaly
Designed & printed by Premiere Print telephone 01 839 4376

List of artists and illustrations four
Acknowledgements six
Abbreviations six
Preface by the Director of Athlone Institute of Technology seven
Foreword by Her Excellency President Mary McAleese eight
Introduction nine
Catalogue to the collection twelve
Contents

four
Robert Ballagh Print of Delacroix 13
Maree Bannon Rainstorm over Blackwater Bog 14
Jayne Barry Tomatoes 15
John Behan Maeve’s army 16
Fish 16
Moya Bligh Surfaces B 17
Brian Bourke La bella barmaid I 18
Deborah Brown Fibreglass form painted yellow on black 19
George Campbell Samurai 20
Tom Carr Snowscene 21
Michael Casey Bird of the wide and sweeping wing/thy home is high in heaven 22
Carey Clarke June morning Bourgougnague Lot et Garonne 23
Petronelle Clifton-Browne Regatta at Dromineer 24
Barrie Cooke Sleeping figure 25
Vicki Crowley Setanta hurling 26
Jack Cudworth Iveagh Stores 27
Michael Cullen Lovers in Las Vegas 28
Rosaleen Davey Box 29
Maternity 29
Gerald Davis Thaw 30
Off Baltimore 30
John Doherty Angles 31
Richard Dwyer Dun Laoghaire dawn 32
Felim Egan Shoreline (g) 33
Trees 33
Maura Farrell Evening interiors 34
Interiors 34
Michael Farrell Storm in a teacup 35
The little tent of blue that sometimes prisoners call the sky 35
L’alcoll de serpent 35
Brian Ferran Colmcille theme 12 36
Mike Fitzharris Beggar 37
Barry Fitzpatrick Street scene 38
Paul Funge No regrets Mr Funge no. 8 39
Zamora 39
Dr David Fenton 39
Martin Gale The artichoke window 40
Outback 40
Armchair traveller 40
Neil Gall Construction 41
List of Artists and Illustrations

five
Terence Gayer Sojourn 42
Mitsy Gerson Power cut 43
Hop 43
Alice Berger Hammerschlag Silent emergence 44
James Hanley After Duchamp 45
Alice Hanratty Still life with bottles 46
Charles Harper Heliocentric timespot 47
Castigatory 47
Ossessione 47
Patrick Harris Nude back study 48
Evelyn Healy Looking west 49
A summer day: Dooega, Achill, Co Mayo 49
Patrick Hickey Three more pomegranates 50
Declan Holloway Etching 51
Niamh Keenan The Baily Court Hotel, Howth 52
Bewley’s Café, Mary Street 52
Desmond Kinney Horseracing 53
John Kirwan Low-light mist, Achill 54
Anne Rigney Lally Woman 55
Being 55
Alone 55
Nancy Larchet A preponderance of poppies 56
Ramie Leahy Plesiosaurus 57
Anna Marie Leavy Seasons in Ireland 58
Louis le Brocquy Study towards an image of W.B. Yeats: no. 26 59
Untitled the Táin 59
James Joyce 60
Thomas Kinsella 60
Seamus Heaney 60
John Montague 60
John Millington Synge 61
William Butler Yeats 61
Francis Stuart 61
Samuel Beckett 61
Hector McDonnell Old woman Katale Camp Zaire 62
Mother/baby Katale Camp 62
Eileen McDonagh Allegory stone 1991 63
Maurice MacGonigal Currachs Connemara 64
Margo McNulty Rediscovering childhood 65
Slip 65
Tony Magner Cipher 66
Amanda Maguire The Bronx 67
Joan Mallon The wooing, the waiting and the doing 68
Colin Middleton Birds on wire 69
Hazel Moore Taboo 70
Brendan Neiland Cumulus 71
Noelle Noonan Untitled 72
The diviner 72
Pulse 72
Simon O’Donnell Miltonfriedmania 73
David Oliver Libération 74
Tony O’Malley Obair gan ainm 75
Raymond Piper Seated nude 76
Jane Proctor Nest 77
Patrick Pye Del verbo divino 78
The entombment II 78
Padraic Reaney Waiting for Indian corn II 79
Chris Reid Yesterday’s todays 80
Noreen Rice Which way, which day 81
Thomas Ryan Snowy road at home 82
Vincent Sheridan Corvids I 83
Constance Short Noughts and crosses 84
Louis Sinclair Five seagulls 85
Donal Teskey Polling day 86
Manus Walsh Musicians 87
Judith Caulfield Walshe Untitled 88
Sheila Walton-Hough Gerry Gray 89
Joe Wilson The plate fights back 90
Anne Yeats Landscape seen from plane II 91

Acknowledgements
Abbreviations
Assistance in the preparation of this catalogue has been
generously given by George McCaw, Paul Funge, Muireann
O’Connell, Eileen Black, Paula Campbell, Padraic Dolan, Brid
Dukes, Ciaran MacGonigal, John Taylor, Brian Fallon, Edward
Murphy and the library staff of the National College of Art and
Design, the Arts Council of Northern Ireland and many individual
artists.
DIT Dublin Institute of Technology
IELA Irish Exhibition of Living Art
IMMA Irish Museum of Modern Art
IT Institute of Technology
NCAD National College of Art and Design Dublin
OPW Office of Public Works
RA Royal Academy
RHA Royal Hibernian Academy
RIAI Royal Institute of the Architects of Ireland
RUA Royal Ulster Academy
TCD Trinity College Dublin
UCD University College Dublin
WCSI Water Colour Society of Ireland
six

seven
Athlone Institute of Technology is proud to
publish this second edition of the
catalogue of its modern Irish art collection
to coincide with the thirtieth anniversary
of the foundation of the Institute.
The collection of artworks owned by or on
long-term loan to the Institute comprises
works by many twentieth-century Irish
and non-Irish artists. From the outset the
Institute recognised the need to introduce
the visual arts to its stark modern interior
and thus the collection has been
developed through purchases, loans,
donations and the commissioning of new
works. The collection has enriched the
Institute’s ambience, as a place of work for
staff and students, and also serves to
welcome the Institute’s many visitors.
We are honoured that Her Excellency
President Ms Mary McAleese has
contributed a foreword for this edition.
I am grateful to Dr Harman Murtagh,
Ms Kate Bateman and the staff of the
Institute’s Quality Assurance Office for
their work in the preparation of this
publication.
Professor Ciarán Ó Catháin
Director
Preface

eight
Foreword
I am delighted to have this opportunity to
introduce the second edition of the catalogue
of Athlone Institute of Technology’s modern
Irish art collection.
The first thirty years of the Institute’s
existence have coincided with an awakening
of visual awareness throughout Irish society
which is probably without precedent in our
history. More artists are at work, and more art
is on public exhibition and in private
collections than ever before. Leading Irish
artists are beginning to narrow the lead
enjoyed by Irish poets and other writers in
terms of international recognition - and
rightly so.
The Institutes of Technology are one of the
great success stories of modern Irish
education. They have been a major conduit for
transmitting the values and skills of the
modern business and technological world to
their regions. They have educated, and re-
educated, significant numbers of the
workforce responsible for the transformation
of the Irish economy. The quality and extent of
Athlone Institute of Technology’s collection of
modern art shows a recognition of the
centrality of art, no less than technology, to
the expression of civilisation. The Institute has
a clear understanding of the capacity of art to
challenge and enrich the users of major public
spaces. The monks of Clonmacnoise, the great
medieval centre of learning and culture in the
midlands, would surely have approved!
Many of Ireland’s best-known artists are
represented in the Institute’s collection,
including, I am particularly pleased to note, a
number from my native province of Ulster. The
openness of access to the Institute means that
the art collection can be enjoyed by the public
as much as by staff and students. In this way
it is a major cultural asset to the midlands as
a whole.
Athlone Institute of Technology’s capacity to
accept innovation and change in art mirrors its
response to the rapid pace of modern
technological advance.
I congratulate those who have formed the
collection, and I hope its expansion will
continue.
Mary McAleese
President of Ireland

nine
Introduction Athlone Institute of Technology, then known as the Regional Technical College
Athlone, opened in 1970 as one of a network of new institutions for the provision of
tertiary technological education in Ireland. Initially under County Westmeath
Vocational Education Committee, it became an autonomous institution in 1993. The
Institute is sited on a landscaped campus on the eastern perimeter of Athlone. Its
functional building is a potent symbol of change in an Ireland impatient for
knowledge, training and education. The original two-storey, purpose-built structure
has been greatly extended to cater for increases both in student numbers, and in the
range and level of courses.
The interior of the building is stark. Laboratories, lecture halls, seminar rooms and
workshops lead off long, pale corridors lit through aluminium-framed windows.
Exposed conduits supply the interior strip lighting and other utilities. The extensive
unplastered concrete-block walls offer an ideal hanging space, which is particularly
hospitable to contemporary art. As creativity and the capacity to conceptualise are
equally inherent in the impulses of arts and science,
students of both disciplines are susceptible to order,
beauty and the aesthetic principle. With these ideas
in mind, the Institute embarked on a conscious art-
purchasing policy in 1975. The establishment of the
Arts Council Joint Purchasing Scheme in the mid-
1970s was a major boost to the Institute’s acquisition
programme. From the initial purchase of ten works
the Institute’s collection has now grown to over a
hundred paintings and sculptures by modern artists,
and it is hoped to continue its expansion in the
future. The principal purchasing officer throughout
has been Dr Harman Murtagh, assisted initially by Ms
Marlene Armstrong, both of the School of Business, Management and General
Studies. Dr Murtagh, who is also the curator of the collection, has been responsible
for the hanging of pictures and siting of sculptures.
The collection includes paintings, drawings, prints and sculpture. Many works were
purchased from the Arts Council’s own collection, and some at exhibitions such as
those of the Royal Hibernian Academy, the Water Colour Society of Ireland and the
National Maternity Hospital. Others were purchased from galleries, including
Riverrun, Taylor, Lincoln, Artworld and Eakin. A few were acquired directly from the
artist. The sculpture Allegory Stone 1991 by Eileen McDonagh and the portraits,
Dr. Harman Murtagh
Curator, Institute Art Collection

ten
Dr David Fenton by Paul Funge and Gerry Gray by Sheila Walton-Hough, were
commissioned.
Some works are held on permanent loan, but in general it is the policy of the
Institute to buy, rather than borrow or seek donations from artists. Works are
purchased within the constraints of a limited budget from the Institute’s own
resources. Additional funding has come from several sources. Forty works were
acquired with the assistance of the Arts Council whose approval was a valuable
monitor of ‘quality control’, especially in the early days. The council’s successive
visual arts officers - Oliver Dowling, Paula McCarthy, Patrick Murphy, John Hunt,
Medb Ruane and Sarah Finlay - have been unfailingly supportive, as was the late Dr
Máire de Paor, while a council member. Half the funding for Allegory Stone 1991,the
sculpture commissioned to mark the twenty-first anniversary of the Institute, was
the generous contribution of Élan Corporation plc, the Athlone-based
pharmaceutical company. The Bank of Ireland Group generously funded the
acquisition of Fish by John Behan in 1999. A tremendously encouraging gesture has
been the presentation by the Institute’s Students’ Union of two works, La bella
barmaid I by Brian Bourke and Taboo by Hazel Moore, a graduate of the Institute.
Mr Richard Whitington and Ms Tina O’Hara have kindly given works on indefinite
loan to the Institute. More than a score of local business and professional
organisations presented the portrait Dr David Fenton to mark the twenty-fifth year
of the sitter’s tenure of office as Institute Principal/Director. Dr Fenton, while
Director, and his successors, Mr James Coyle and Professor Ciarán Ó Catháin, have
fully supported the development of the collection. Caretaker Mr Shay McDermott
contributes skill, commitment and sometimes ingenuity to the physical task of
securing the pictures to the walls, very much in the spirit of his predecessor, the late
Mr Michael O’Connor.
The impulse behind the creation and development of the collection is to exhibit a
broad selection of modern, mainly Irish, artists working in a variety of media. Louis
le Brocquy, Barrie Cooke, Martin Gale, Colin Middleton, Felim Egan, Tony O’Malley,
John Behan and Paul Funge are amongst many well-known names represented, as
are established ‘midlanders’ such as Michael Casey, Maree Bannon and Anne Rigney
Lally.
The Institute is not a gallery, but a place of work and study for 4,000 people. The art
collection is methodically integrated into this bustling and crowded environment.
The sculptures and many of the pictures were acquired for specific locations, and
choice was dictated not alone by aesthetic merit, although this remained the

eleven
overriding factor, but also to some extent by such mundane considerations as size,
shape, mounting behind glass (frequently a negative quality in a building with a
great deal of window light), security factors and dominant pigment. Generally larger
pictures have been preferred to smaller, and bolder expressions to more subtle
statements. In the early years of the collection, with so much wall to fill, it was felt
that the maximum impact could be made by focusing the art on the areas of most
frequent concourse. Now, however, with the growth of the collection, most parts of
the Institute have at least some works on exhibition. The need to increase density in
those areas only modestly served so far is the main priority for the immediate future.
A secondary objective is the acquisition of further works of sculpture for the exterior
landscape and the planned student village.
The midlands is a thinly populated region of provincial Ireland, and Athlone,
predominantly a military and industrial town, is not especially noted for an aesthetic
tradition. In the mid-1970s the arts did not enjoy their current preeminence in Irish
life, nor did they attract today’s level of support from industry and commerce. Initial
response to the formation of the collection, even within the Institute, was therefore
somewhat muted, but there was no hostility to the concept, and in time the
collection has come to be appreciated as part of the Institute’s identity and
philosophy. There is considerable interest in new acquisitions and even an element
of competition about securing them for particular locations. In choosing work, no
single genre is accorded dominance. The collection is eclectic with representational
pictures taking their place beside more challenging symbolic and abstract works.
Visitors to the Institute have been generous in their praise of the collection. The
principal purpose of the original catalogue was to bring its existence to the notice
of a wider public. The second edition will continue to meet that objective, as well as
updating the record by including twenty-seven new works that have been added in
the past five years.
The catalogue is alphabetically arranged, according to the surname of each artist,
with a short biography, accompanied by illustrations of all his/her work in the
collection.
Dimensions of paintings, drawings and prints are given in centimetres, height before
width. Sculpture: height before width before depth. Generally the dates provided
with the art works are of execution. In some cases, where this has been
unascertainable, the date given is that of acquisition.

twelve
Catalogue to the Collection

thirteen
Robert Ballagh
b. Dublin, 1943. Studied architecture at
DIT. Recognised for his imaginative and
hyper-realistic renderings of well-known
literary, historical and established figures.
Began painting 1966 as assistant to
Michael Farrell, then working in hard-
edged abstractions. Represented Ireland
in Paris Biennale 1969, soon becoming
one of Ireland’s most regarded painters.
Evolved from abstraction to figuration in
the form of heavily outlined pastiches of
Goya, Delacroix, Poussin and Ingres.
Social commitment and comment,
humour, wit, parody and pastiche,
together with literary and artistic
allusions, are other features of his work.
Produced stage designs for much lauded
plays and shows including Riverdance.
Postage-stamp and currency designer.
Member of Aosdána. Several one-man
shows in Dublin, Britain and France. Rosc
80. Retrospectives Sweden 1983, Dublin
1992. Lit: Ciaran Carty, Robert Ballagh
(Dublin 1986).
PRINTOFDELACROIX 1971
lithograph 48 x 62 cm
purchased: Arts Council 1975
joint ownership with Arts Council

fourteen
Maree Bannon
b. Athlone. Graduated in painting from NCAD
1978. Used mixed media to depict landscape as
central to human existence in her Clonfinlough
series, in which her ‘images grow from direct
experience but her spectrum is wide. Her long
grasses form an inextricable pattern with lowering
skies, which open up with heavy showers of
graphite’ (Hilary Pyle). Has exhibited in Galway
Arts Centre, Athlone, Claremorris, Limerick
University and as part of Trees of life travelling
exhibition in Royal Hospital Kilmainham. A new
series of work traces her journey with Amnesty
International members and a small group of artists
to the borders of former Yugoslavia 1993. Has
recently developed a studio close to Rindoon in
south Roscommon, a locality rich in
archaeological and historical significance.
RAINSTORM OVER BLACKWATER BOG 1993
mixed media on paper 155 x 143 cms
purchased: artist 1994

fifteen
Jayne Barry
b. Cork, 1959. Self-taught. Began painting professionally 1988. Subject matter varies
considerably, and will accept a commission ‘on just about anything’. WCSI 1994. Works
mainly in watercolour, but also in acrylic and pen and ink; her collages and etching are
mostly in zinc. Many of her watercolours are still lifes with attention to light and shade. A
three-dimensional effect is achieved by a deliberate build up of colour. Solo exhibitions in
Kinsale 1990/2. Several commissions for industrial and commercial collections. Has exhibited
and sold at RHA, Solomon Galleries Dublin and Lavit’s Quay Gallery Cork. Work in private
collections in UK, mainland Europe, USA and Ireland. Won award for outstanding work at
the WCSI Exhibition Dublin 1999.
TOMATOES 1994
watercolour 28 x 32 cms
purchased: WCSI 1994

sixteen
John Behan
b. Dublin, 1938. Studied in Dublin, London and Oslo. Sculptor, mainly
in bronze and also recently in aluminium and steel. ‘His work is partly
surrealist and partly in the formalist “truth to material” tradition of
F.E. McWilliam and Edward Delaney’ (Cyril Barrett). His themes focus
on mythological subjects, European as well as Irish, family, birds and
beasts. After ten years of work based on preoccupations with the Táin
he has returned from the heroic to the human dimension with recent
bronze studies of the seaboard people of the west of Ireland. Founder
member of Project Arts Centre 1967; founder and co-director of
Dublin Art Foundry 1967; member of Arts Council 1973-8, Member of
Aosdána RHA 1990. Exhibited in all major Irish Exhibitions from 1960.
Commissions include major corporate sculptures, religious sculptures
and work for US collections. Lit: H Murphy, John Behan: Sculpture and
drawings (Dublin 1969).
MAEVE’S ARMY 1994
bronze 92 x 34 x 34 cms
purchased: RHA 1995
FISH 1999
Steel 160 x 272 x 112 cms

seventeen
Moya Bligh
b. Kilkenny. Educated NCAD. Now lives in
Japan where she normally exhibits. Has
had a solo exhibition in Dublin and also
been represented in group shows. Work
part of permanent collection at Butler
Gallery Kilkenny.
SURFACES B 1987
lithograph 40 x 52 cms
purchased: Graphic Studio Gallery Dublin 1996

eighteen
Brian Bourke
b. Dublin, 1936. Educated NCAD and St Martin’s School of Art London. Has
lived in Galway since mid-1970s. Expressionist studies of rugged Connemara
landscape comprised much of his early work. Later work concentrated on
portraiture, including humorous self-portraits. Chosen to represent Ireland in
the 1965 Paris Biennale, the Lugano Exhibition of Graphics and Rosc 88.
Member of Aosdána. Major retrospective exhibitions Galway 1988 and Royal
Hospital Kilmainham 1989. Has also exhibited in Germany, Switzerland, UK
and USA, as well as throughout Ireland. Numerous articles and books have
been written about the work of the artist. Represented in major public and
private collections.
LA BELLA BARMAID I 1994
acrylic on paper 76 x 56 cms
purchased: Taylor Galleries Dublin 1997
presented by the Students’ Union, Athlone Institute of Technology

nineteen
Deborah Browne
b. Belfast, 1927. Studied in Sidney Smith’s
studio Belfast and later at NCAD. Worked in
Paris and had her first one-woman show in
Belfast 1959. Evolved from abstract
expressionism to reliefs, and in mid-sixties
began to make the three-dimensional free-
standing work in glass fibre for which she is
perhaps best known. Rosc 80 Cork and Rosc
84 Dublin.
FIBREGLASS FORM PAINTED YELLOW ON BLACK 1967
painted fibreglass on board 213 x 60 x 17 cms

twenty
George Campbell
b. Arklow Co. Wicklow, 1917, d. 1980. Largely
self-taught painter and stained-glass artist from a
well-known family of artists. Co-founded Irish
Exhibition of Living Art 1943. Worked in Belfast
with Gerard Dillon where he exhibited and won
first prize in the Open Painting Exhibition 1962.
RHA 1964. Douglas Hyde Medal 1966. For many
years divided time between London and Malaga
Spain before returning to Ireland. His work is
characterised by its rhythm and harmonious blend
of colour, light and shade. Subjects include
landscapes, still lifes and abstract compositions.
Best remembered for powerful images of his
paintings and drawings made in Spain.
Exhibitions in Dublin, Belfast, New York, Boston,
London, Gibraltar, Malaga and Capetown. Work
in many leading public and private collections.
SAMURAI 1976
oil on canvas 91 x 75 cms

twenty one
Tom Carr
b. Belfast, 1909, d. 1999. From a prosperous Belfast family. Educated in England at public school and
at the Slade School London, returning to Northern Ireland in 1939. Lived first at Newcastle Co. Down,
and subsequently at Belfast, where he taught for a time at the College of Art. Awarded the RUA gold
medal 1973 and the Oireachtas landscape award 1976. Honorary member of RHA. A representational
painter of children, snow scenes and the countryside. Superb brushwork and mystery of handling paint
are best shown in his watercolours. Exhibited Caldwell Gallery Belfast. Lit: John Hewitt and Mike Catto,
Art in Ulster (Belfast 1991).
SNOWSCENE 1974

twenty two
Michael Casey
b. Lanesborough Co Longford, 1932. Worked and travelled
in UK and North America where the redwood country of
north California had a particular fascination for him. Now
lives in Newtowncashel on the shores of Lough Ree. A self-
taught sculptor, he works with bogwood - pine, oak and
yew. The forms are persuaded to reveal themselves; shapes
in effect emerge from the wood displaying their lines and
light. Since 1982 has exhibited his work in arts weeks,
group and solo shows. One-man show in Galway and
exhibition at Düsseldorf Irish Week 1994. Major works in
public places, and also represented in many collections,
public and private.
BIRD OF THE WIDE AND SWEEPING WING/THY HOME IS HIGH IN
HEAVEN 1996
bog yew 333 x 180 x 110 cms

twenty three
Carey Clarke
b. 1936. Studied painting at NCAD where he
subsequently taught painting and drawing until
1995. President RHA 1992-6 and honorary
member RA. A highly accomplished painter of
portraits, still life and landscape whose brilliant
techniques provide ‘a calm and lucid ordering of
the world made visible, which having been noted
the artist moves on, marking, describing,
observing...He delineates that which he sees,
calmly and methodically, just as a medieval
painter might have done; without comment,
political or social...rounded, noted, [and] offered
back for the viewer’s approval’ (Ciarán
MacGonigal). Has held a number of solo
exhibitions and exhibited in many group shows,
including the Florence Biennale 2000. Winner of
numerous national awards and represented in
major Irish public and private collections.
JUNE MORNING BOURGOUGNAGUE LOT ET GARONNE 1997
purchased: RHA 1998

twenty four
Petronelle Clifton-Browne
b. Co. Tipperary, 1941. Trained as a Froebel teacher specialising
in art and attended evening classes at NCAD. Now lives on a
farm in Tipperary. WCSI 1967. Her themes are mainly landscape
and animals, but she also paints buildings and monuments in
pen, ink and watercolour. Selected exhibitions and local shows
at Fethard, Moyglass and Cashel.
REGATTA AT DROMINEER 1994

twenty five
Barrie Cooke
b. Cheshire UK, 1931. Educated at
Harvard University and studied painting
at Skowhegan USA. In Ireland since
1954. Paints in semi-abstract
expressionist style. ‘Barrie Cooke is most
often associated with very strong large-
scale works in which the predominant
elements are flow and surge of water in
his beloved streams and lakes and in the
exuberance of growth and change in the
countryside which surrounds him’ (Neil
Monaghan). A parallel activity has been
the creation of ‘boxes’ - perspex boxes
containing arrangements of real and
artificially created bone fragments. A
visually stunning exhibition Boxes: ten
years in Kilkenny Castle 1981. First
exhibition in New York 1950.
Represented Ireland at Paris Biennale
1963. Joint retrospective with Camille
Souter in Dublin 1971. Rosc 71 and 84.
First prize IELA 1980. Member of
Aosdána. Featured in many major
collections. Illustrations for Ted Hughes
and also Seamus Heaney’s Bog poems
(1975).
SLEEPING FIGURE 1964

twenty six
Vicki Crowley
b. Malta, 1940. Educated Malta and England. After training in
architectural drawing, travelled extensively in mainland Europe
and Africa before settling in Galway in 1970. Works in oils,
pastels and pigment on silk. Solo exhibitions in Galway,
Killarney, Sligo, Kilcock, Tuam and Connemara reflect a
preoccupation with myths and dreams. Exhibited in Brussels,
Trieste, Brazil, Tenerife, Malta, Muscat and Oman. Her
painting/wall hangings included in public and private
collections worldwide. Collection of poems Oasis in a sea of
dust, which she also illustrated, published in 1992.
SETANTA HURLING 1995
painting on silk 58 x 42 cms
purchased: Artworld Gallery Athlone 1996

twenty seven
Jack Cudworth
b. Leeds UK, 1930. Studied at Leeds College of Art. Has lived in Dublin since 1953, working as designer/
illustrator for various advertising agencies. Also co-leader, on clarinet, of the Butler-Fox jazz band. He is ‘in
love with his materials...delighting in the manipulation of paint to reproduce the different sheen of leaf and
underleaf, the crisp edge of the petal to set before us the scene just as it is’ (Ray Rosenfield). His work widely
admired and collected by fellow artists. He exhibited in RA, RHA, RSA and galleries in Europe and America.
Close association with Caldwell Gallery Belfast.
IVEAGH STORES 1979
oil on board 29 x 34 cms

twenty eight
Michael Cullen
b. Wicklow, 1946. Educated at Central School of Art and Design London and NCAD. Has spent various
periods living and working abroad in Spain, Morocco, USA, Mexico and Berlin. Now lives and works
in Dublin. Member of Aosdána. ‘His paintings strike me as an expression of dissociation, of the limbo
of our pathological fear of living, of the light and colour which has for so long been separated-off
and banished from the everyday of Irish life, the mosaic underneath the dark self-portrait of a grey
family’ (John Waters). Solo exhibitions in Dublin, Cork and Belfast. Group shows in Dublin, London,
New York, Brussels, Amsterdam and Berlin. Represented in many leading public collections including
IMMA, OPW, Berlin Senate, AIB and Contemporary Art Society.
LOVERS IN LAS VEGAS 1997
carborundum print (6 of 12) 58 x 68 cms

twenty nine
Rosaleen Davey
b. Belfast, 1947. Studied at Belfast
College of Art and Leeds University.
Administrative and research
assistant National Gallery London
1971-5. Work is often described as
enigmatic, but probably a more
perceptive description is
‘philosophical painting, in love with
visual knowledge’ (Brian Lynch).
Member of Aosdána. Has had four
solo exhibitions at Caldwell Gallery
Belfast and also a solo exhibition at
RIAI Dublin 1995. Group
exhibitions include RHA, and also
in Limerick, Cork and Claremorris.
Work represented in several major
Irish public collections, and in
private collections in Ireland, UK,
USA, Germany and Australia.
BOX 1989
pastel on paper 50 x 38 cms
MATERNITY 1994
pastel on paper 50 x 42 cms
purchased: Holles Street Hospital exhibition 1994

thirty
Gerald Davis
b. Dublin, 1938. Studied art at NCAD at night while acting
in the Pike Theatre. Later, as a ‘mature’ student, studied
art history and literature at TCD. First solo exhibition in
Dublin 1961; has since exhibited throughout Ireland, and
in UK and USA. As painter/entrepreneur opened gallery in
Capel Street Dublin 1970. Douglas Hyde Gold Medal
1977. ‘The strange, dark, ancestral spectres which inhabit
the constantly changing light of the landscapes of Gerald
Davis remind one of those tragicomic voyagers who travel
the world of Jewish artists in whatever medium’ (Wolf
Mankowitz). Represented in many private and public
collections including Hugh Lane Municipal Gallery Dublin,
Crawford Gallery Cork, and Limerick University.
THAW 1976
purchased: Lincoln Gallery Dublin 1981
OFF BALTIMORE 1991

John Doherty
b. Kilkenny, 1949. Studied
architecture at Dublin Institute of
Technology 1968-73. Subsequently
lived in Sydney Australia. His
painting has been described as
‘photo-realist’ and ‘new realist’. Uses
acrylic on canvas. Irish paintings
include panoramic rural landscapes,
views of decaying buildings and
representations of shopfronts.
Australian paintings depict man in
the urban landscape. Exhibited
many times in Australia in one-man
and group shows, and in Taylor
Galleries Dublin.
thirty one
ANGLES 1978
acrylic on canvas 57 x 77 cms

DUN LAOGHAIRE DAWN 1978
Richard Dwyer
thirty two
b. Ballinasloe Co. Galway, 1939. Won government scholarship to NCAD where
awarded Diploma in Painting. WCSI 1977. Lives in Dublin. Uses a variety of media;
landscapes are generally in watercolour, with figurative work in mixed media and
abstract in oils. Selected exhibitions: RHA, Oireachtas, Pantheon Gallery Dublin,
Gallerie 6650 Homburg-Schwarzenacker Germany, MacAlister’s Gallery Dublin.

Felim Egan
b. Strabane Co. Tyrone, 1952. Educated
Ulster Polytechnic Belfast, Slade School
of Fine Art London and British School
Rome. Solo exhibitions in Dublin,
London, Cologne, Edinburgh, Boston
and IMMA touring exhibition. Group
exhibitions include Rosc 84, Tate Gallery
London, Paris and Sao Paulo Biennales.
Won Premier UNESCO prize for the Arts
in Paris 1993. Outstanding abstractionist
from the younger generation of Irish
artists who has experimented with
sculptural form in a variety of media,
including neon, pure painting, bronze
and painted wood. His quiet, restrained
paintings, usually in muted colours,
‘exhibit a fusion of the contemporary
with the prehistoric, the ultra-modern
with the age-old, the space-age united
with cave-painting’ (Alistair Smith). Work
represented in many leading collections
including the Hugh Lane Municipal
Gallery of Modern Art, IMMA, Ulster
Museum, Arts Council, European
Parliament and OPW. Elected member of
Aosdána in 1986.
thirty three
SHORELINE (G) 1996
mixed media on panel 75 x 75 cms
purchased: Kerlin Gallery Dublin 1996
TREES 1997
lithograph (22 of 30) 42 x 30 cms

Maura Farrell
b. Athlone Co Westmeath. Interested in arts and crafts from
childhood. Member Athlone Arts Group. Works in watercolour
and acrylic. Main subjects are landscapes, interiors and
flowers.
thirty four
EVENING INTERIORS 1996
INTERIORS 1997

Michael Farrell
b. Kells Co Meath, 1940, d. 2000. An
original artist of traditional skills,
passionate concerns and fertile
imagination. Works in series which, seen
as a whole, show continual, often radical,
transformations. Moved from figuration to
abstraction (hard edge) and back to
figuration (with a fluid style). Amongst
best-known are the Presse series of the
early 1970s, in which he found his first
vehicles for expressing his wit and political
concerns, and the Miss O’Murphy series of
the late 1970’s - including, as he claimed,
the first real Irish political picture. Studied
at St Martin’s College of Art London and
Colchester College of Art 1957-61. Won
several scholarships and prestigious
international awards including laureate as
Irish representative at the Paris Biennale
1967 and gold medal at the Third
Graphics Biennale Florence 1972. After
winning a Carroll’s Prize at IELA Cork
1967, he declared: ‘art is above politics
but not humanity’. Lived in Paris for most
of the 1970s and in Australia for part of
the 1980s. Member of Aosdána. One-man
exhibitions at Paris, Munich, Dublin and
The Hague. Mid-term retrospective
Douglas Hyde Gallery Dublin 1979
coincided with publication of an
authoritative monograph on his work by
the critic Cyril Barrett. Exhibited Taylor
Galleries Dublin.
thirty five
STORM IN A TEACUP 1977
THE LITTLE TENT OF BLUE THAT SOMETIMES
PRISONERS CALL THE SKY 1979
L’ALCOLL DE SERPENT 1985

Brian Ferran
b. Derry, 1940. Trained and worked as an art
teacher, before graduating in art history from the
Courtauld Institute London. In a style that just falls
short of total abstraction, his intense use of colour
has echoes of the great illuminated manuscripts of
Early Christian Ireland. His ‘continuing
preoccupation with the Táin and Irish
mythology...and with contemporary tribal
manifestations bestow on his oeuvre an impressive
coherence’ (Michael Longley). Numerous solo
exhibitions in Ireland and north America and has
exhibited in group shows in Ireland, Britain and
mainland Europe. Work in many public and private
collections. Has won several prestigious awards.
Currently chief executive of Arts Council of
Northern Ireland where he has had an impressive
administrative and publications record.
COLMCILLE THEME 12 1999
acrylic on canvas 76 x 76 cms
purchased: RHA 1999
thirty six

Mike Fitzharris
b. Limerick, 1952. Educated at Limerick School of Art and Hochschule für Bilden Kunst Berlin. A teacher for several years, but is now
a full-time artist. Much of his work is grounded in landscape. Paint is usually scratched into the surface and lines and shapes swirl as
if controlled by natural forces. He favours rich Mediterranean hues. Has received several national awards and grants. Has had solo
exhibitions in Ireland and France, and exhibited in many group shows in Ireland, UK, Belgium and Canada. Represented in a growing
number of public collections throughout Ireland.
BEGGAR 1997
oil 28 x 38 cms
purchased: RHA 1997
thirty seven

Barry Fitzpatrick
b. Waterford, 1969. Full-time painter who frequently works at night. Work
influenced by Francis Bacon. Has had one successful solo exhibition at
Dyehouse Gallery Waterford, and also participated in several group shows.
Represented in several public and private collections in Waterford.
thirty eight
STREET SCENE 2000
oil on paper 82 x 56 cms
purchased: RHA 2000

Paul Funge
b. Gorey Co. Wexford, 1944. Educated NCAD and Accademia de Belli
Arti Florence. Works in oils, acrylics and water. Strong spatial and
figurative sense has earned him a high reputation as a landscapist
and portraitist. Has exhibited in the Project Arts Centre, of which he
is a founder director, the Arts Club, the Hallward Gallery and major
group shows, as well as in Amsterdam, Santa Barbara California, and
various cities in Spain, which he regards as his spiritual home. Major
retrospective Drogheda 1995. Is a distinguished art educationalist
who has lectured in NCAD and universities in California and
Amsterdam. Founder and director of the Gorey Arts Centre/Festival, a
milestone in the development of the arts outside Dublin. His
paintings are ‘full of jazz, Hockney-ish modernisms and in general
the swinging (and sometimes boring) scene. They have a casual and
almost improvised look’ (Brian Fallon). Lit: ‘Nice one Mr Funge’ by
Aidan Dunne in In Dublin (April 1980); author of A perspective on art
(Seapol Books 1967).
thirty nine
NO REGRETS MR FUNGE NO. 8 1983
ZAMORA 1994
purchased: Drogheda Arts Centre 1994
DR DAVID FENTON 1995

Martin Gale
b. Worcester UK, 1949. Reared in Ireland. A new realist who paints landscapes and people
in landscapes, sometimes focusing on the most ordinary subject matter ‘in a kind of super
colour photography’ and in meticulous detail. In these works, always superbly executed,
there are ‘hints of psychological tension or mystery. Favours the close tones and clear
outlines of the Irish landscape in winter and has a special feeling for its mixture of harshness
and intimacy’ (Brian Fallon). Frequently employs to great effect the old realist device of
placing something close-up in the foreground. Member of RHA and Aosdána. Irish
representative at the Paris Biennale 1980. Work selected from this exhibition subsequently
toured Portugal and Finland. Arts Council touring exhibition Family and friends 1981 and
Sense of Ireland Festival London. Exhibits Taylor Galleries Dublin.
forty
ARMCHAIR TRAVELLER 1992
OUTBACK 1980
THE ARTICHOKE WINDOW 1975

Neil Gall
b. Scotland, 1967. Studied at Gray’s School of
Art Aberdeen, Slade School of Art London and
British School Rome. Employs architectural
photographs all through the painting process,
using the illusory space, but painting in a flat,
direct manner. His paintings are neither
abstract nor figurative, but ultimately an
emotive experience.
CONSTRUCTION 1998
on loan from Mr Richard Whitington
forty one

Terence Gayer
b. 1924. Studied at Limerick College of
Art and Design and NCAD, where he
afterwards lectured. Elected to WCSI
1961. Selected exhibitions: RHA,
Oireachtas, Independent Artists.
Fine-print exhibitions in India, Italy,
Norway, Switzerland and USA.
forty two
SOJOURN 1995

Mitsy Gerson
b. Utrecht Netherlands, 1943. Studied
at Academie de Schans Amsterdam.
Versatile and technically accomplished
freelance artist / designer / fashion
illustrator / animator. Lived for
extended periods in both Dublin and
County Laois, before returning to the
Netherlands in 1994. First solo
exhibition in Amsterdam at age of
sixteen. Subsequent exhibitions in
Amsterdam, Gronigen, Dublin,
Portlaoise and Kilkenny. Her painting,
whether abstract, portraiture, or still
life, is characterised by a striking variety
of styles, marked always with an intense
preoccupation with her subject matter,
expressed with comprehension, colour
and sensibility.
forty three
POWER CUT 1981
HOP 1986
purchased: Rothe House Kilkenny 1994

Alice Berger Hammerschlag
b. Vienna Austria, 1917, d. 1969. Lived for the last thirty-one years of her life in Belfast. Studied at
Vienna Academy of Arts and Kunstgewerbeschule. Member of the Women’s International Art Club
and the Free Painters and Sculptors London. Media used include acrylic, gouache, oil and tempera.
‘She continues to be preoccupied with the force of opposites, floating sphere and darting rod,
indication that her artistry is as vital as ever’ (Hilary Pyle, 1960). Work exhibited extensively in solo
shows from 1969 in London, Manchester, Belfast, Bristol and Dublin; and in major group
exhibitions in New York, UK, mainland Europe and also in the IELA. Work in public collections in
Dublin, Belfast and Bristol as well as in numerous private collections.
forty four
SILENT EMERGENCE 1966

James Hanley
b. Dublin, 1956. Educated UCD, NCAD and Glasgow School of Art and Design. His works explore familiar themes and
images. They are essentially humorous, trompe l’oeil devices, one-liners, in-jokes, out-takes, quirky and ridiculous, which
serve to heighten the provisional nature of meaning and illusion. He is also an established portraitist. He has exhibited
widely in Ireland and abroad, most recently in survey shows of Irish art which toured England and America, and at the
1999 exhibition of contemporary art at the Florence Biennale. Represented in numerous private and public collections,
including IMMA, Arts Council and European parliament. An associate member of RHA.
forty five
AFTER DUCHAMP 1999
conté and graphite on gessoed paper 38 x 30 cms
purchased: Hallward Gallery Dublin 1999

Alice Hanratty
b. Dublin. Studied at NCAD and Hornsey College of Art London. Taught NCAD, Dun Laoghaire College
of Art and Design and DIT. Founder member of Society of Designers in Ireland. Her work encompasses
both painting and printmaking and although in the European figurative tradition, she is influenced by
time spent in East Africa. Member of Aosdána. Several solo exhibitions and has exhibited in group
shows in Ireland, UK, USA, mainland Europe, Japan and India. Work in many private collections, and
in public collections including TCD, Arts Council, Irish Government Buildings, National Gallery Istanbul
and National Gallery Catania Sicily.
forty six
STILL LIFE WITH BOTTLES 1994

Charles Harper
b. Valentia Island Co. Kerry, 1943.
Studied at Limerick College of Art and
Design, the Graphic Studio Dublin and
NCAD. Head of Fine Art Faculty,
Limerick School of Art and Design.
Founded EVA Limerick, 1975, and a
founder member of Aosdána, 1981.
Associate member of RHA. An initial
influence was a year studying
animation in Germany. A painter in
watercolours and oils, he is best known
for his studies of heads and nudes in
series on picture planes uniformly
divided by a grid system. This was
dropped in his more recent Bellissima
series. Is a prolific artist and winner of
many national awards, whose work has
been shown in solo exhibitions in
Switzerland and Latvia, and in group
exhibitions including IELA and RHA,
and in Spain, USA, Canada and France.
Mid-term retrospective Kilkenny 1980.
Retrospective 1998.
forty seven
HELIOCENTRIC TIMESPOT 1974
gouache 50 x 63 cms
CASTIGATORY 1976
OSSESSIONE 1981
mixed media 52 x 65 cms

Patrick Harris
b. Dublin, 1953. Scholarship student at NCAD. Subsequently
studied in Madrid and at the National Institute of Fine Arts
Antwerp. Lecturer at the College of Marketing and Design
Dublin. Has exhibited in group and individual shows in
Dublin, London and Belgium. Work included in major Irish
public collections and in private collections in Ireland,
mainland Europe and USA.
forty eight
NUDE BACK STUDY 1989
charcoal drawing on paper 69 x 53 cms

Evelyn Healy
Lives mainly in Achill, Co Mayo.
Commenced painting in 1970
as student of NCAD. Primarily a
landscapist, she has recorded
the places she has visited in
France, Japan, the Philippines
and Australia. Favours a limited
palette, blending colours from
vermilion, ochre, cobalt,
ultramarine, viridian and white.
Paint is liberally applied directly
to canvas on location using
both the alla primo method and
a palette knife to achieve
particular light effects. Has
exhibited at Bank of Ireland,
RDS, and Achill Gallery.
forty nine
LOOKING WEST 1994
A SUMMER DAY: DOOEGA, ACHILL, CO MAYO 1994

Patrick Hickey
b. India 1927, d. 1998. Came to Ireland in 1948 where he trained as an architect at UCD. In
1954 won scholarship to study etching and lithography at Scuola del Libro in Urbino Italy.
Commenced exhibiting at IELA 1955. Had his first one-man show of painting 1961, and of
graphics 1965. Was a founder of the Graphics Studio in Dublin 1961. Was Honorary Member
of RHA. His teaching and work as an artist did much to stimulate the development of Irish
graphics. Represented Ireland in Paris, Swedish, Cracow and Sao Paulo Biennales and exhibited
regularly at the Ljubijana and Toyko Biennales. Worked with Dale Chihuly on his ‘Over Venice’
project for the Venice Biennale. Stations of the Cross etchings were purchased for Archives
Nationales Paris. His subjects were thematic and included the Divine Comedy, months of the
year, still lifes and Wicklow landscapes, but the characteristic style was unmistakably Eastern.
Work included in many Irish public collections and in private collections in UK, USA and Far
East. Exhibited Taylor Galleries Dublin.
fifty
THREE MORE POMEGRANATES 1985
gouache 57 x 76 cms

Declan Holloway
b. Athlone, 1959. Awarded NCAD Diploma in Painting 1981,
and Diploma in Printmaking from Crawford School of Art and
Design Cork 1985. Currently lectures in Galway-Mayo Institute
of Technology. His etchings reveal a strong involvement in the
deconstruction and recontextualisation process. His
representation of the human figure, particularly the nude, is
arrived at through the use of the erosive nature of the etching
process itself.
fifty one
ETCHING 1995
etching 50 x 35 cms

Niamh Keenan
b. 1934. Lives in Dublin. Studied at St Patrick’s Training College and NCAD. WCSI 1965.
Well-known for her ‘old Dublin’ watercolours. Also paints in oil. Selected exhibitions
include the National Women’s Year Exhibition, National Craft Exhibition RDS, Breton
Festival France, Galerie De Haven Holland and Tatten Gallery Malahide.
fifty two
BEWLEY’S CAFÉ, MARY STREET 1994
THE BAILY COURT HOTEL, HOWTH 1994

Desmond Kinney
b. Portstewart Co. Derry, 1934. Grew up in Belfast where he
trained as a calligrapher at the College of Art. Subsequently
a graphic designer. Has executed large-scale mosaics and
murals for public places. As a watercolourist has painted
landscapes, still life and horses. Solo exhibitions in Dublin,
Belfast and Galway. Work represented in many public and
private collections.
HORSERACING 1990
purchased: Eakin Gallery Belfast 1992
fifty three

John Kirwan
b. Dublin. A realist painter of landscape in oils who is drawn to coastal regions, especially Achill and Howth, for
their big expanses of sky and highly mobile lighting and weather conditions. ‘While on one level there is a veil
of romanticism running through his work, his paintings are motivated by an evident conviction that it is only
naturalistic accuracy that will in the end deliver’ (Aidan Dunne). His talents extend beyond painting into such
areas as film, theatre, public works and fashion. Five successful solo exhibitions to date.
fifty four
LOW-LIGHT MIST, ACHILL 1995
on loan from Ms Tina O’Hara

Anne Rigney Lally
b. Tullamore, 1957. Studied art and design at Athlone Institute of Technology. Now
lives in Co. Roscommon. Has been artist-in-school in Castlerea Community School,
and artist-in-community in Strokestown. Works mainly in mixed-media montages
through which she responds to life’s continual change in the passage from birth to
death. Has exhibited extensively throughout Ireland and is represented in the
collections of Irish Distillers Group and Roscommon County Council, as well as in
many private collections.
fifty five
WOMAN 1996
BEING 1996
ALONE 1996

Nancy Larchet
Lives in Dublin. Studied at UCD. Interior designer, specialising in institutional kitchens and
laundries. She also mounts arts and crafts exhibitions. Shapes and shadow in landscape,
buildings, flowers and foliage are a great source of inspiration. Selected exhibitions include the
RHA, Oireachtas, European Institute of Watercolours Dublin, Italian Watercolour Society, Trees of
Life touring and Salon International Pastel Ville de Compeigne France.
fifty six
A PREPONDERANCE OF POPPIES 1994

Ramie Leahy
b. Kilkenny, 1950. Studied at the Limerick College of Art and
Design, TCD and International University of Art Florence.
Resides Kilkenny. An active arts administrator and organiser
who was a founding member and public relations officer of
Kilkenny Arts Week, forward planner and exhibition officer of
Wexford Arts Centre and Wexford Festival Opera, and
coordinator of many group exhibitions. His work includes
landscapes, natural-history studies and figurative paintings.
‘The form and colours of Leahy’s paintings are rather like a
galaxy, alive with light and vivid flashings of disappearing
glows, not residues of disintegrating worlds, but rather a
cosmic vibration of innovating forms’ (Luisa Beeherucci). Has
exhibited in solo exhibitions in Florence, Switzerland, USA,
London, Dublin and Kilkenny, and in many group shows in
Ireland and abroad, including IELA and Kilkenny Colourists
1995.
fifty seven
PLESIOSAURUS 1995
purchased: Khan’s Gallery & Bookshop Kilkenny 1996

Anna Marie Leavy
b. Pettigo Co. Donegal, 1939. Studied at NCAD. Lived and taught art in Dumfries Scotland and
Downpatrick Co. Down for many years before settling down in Mullingar in 1971. Actively promoted
watercolour as a medium by teaching in the VEC Adult Education programme. Founding member of Art
Enterprises, the group that initiated weekend painting courses in the midlands. In recent years has painted
‘gems of nature that are hidden in quiet corners of the wood or field, the charming shapes and colours
of wild flowers, cracks in a rock or tree stump’. Selected exhibitions include the RHA, United Artists,
Municipal Art Museum Tokyo, Kenny Gallery Galway and Fukui Cultural Centre and Saiwai Gallery
Kawasaki Japan. Her paintings are in public and private collections all over the world.
fifty eight
SEASONS IN IRELAND 1994

Louis Le Brocquy
b. Dublin, 1916. Self-taught and now, undoubtedly, one of
Ireland’s most celebrated artists. Founder member of IELA
1943. RHA 1949. Member of Aosdána. Lived in London from
1946 and in France from 1958. Represented Ireland at Venice
Biennale and won Guggenheim Awards in 1958 and 1960.
DLitt TCD 1962. After his ‘grey’ period in the 1940s and his
‘white’ period in the 1950s, work since 1964 has been
principally concerned with the Celtic concept of the human
head as a magic box containing the spirit. Exhibited a
hundred studies Towards an image of W.B. Yeats at the Musee
d’Art Moderne Paris 1976 and at Edinburgh Festival 1977. A
similar exhibition of heads of James Joyce toured Europe
and America 1978-9. His images of Federico Garcia Lorca
were exhibited in Barcelona, Madrid and Granada, while his
Beckett, Strindberg and Francis Bacon images were exhibited
in Paris in 1979 and in Dublin at Rosc 80. Irish head image
and Louis le Brocquy exhibition New York State Museum
Albany 1981. Also known for his tapestries and book
illustrations, such as Thomas Kinsella’s translation of the
Táin. Work in collections of many of the world’s leading
museums. Lit: Dorothy Walker, Louis le Brocquy
(Dublin 1981).
fifty nine
STUDY TOWARDS AN IMAGE OF W.B. YEATS: NO. 26 1976
conte on paper 22 x 18 cms
purchased: Dawson Gallery Dublin 1977
UNTITLED THE TÁIN 1989

JAMES JOYCE 1981
THOMAS KINSELLA 1981
SEAMUS HEANEY 1981
JOHN MONTAGUE 1981
sixty

JOHN MILLINGTON SYNGE 1981
WILLIAM BUTLER YEATS 1981
FRANCIS STUART 1981
lithograph (64 of 100) 32 x 27cms
SAMUEL BECKETT 1981
sixty one

Hector McDonnell
b. Belfast, 1947. After education at Eton and Oxford, studied art in Munich
and Vienna. Lives London, New York and Glenarm Co. Antrim. Has travelled
and painted in both Asia and Africa. A realist whose superb use of colour
depicts the everyday experiences of western urban civilisation and life in the
Third World with sympathy and conviction. Has exhibited in London, New
York, Dublin, Paris, Brussels, Stockholm, Madrid, Stuttgart and Hong Kong.
Represented in many collections world-wide.
sixty two
OLD WOMAN KATALE CAMP ZAIRE 1996
etching 30 x 20 cms
MOTHER/BABY KATALE CAMP 1996
etching 30 x 20 cms

Eileen McDonagh
b. Geevagh Co Sligo. Studied at the Institute of Technology
Sligo and Limerick College of Art and Design. Since 1986
has worked full-time as a sculptor, mainly in limestone and
granite. Worked in symposia in Japan, mainland Europe,
India and Scotland, and in various locations in Ireland. Now
lives in Co. Kildare. Athlone Institute of Technology
sculpture was commissioned in open competition. Has also
successfully competed for commissions from OPW, Dublin
Corporation, and Cork and Laois County Councils. Her
1992 solo show Truss in the Project Art Centre was
described by art critic Aidan Dunne as ‘an outstanding
exhibition’.
sixty three
ALLEGORY STONE 1991
limestone 178 x 116 x 86 cms

Maurice MacGonigal
b. Dublin 1900, d. 1979. After apprenticeship at stained-glass studio of his uncle, Joshua
Clark - interrupted by imprisonment for IRA involvement - he studied at Metropolitan School
of Art Dublin. First solo show 1929. Exhibited RHA for fifty-four years, becoming a member
1933 and president 1962. Appointed keeper of RHA School and became professor of painting
1947. An influential teacher and also one of Dublin’s most successful artists. Produced many
oil paintings and watercolours, chiefly landscapes, ‘painting with rather muted colours soft,
blue-grey scenes at country fairs, and occasionally quite vivid interiors’ (Bruce Arnold). Also
a designer of posters and stage sets, and a book illustrator.
sixty four
CURRACHS CONNEMARA 1977

Margo McNulty
b. Achill Island Co Mayo. Studied fine art printing and
fine art in Galway-Mayo Institute of Technology.
Postgraduate scholarship to Belgium, and afterwards
lived and worked in London. Returned to Ireland
1993 and currently lives near Athlone. Works
instinctively with images and materials, making odd
connections and paring colour to express a refined
imagery. Prizewinner at Iontas exhibition Sligo and
National Open Print Exhibition Galway. Group shows
in Ireland, UK and mainland Europe. Represented in
private collections in Ireland, UK, Netherlands,
Germany and Australia.
sixty five
SLIP 1998
etching (1 of 10) 91 x 60 cms
REDISCOVERING CHILDHOOD 1995
carborundum print 32 x 59 cms

Tony Magner
b. Ballylanders Co. Limerick. Educated Galway-Mayo
Institute of Technology and University of Ulster. Scholarship
to China in printmaking. Occasional lecturer in illustration
at Athlone Institute of Technology. Textile designer and also
works in mixed media. Member Artspace Studios Galway.
Represented in group shows in Ireland, UK and mainland
Europe. Work in several ‘advanced’ private collections.
sixty six
CIPHER 1997

Amanda Maguire
b. Lurgan Co Armagh, 1959. Daughter of
Ulster painter Cecil Maguire. Precocious,
self-taught teenager who exhibited
annually in RHA 1972-5. Also exhibited in
RUA and in joint exhibitions with her
father in Kenny’s Gallery Galway.
Emigrated to USA at the age of seventeen
and now lives in New York.
sixty seven
THE BRONX
collage 48 x 39 cms

Joan Mallon
b. Manchester, 1955. Attended Liverpool Polytechnic where she took
a BA in fashion and printed textiles. Works in gouache. Has exhibited
RHA, RUA and other shows in Ireland. Represented in several Irish
public and private collections.
sixty eight
THE WOOING, THE WAITING AND THE DOING 1994
gouache on paper 40 x 22 / 40 x 40 / 40 x 22 cms

Colin Middleton
b. Belfast, 1910, d. 1983. A self taught painter who
‘painted in almost as many styles as there are “isms”
in modern art, but always with his own voice’
(Michael Longley). Was represented in numerous Irish
and international group exhibitions and in one-man
shows, including retrospectives in Dublin, Belfast,
London, Glasgow and Edinburgh. His 1976
retrospective consisted of almost 300 works. MBE
1969. RHA 1970. Work is part of every major public
and private collection of Irish modern art. Lit: John
Hewitt and Mike Catto, Art in Ulster (Belfast 1991).
BIRDS ON WIRE 1974
sixty nine

Hazel Moore
b. Naul Co. Meath, 1975. Studied at Athlone Institute of
Technology, graduating with a National Diploma in Design
(Communications) 1998. Currently working for a Carlow-
based graphic design multimedia company specialising in
graphics, animation, audio and programming for children’s
educational products.
TABOO 1998
presented by the Students’ Union, Athlone Institute of Technology
seventy

Brendan Neiland
b. Lichfield UK, 1941. After a period as a seminarian in Ireland, attended
Birmingham College of Art and Royal College of Art London. A leading
British painter and printmaker. At once intimate and grand, celebratory
and melancholy, his work often features the soaring glass and steel
structures characteristic of contemporary corporate architecture. ‘His
paintings and contributions are important in making us look again, and
in a different way, at this aspect of our physical surroundings and the
technology with which we construct the world; above all, on the
questions that this raises for us as human beings’ (Philip Dowson, PRA).
Many solo exhibitions and commissions. RA, FRSA, keeper RA, professor
of painting University of Brighton, visiting professor of fine art
Loughborough University. Lit: Brendan Neiland, On reflection (Dubai,
London, 1997)
CUMULUS 1991
silkscreen (1 of 60) 152 x 122 cms
purchased: RHA 2000
seventy one

Noelle Noonan
b. Cork, 1964. Attended Crawford School of Art and
Design Cork, before taking a master’s degree at Brighton
University. Subsequently coordinator of the Cork Writers’
Project. Member of the Blackwater Artists Group and the
Cork Printmakers Workshop. Since 1986 has participated
in group exhibitions, including several in London. Images
in the artist’s work are drawn from everyday events, people
and literature, blending reality with fiction.
seventy two
UNTITLED 1992
PULSE 1992
THE DIVINER 1992
lithograph 51 x 46 cms

Simon O’Donnell
b. Monasterevin Co Kildare, 1945. Now lives in
Dublin. Self-taught painter and sculptor. General
style is surrealist, flavoured by black humour, and
much influenced by ‘theatre of the absurd’ and
Samuel Beckett. Regular exhibitioner at RHA,
Oireachtas and other group shows. Solos at
Lincoln Gallery 1982, 1984 and 1985. Work
represented in many significant Irish private
collections.
seventy three
MILTONFRIEDMANIA 1980

David Oliver
b. Australia, 1967. Educated Sydney Art School and Sydney
University. Has travelled widely in Europe and lived in
Ireland. Exhibitions in Mallorca and Dublin on the theme
of the French newspaper Libération and its quiescent
formal and aesthetic properties.
seventy four
LIBÉRATION 1998
on loan from Mr Richard Whitington

Tony O’Malley
b. Callan Co. Kilkenny, 1913. Only commenced
painting in 1948 while recuperating from illness.
Resided in St Ives Cornwall, centre of a thriving
artistic community, from 1959 until returning to
live at Callan in 1980. A leading abstractionist
who ‘is a brooding and inward-looking artist, in
whom the Irish landscape and the Irish past, its
myths and its whole psychic “aura”, seem to come
animistically to life. Certain critics, including
myself, regard him as the finest Irish painter of his
generation’ (Brian Fallon). His vibrant work is
widely represented in leading national and
international collections. Has won the Guardian
Art Critics’ Award and the 1989 Irish-American
Cultural Institute Award, and is a Saoi of Aosdána.
Honorary member of RHA. Participated in group
exhibitions in London, Brussels, Canada and USA.
seventy five
OBAIR GAN AINM 1998
carborundum print (32 of 35) 100 x 75 cms

Raymond Piper
b. London, 1923. Has lived in Northern Ireland from
the age of seven. After various studies, which included
evening classes at Belfast College of Art and a
travelling scholarship to France, became a full-time
artist in 1948. Has worked with distinction in various
media to create an extensive and impressive oeuvre
which includes portraiture, book illustration, and
studies of ballet, Irish folklore, musicians and orchids
(on which he is an international authority). Has
taught art in Belfast College of Art/University of
Ulster, and is a lecturer with the Arts Council of
Northern Ireland. Has made several radio and
television documentaries. Recipient of numerous
awards. Solo exhibitions in Belfast, London, Dublin,
Wexford and Belgium. Represented in many public
and private collections throughout the world.
seventy six
SEATED NUDE 2000
conté crayon 104 x 87 cms
purchased: RHA 2000

Jane Proctor
b. 1957. Graduated NCAD 1983. Has exhibited in
Kilkenny, Limerick and Dublin.
seventy seven
NEST 1994
gouache on paper 46 x 60 cms
purchased: Holles Street Hospital Exhibition 1994

Patrick Pye
b. Winchester UK, 1929. Brought up in Dublin where he studied at NCAD. Oisin Kelly
was an early tutor. Romanesque art seen at National Museum in Barcelona first
turned his attention to Christian iconography. Depicts religious themes in tempera,
oil, stained glass and etching, with evangelistic conviction and in a contemporary
style which belongs to no particular school. Many commissions in churches make his
work easily accessible throughout Ireland. Created more than twenty triptychs on
sacred themes. RHA 1992. Member of Aosdána. A large tempera painting Woman and
serpent commissioned by Bank of Ireland. Frequent exhibitor at David Hendriks
Gallery Dublin.
seventy eight
THE ENTOMBMENT II 1995
DEL VERBO DIVINO 1994
tempera on panel 77 x 33 cms
purchased: Holles Street Hospital Exhibition 1994

Padraic Reaney
b. Carraroe Co. Galway, 1952. His images, especially his pierced
figure in a landscape series, are reminiscent of Graham
Sutherland and Sidney Nolan. It is with the latter ‘that the
greatest affinity exists - the gaunt rib cage, the carcass
deposited by flood in the branches of a tree, the dried-out
gaping hide...Here, one is confronted with a personal vision,
using images of pain, crucifixion, decay, loneliness and the
totality of the individual’ (Hugh McCormick). Exhibited Stone
Art Galway 1981, Artworld Gallery Athlone 1995.
seventy nine
WAITING FOR INDIAN CORN II 1995

Chris Reid
b. 1918. WCSI 1965. Lives in Dublin.
Studied dress design at Grafton Academy
and pursued a career in hat-making. Took
up painting at the age of forty, attended
evening classes at NCAD, and studied
printmaking at the Graphic Studio Dublin.
Her exhibitions include RHA, Oireachtas,
IELA and Festival Celtique France.
eighty
YESTERDAY’S TODAYS 1994
gouache 46 x 35 cms

Noreen Rice
b. and educated in Belfast. Held first one-woman exhibition in British
Council Hong Kong 1956, later moving to London to work for BBC.
Handles pastels on a scale that owes something to Chagall, but in
theme is strikingly original and Celtic. Regular contributor to IELA and
has been represented in group exhibitions in Canada and USA. Her
work has also been shown at Waterford Festival, Ulster Society of
Woman Artists, New Vision Gallery London, the Queen’s University
Belfast, Caldwell Gallery Belfast and David Hendriks Gallery Dublin.
eighty one
WHICH WAY, WHICH DAY 1972

Thomas Ryan
b. Limerick, 1929. Member and former
president RHA. Member of boards of
governors of National Gallery of Ireland
and NCAD. Well-established versatile and
prolific artist. Painter of portraits,
landscapes, still lifes, interiors, historical
and figure subjects, flower-pieces. Works
in oil, watercolour, pencil and chalks;
models in clay. Widely represented in
Irish collections.
eighty two
SNOWY ROAD AT HOME 1979

Vincent Sheridan
b. Co. Kildare, 1945. Educated DIT and NCAD. Main themes include animals and birds whose social
behaviour, dynamic interaction and relationship to the physical and human environment are used to
mirror human activities and comment whimsically on such aspects of modern society as groupies,
stereotypes, passivity and regulation. Has an abiding interest in Arctic history, wildlife and
exploration. Solo exhibitions in Canada, Ireland and Germany.
eighty three
CORVIDS I 1997
purchased: RHA 1997

Constance Short
b. Clones Co. Monaghan, 1944. A prize-winning graphic
artist who also paints murals and sculpts. Her ‘prints
operate a certain narrative quality which subverts itself
in the nick of time by resisting any single storyline. Are
these works about gender, about personal identity,
about fragmentation? Short offers us access to our own
insights and responsibilities’ (Medb Ruane). She has
exhibited widely in Ireland, mainland Europe and New
York. Represented in public collections such as GAA
Museum and Arts Council. An arts activist, she helped
set up the original Projects Arts Centre, became secretary
of Independent Artists and was involved in many cross-
border cultural exchanges. She has worked with several
poets, including Paul Durcan who contributed the poem
which forms the centrepiece of Noughts and crosses.
eighty four
NOUGHTS AND CROSSES 1994
collage (1 of 4) 92 x 89 cms
purchased: Hallward Gallery Dublin 1996

Louis Sinclair
Exhibited RHA 1978-9. Resided in Dun Laoghaire.
Group shows Lincoln Gallery.
eighty five
FIVE SEAGULLS 1979

Donal Teskey
b. Rathkeale Co Limerick, 1956. Participated GPA Award Exhibition
1981. First attracted attention with a long series of graphite works
close to photo-realist, but shot through with an arresting surreal
quality. ‘A natural, fluent inventive draughtsman (who) has
progressed to set himself tougher challenges. He has a preference
for night settings, deep shadows and harsh artificial light’ (Aidan
Dunne). Exhibits RHA and Rubicon Gallery Dublin.
eighty six
POLLING DAY 1995
purchased: RHA 1995

Manus Walsh
b. Dublin, 1940. Before taking up painting as a full-time artist, spent some time
in the stained-glass medium and has five windows in Galway Cathedral,
including the large interior study of the Last Supper. First exhibition in the
Dublin Painters’ Gallery 1967 after a long sojourn, the first of many, in Spain.
A director and active member of the Project Arts Centre serving on the visual
arts committee. As well as a one-man show in 1973, has contributed to many
of the Centre’s group shows, and to RHA and Oireachtas exhibitions. Exhibited
at Biennales in Canada as well as exhibits in Chile and throughout Ireland.
Work in collections in Ireland, USA and Europe. Recent work has focused on
the landscape of the Burren, and the cityscape of Valparaiso.
eighty seven
MUSICIANS 1979
mixed media 53 x 51cms

Judith Caulfield Walshe
b. Hollymount Co Mayo. Watercolourist and
member WCSI. Solo exhibitions in Ireland and UK,
as well as exhibiting in RHA.
eighty eight
UNTITLED 1994

Sheila Walton-Hough
b. Kenya, 1952. Attended Crawford
Municipal School of Art Cork. L’Ecole des
Beaux Arts Paris and Copenhagen
Academy of Fine Art. Now lives in
Banagher Co. Offaly. Lectures part-time
in Athlone Institute of Technology.
Mainly a portraitist and landscapist. One-
woman shows in Cork and Dublin 1975/6.
eighty nine
GERRY GRAY 1990

Joe Wilson
b. Bolton UK, 1947. BA in Fine Art at Manchester
Polytechnic 1969. Lecturer NCAD and visiting
lecturer at the Slade School of Art, Metropolitan
University of Manchester and Nova Scotia
College of Art. Has published in Control and
exhibited at Moss Side Manchester photography
exhibition. Several group exhibitions in Ireland
since 1981, including the Exhibition of Visual
Arts and the European Printmaking show at
Guinness Hop Store, as well as in Holland,
Belgium and Moscow. Solo exhibition Hallward
Gallery Dublin 1996.
ninety
THE PLATE FIGHTS BACK 1989
purchased: Riverrun Gallery Dublin 1989

Anne Yeats
b. Dublin 1919, daughter W.B. Yeats. Trained at RHA School
Dublin 1933-6. Started her career as a stage designer, in
particular for Abbey Theatre Dublin, but took up painting in
1941. Innovative landscapist. First one-woman show in Dublin
1945. Member of Aosdána. Exhibitions in Canada, France and
Taylor Galleries Dublin. Represented in private and public
collections worldwide.
ninety one
LANDSCAPE SEEN FROM PLANE II 1981

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