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British Royal Family interest: An important archive relating to the marriage of Her Royal Highness The Princess Mary (third child and only daughter of King George V and Queen Mary) to Henry Lascelles, 6th Earl of Harewood (Viscount Lascelles), on 28th February 1922. To include original ribbon decorated with gilt crown and letter 'M'; an invitation to the 'Afternoon Party' at St. James's Palace; original letter on headed paper (Chesterfield House); a 'Carriage Ticket' to Westminster Abbey; two photographs of the occasion; order of service/programme; an invitation to meet Her Majesty The Queen, at home with Princess Mary and Viscount Lascelles, 'Dancing 10.30, Knee Breeches & Decorations'; a published 'List of Wedding Presents'; autograph letter/card, Buckingham Palace, 1913, signed 'Mary'; signed photographic portrait, 'Mary, Xmas 1893', in decorative 'Best Wishes' card.
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GEORGE WATSON RSA PRSA (SCOTTISH 1767 - 1837),PORTRAIT OF ARCHIBALD SKIRVING RSA (SCOTTISH 1749 - 1819)oil on canvas59.5cm x 49cmFramedLabel verso: With title and dated 1812.Note: There is another version of this subject, by the same artist, in the Scottish National Portrait Gallery, Edinburgh
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Seán Keating PPRHA RSA RA (1889-1977) Homo Sapiens: An Allegory of Democracy (1929-30)Oil on canvas, 115 x 95cm (45¼ x 47¼'')Signed; inscribed with title 'Homo Sapiens' on label versoWaddington Gallery 1930: RA London 1932: Oldham Art Gallery 1932: Atkinson Art Gallery, Southport 1932: Usher Art Gallery, Lincoln 1932: Exhibition of Irish Art, Chicago World’s Fair 1933: RHA 1934: Waddington Gallery 1940, 1941: Contemporary Irish Art, National Library of Wales, Aberystwyth 1953: Seán Keating Retrospective Exhibition, Hugh Lane Gallery 1963: RHA 1966: Collection of the Artist: Private Collection.Unlike earlier depictions of Ireland’s heroic citizens, Seán Keating’s Homo Sapiens: An Allegory of Democracy presents universal man estranged from self-created modernity. The painting was Keating’s only submission to the Royal Academy Exhibition, London, in 1930, where it was described by one critic as a ‘cry of despair in paint, an acidly truthful satire on human progress’. Begun as the Wall Street Crash laid the vagaries of capitalism bare, the artist deliberately depicted his model as ill at ease, confused, and unstable, as if to represent the state of the world at the time. His personal notes on the painting reveal the true meaning:‘In all ages and cultures, dress, particularly the hat, has played an important part as a means of arousing emotion, enthusiasm, and fear. So that today an inherited instinct enables us subconsciously to classify men according to their hats … Homo Sapiens revolves around the repulsive gas mask, and the idiotic tin hat … The picture might be described as a criticism of the soundness of man’s claim to sapience, expressed in terms of hats, or it might be called a portrait of the hat-fearing animal’. (1)Moreover, and with sceptical reference to manufactured modernity, Keating further commented that the painting represented a ‘universal’ depiction of man as singularly unimproved in ‘mind or body’ by the nature and extent of his activities over time. By activities, the artist meant ‘deification of the law, jurisprudence and academia’, ‘imperialist aggression’, ‘brute force’, and ‘the hounding of the common man by dignitaries of all churches’, symbolised in the painting by the presence of attendant hats. Homo Sapiens: An Allegory of Democracy was reproduced as poster by Victor Waddington in 1930, and later that year, as if to underscore his opinion of the modern human condition, the artist had the image made into a Christmas card for family and friends. Painted before the Second World War, and exhibited by the artist in various shows until 1963, the allegorical meaning in the work has as much relevance in today’s contemporary world has it had in 1930.Dr Éimear O’ConnorOctober, 2017Author of Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013)1. Reproduced in Éimear O’Connor, Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013), pp. 144-45, and fn 60 and 61.
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Rita Duffy (b.1959)DreamsOil on board, each 30.5 x 30.5cm (12 x 12”) Signed (3)Provenance: The Eamonn Mallie Collection'Dreams' - three heads of children by Rita Duffy were the launching pad for a major outdoor installation of forty heads of children - mostly from Belfast but not entirely with other heads sourced in other parts of Ireland.Duffy, born in Stranmillis in South Belfast has emerged as one of the most formidable ground-breaking artists of her era. She lives today with one foot in the North and one in the South on the Fermanagh/ Cavan border. Essentially a figurative artist Duffy has not shied away from tackling political subjects such as 'lookout towers' in South Armagh or the portrayal of images of the Troubles like her portrait of Father Edward Daly agitating his white bloodstained handkerchief on Bloody Sunday in Derry. Duffy's heads of some forty children found a home on the face of a large commercial building at Lanyon Quay in Belfast. The works are all executed on forty aluminium panels seen by hundreds of thousands of drivers passing closely to Belfast's Waterfront Hall and the Laganside Courts in Oxford Street in Belfast. Rita informed me in the preparation of this exposition of these three oil studies for the series 'Dreams' that a lawyer friend of hers made a very poignant observation about the appointment of the 'Dreams Series.' He said it is an interesting location because the images of the children have ended up at eye level with the courtrooms which deal with family law. It is a very cautionary visionary note for couples savaging each other in divorce proceedings to remember there are children involved. Theses heads are deliberately framed the same to underscore the symmetry in God's creatures devoid of distinction. What is fascinating about these paintings is the fact that the artist has turned each head looking away from us. Who knows the artist's mind or reason for their creations Eamonn Mallie
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Rita Duffy (b.1959)Hazel Martin, St. Ives GardensOil on canvas, 66 x 59.5cm (26 23½”)Signed; signed again, inscribed with title and dated 1984 versoProvenance: The Eamonn Mallie CollectionHazel Martin was a familiar figure in the life of Rita Duffy. She lived opposite her home in St. Ives in Stranmillis in Belfast. Hazel was the sister of the well-known radio presenter Ivan Martin. She was unmarried and lived alone in her little terraced house. Invited to comment on the background to the painting, evocative of a Stanley Spencer opus, Rita said I was making works about what was going on around me, of people with whom I lived - scenes that I knew. It was my way of deconstructing the colonial atmosphere in which I grew up. Basically Hazel was a neighbour. Rather than making work coming from elsewhere I was making work where I was rooted - rather than looking around and seeing what was going on in London”. People of my generation easily identify with Duffy's 'Hazel Martin'. We all had neighbours, aunties or grannies, mirror images of Hazel, wrapped in those big aprons of the day. There is a quiet dignity about Hazel. She felt no compulsion to dye her hair blue to pretend she was 'middle class.' She was happy with her lot like the maker of her portrait. Eamonn Mallie
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James Dixon (1887-1970)Figures with FlagsOil on paper laid on board, 38.7 x 33.4cm (15¼ x 13'')Signed and inscribed “Tory Island” and dated 10.9.1966Provenance: From the King of Tory - the collection of Patsy Dan Rogers, sold these rooms, March 1991, Catalogue No.234, where purchased by current owner.When asked, Patsy Dan Rogers, who owned this work, nor others who knew the artist could explain what this picture depicts with its romantic Nationalist figures. As it was painted in 1966 it might have been as part of the 50 year Easter Rising Commemorations or perhaps it was a response to something in Dixon's youth It was preceded by a previous 'Self Portrait with Flags' painted in 1963 and a portrait of 'Mr Hill with Flag' showing the artist Derek Hill with a Union Jack painted again in 1966.
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Frederick E. McWilliam HRUA RA (1909-1992)Crossed Legs (1978)Bronze, 38 x 40 x 28cm (15 x 15¾ x 11'')Signed with initials and numbered 4/5Cast by the Fiorini FoundryPlaster maquette, collection of F.E.McWilliam Gallery and Studio; edition 1/5, coll. Ulster Museum, Belfast, purchased 1980.Provenance: edition 4/5, purchased from the artist’s studio by the present owners, 1981.Literature: McWilliam’s notebook, work is numbered 78.10, ie the 10th work of 1978. When he embarked on his series of of ‘Legs’ 1977 - 1981, ‘he began the practice of making small accurate sketches of each work beside his notebook entry, which was not just for his won identification, but for the foundries, in this case the Fiorini Foundry, with whom he worked closely’. ‘The Sculpture of F.E.McWilliam’ Ferran & Holman, Lund Humphries, 2012. Exhibited: 'FE McWilliam', Taylor Gallery Dublin 1979; 'FE McWilliam Retrospective', the Arts Councils of Northern Ireland, 1981, cat. no. 143; exhibition tour, Ulster Museum, Belfast, April - May; Douglas Hyde Gallery, Dublin, May - June; Crawford Municipal Gallery, Cork, July - August. Tate Gallery, 1989, cat. no. 64, illus. p. 63; Beaux Arts, Bath, 1991; Shambles Gallery, Hillsborough, Co. Down, 2003; Inaugural exhibition at the F.E.McWilliam Gallery & Studio, 2008, exh.cat., illus. p.110. ‘Women of Belfast’ and ‘Woman in a Bomb Blast’ were a highly charged response by McWilliam to the devastating bombs in Belfast and in particular the bombing of the Abercorn restaurant in 1971. This series was followed by the ‘Banners’ which again focused on the Northern Ireland problems, a series instigated by the Peace People, mainly women, including his longtime friend Sheelagh Flanagan and many others, who marched for peace. After five years, reacting through his work to the effect of politics, McWilliam or ‘Mac’ as he was, affectionately called, by his friends, turned for respite to the subject matter he loved most, the beauty and form of female legs. The walls of his studio in Holland Park had many photographs of female forms, especially legs, some from Selfridges advertisements for ladies’ tights. The capriciousness of McWilliam’s imagination, used the subject of women’s legs as a means to create movement, beauty and intrigue. His observation of Indian carvings, especially in the temples of Orissa, which he studied first hand, informed him that the entire human form did not need to be present to give meaning to the subject. His return to the Surrealist idea of complete fragment and his use of legs, to convey this, as here in ‘Crossed Legs’ provides all the sensuality, smoothness and playfulness, as ever associated with the subject, stopping short of eroticism. His ability to give meaning in every foot movement and toe position portrays his love of fun and admiration for the female form. His friendship with the Dublin born ballerina, Ninette de Valois (1898 - 2001) founder of the Royal Ballet, whose portrait he carved in 1963, influenced him greatly, leading to his love of ballet and an appreciation of such an exacting art form in which arm and leg movement were paramount. Feet were important to McWilliam as a means to express emotions whether terror in ‘Women of Belfast’ which to him were - ‘the women as victims of man’s stupidity’ or the joy, anticipation and excitement in ‘Crossed Legs’.Denise FerranOctober 2017
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Basil Blackshaw HRHA RUA (1932-2016)Little Girl's DressOil and pencil on cardboard, 40.5 x 35.5cm (16 x 14”)SignedProvenance: The Eamonn Mallie CollectionExhibited: ‘Basil Blackshaw Paintings 2000-2002’ exhibition, The Ulster Museum, December 2002 - May 2003.Literature: ‘Basil Blackshaw Paintings 2000-2002’, Ulster Museum, illustrated p.33; 'Basil Blackshaw’ by Eamonn Mallie, illustrated Plate 115, p.269.Down the years I came to realise Basil Blackshaw would paint on an eyelid if that surface spoke to him. He loved a wide range of surfaces in various materials - canvas, paper, X Ray sheets, newspaper, wood and so on. He drew no distinction when it came to value or significance he placed on a work in any one medium. It was all about living the experience of that which he gained from working in his surface of choice.'Little Girl's Dress' is executed on corrugated cardboard. He deliberately chose that surface to win that feeling being pursued at that moment in time. The first time I saw 'Little Girl's Dress' Blackshaw declared I could cry when I look at that wee dress. Nothing more was said. I knew what he meant. Basil, a recovering alcoholic whose marriage to Anna Ritchie, a fellow artist broke up while his daughter Anya was still a child, had by his own admission, missed out on many of her early years and dedicated many decades later heaping his love upon her as he made up for lost time. 'Little Girl's Dress' is essentially a portrait of Anya as a child - replete with the face of the dress parading strawberry coloured stains so synonymous with little girls' dresses of a particular era. Eamonn Mallie
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Paddy McCann (b.1963)Girl's HeadOil on canvas, 27 x 21.5cm (10½ x 8½”)Provenance: Provenance: The Eamonn Mallie CollectionEmer Gallery label verso.The minute I spotted 'Girl's Head' I knew I had to have it. It reminded me of a beautiful continental sunset....emitting a light and a heat informed by colours and shapes. However abstract in structure, however geometric, there was something beguiling about the expression in the female's face - mystery and beauty - everything that was missing from so many of Picasso's female heads. I always link beauty, romance and love.This little head had and has it all for me. No one ever said it to me but I suspect the painting was inspired by Paddy's beautiful wife Sharon, also an artist, to whom the artist visited a wonderful abstract European treatment to win his goddess in paint. When asked is this is your wife Sharon McCann answered ever modest well - it's too pretty to be a self portrait. Eamonn Mallie
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Philip Flanagan (b.1960)Portrait Bust of Seamus Heaney Bronze on limestone base, 31.5 x 57cm overall (12½ x 22½'')Signed with artist's device and signed AC (Artist's Copy), edition of 9Signed also by poet Seamus Heaney and dated 1990 on plaque insideProvenance: The Eamonn Mallie Collection, bought from Shambles Gallery, Hillsborough.If knowing your sitter as a sculptor stands for anything then there was no excuse for Philip Flanagan not unlocking the soul of Seamus Heaney. TP Flanagan, Sheelagh his wife, Seamus Heaney and his wife Marie had been friends for over half a century. Terry responded to Heaney's poems in paint and vice versa and TP's son Philip, who trained as a sculptor at Camberwell College in England, would have known Seamus Heaney from childhood.I purchased this Heaney (AP) head from Sheelagh Flanagan in the early Nineties. I had no reticence in parting with my money. I had met Heaney several times down the years and despite the fact that our legs hung out of the same nest in many ways, we did not get beyond a passing acquaintance. I loved the way Flanagan latched onto Heaney's rural ruggedness and his unruly head of hair. The artist didn't play at nicey nicey…..he went rural. I had a discussion with the Irish sculptor Rowan Gillespie about when is the right time to paint or sculpt a head. He contends this is a matter of judgement. Gillespie lamented he had not had the opportunity to sculpt Polish Pope John Paul II, not as the handsome fatherly figure he was when he surfaced firstly, but as he was dying in public wracked with disease. Over the years I have seen some very poor sculptural attempts at winning the essence of Heaney. Flanagan left me with no doubts in his choice of timing to capture Heaney. For some time Heaney's head has faced motionlessly out into our street as its maker Flanagan walks by. I wonder what thoughts go through Philip's head Perhaps he will share those thoughts with me one day. I will not have that luxury in the case of Heaney. My neighbour who went to Annahorish Primary School attended by Heaney, told me The day Seamus Heaney was leaving our school our teacher Mrs Murphy told us 'a genius' is leaving our school today”. I still find it hard to believe, having penned the words 'Noli timere’, the book closed on this genius son of a South Derry farmer. Think however of what Heaney left us in 'Cure at Troy.' So hope for a great sea-changeOn the far side of revenge.Believe that further shoreIs reachable from here.Believe in miracleAnd cures and healing wells. Eamonn MallieBeneath my finger and my thumbMy snug pen restsUnder my windows, a clean rasping soundWhen the spade sinks into gravelly groundMy father digging, I look downTill his straining rump among the flowerbedsBends low, comes up twenty years awayStooping in rhythm through potato drillsWhere he was diggingThe coarse boot nestled against the leg, the shaftAgainst the inside knee, was levered firmlyHe rooted out tall tops, buried the bright edge deepTo scatter new potatoes that we pickedLoving their cool hardness in our handsBy God the old man could handle a spadeJust like his old manMy grandfather cut more turf in a dayThan any other man on Toner’s BogOnce I carried him milk in a bottleCorked sloppily with paper. He straightened upTo drink it, then fell to it right awayNicking and slicing neatly, heaving sodsOver his shoulder, going down for the good turf,DiggingThe cold smell of potato mould, the squelch and slapOf soggy peat, the curt cuts of an edgeThrough living roots awaken in my headBut I’ve no spade to follow men like themBetween my finger and my thumb The squat pen rests. I’ll dig with it.Seamus Heaney, Digging from Death of a Naturalist, 1966This head of Seamus Heaney was made in the cottage at Roughra in August 1990. Seamus Heaney agreed to sit with me and we made it up in Donegal. There were three sittings for the head, each sitting lasting two hours. I decided that, because I had such a limited time to make the head, I would make it more like a large charcoal drawing, in that I would keep everything very general - very loose kind of modelling, but at the same time a tight framework of measurement under the surface, so that the head would not sway away from my intentions to get a likeness and to express Seamus Heaney’s personality.In Seamus Heaney’s head, I am particularly pleased with the modelling of the hair. As this head was sculpted in 1990, this was a kind of breakthrough for me in terms of the way I was modelling. Before that, I had been tutored in a very academic kind of way, but the Heaney head was a departure in that I really buttered the clay on, giving a casual feeling to the hair, but at the same time strong directional lines so that it is quite a forceful piece of modelling. The way that the clay is modelled also reminds me of bog cuts. Around the cottage in Donegal, we are surrounded by bog and it gives me great pleasure to walk in the bog and let the feeling of that dark solid earth take over. I find it very sculptural. This head has a classical feel to it and I hope it gives the impression of Heaney as a bog king.Philip Flanagan
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Ross Wilson (b.1957)Poet of the Spanish Moons - LorcaOil on board, 20 x 12cm (8 x 4¾”) Signed with initials; inscribed with title and with personal inscription verso Provenance: The Eamonn Mallie Collection.My art collecting was central to my life's journey. I fell in love with Spanish poet Garcia Lorca as a student in Abbey Grammar School, Newry only to continue this odyssey in Trinity College Dublin under the guidance of Professor Nigel Glendinning, an authority on Goya. Glendinning stimulated my interest in art as a student, choosing to lace his charming lectures on literature, with references to architecture, art, humour, satire, historical events, etc. Years later I learned from Coleraine based artist Ross Wilson that he had been commissioned to do a posthumous portrait of Lorca. His very reference to Lorca prompted me to start reciting the great man as I outlined my love affair with his work.Some time later a parcel arrived to our home and within, rested this image of Garcia Lorca. I am sure all my TCD contemporaries and Lorca aficionados will rejoice in seeing this elegant portrait by Ross Wilson. Eamonn Mallie
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Harry Kernoff RHA (1900-1974) Portrait of Brinsley MacNamara, writer, playwright and registrar of the National Gallery of Ireland - painted from lifeOil on panel, 48 x 35cm (19 x 13¾) Signed. Inscribed with title and dated versoExhibited: 'The RHA Annual Exhibition', 1932, Catalogue No.112; 'A Century of Progress: Exhibition of Irish Art', Chicago World Fair 1933/4 (label verso). See also lot 76 which was also at this exhibition.
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Basil Blackshaw HRHA RUA (1932-2016)Night Rider (2001)Acrylic on canvas, 152.5 x 213.5cm (60 x 84”)SignedProvenance: The Eamonn Mallie Collection, purchased directly from the artist.Exhibited: ‘Basil Blackshaw - Paintings 2000-2002’, The Ulster Museum, December 2002 - May 2003, Cat. No. 5; ‘Basil Blackshaw at 80’ Retrospective, The FE McWilliam Gallery, Banbridge, May - October 2012, The RHA Gallery Dublin January - February 2013, The Gordon Gallery, march 2013, as part of the City of Culture.Literature: ‘Basil Blackshaw - Paintings 2000 - 2002’, Ulster Museum, illustrated p.22; Irish Arts Review Front Cover illustration, Winter 2002, inside article by Brian McAvera, picture illustrated again p.59; 'Basil Blackshaw’ by Eamonn Mallie, 2003, illustrated Plate 16, p.365; ‘Basil Blackshaw at 80’, FE Mc William Gallery,2012, Fig 25; 'Basil at 80', The Gordon Gallery, 2013, illustrated p.25.It was not uncommon for Basil Blackshaw to carry an image about in his head for over half a century.He was a consummate romantic, passionate about everything about which he was passionate - women, horses, dogs, markets people, edge of the town people, travellers, horse racing, boxing, cockfighting, 'rare characters,' the craic, politics, poetry, the countryside, giving to the poor and so on.Among his favourite 'Pictures' in the cinema were Westerns and he loved cowboy novels when he was young. Enter 'Night Rider' from Blackshaw's fantasy world. More often than not his images were of himself playing out his fantasy. He worked and owned horses all his life. Such is the control of the rider in 'Night Rider' here that we know Basil is in charge. 'Night Rider' fits into what would be his 'late period' - always returning to earlier themes and subjects but much more psychological in interpretation. The rider's eyes speak volumes about his character ... he emits danger signals. He is 'a down looking thief' who would not take prisoners. One senses a gun is but one hand movement away.What is remarkable about this work is Blackshaw's choice of colours. They convey a sense of menace. My recollection of Westerns way in the distant past is one of the sound of distant drums, the pounding of horses' hooves on sun drenched plains above deep river sunlit valleys. We are however dealing with Blackshaw here - the art delinquent - the re-maker of images seeking out the otherness of an event or happening. One can image the muscularity which the artist brought to this large painting. I can still see him stabbing the canvas with a lick of paint - retreating only to attack another area with the same brío. This was war on a canvas. Blackshaw often compared his picture making to boxing - throwing punches, stepping back, all the time ducking, diving and contorting his wiry frame in pursuit of his dream in paint. My own experience of sitting for my portrait bore testimony to this extraordinary ritual of picture making by Blackshaw. As to the presence of the large yellow cross-like mark to the left of the canvas - Blackshaw regularly explained to me the composition needed that mark to give the work balance. The painting wouldn't be right without that mark he protested. Blackshaw's Spanish contemporary - Tapiès regularly uses a cross-mark too, in his oeuvre. I can't help thinking that that 'cross' notation invokes the notion of death. Blackshaw unashamedly claimed I steal ideas from good artists and bad artists but what you do with the theft is what matters. He asked me to establish if it would be possible to get a look at a large collection of Lucian Freuds on this island. I managed to arrange this. Observing Blackshaw scrutinising the Freuds was instructive. I thought he was going to lick the canvasses. He appeared to be in a trance, his eyes fixed on every square inch of the paintings. A year or two after the execution of 'Night Rider' Blackshaw told me do you see that grey triangle of paint on the side of the horse's neck - I stole that idea from one of Freud's paintings that morning you took me to see the works. It was what he did with the theft that mattered. It helped him resolve a problem. Eamonn Mallie
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Basil Blackshaw HRHA RUA (1932-2016)Portrait of Jude (1989)Pastel and oil on paper, 61 x 61cm, (24 x 24”)Dated Jan ‘89Provenance: The Eamonn Mallie Collection, acquired at the 'Exhibition of Irish Art', Narrow Water Castle.Exhibited: ‘Basil Blackshaw - Painter’ touring exhibition, Ormeau Baths, 1995, Model Arts, Sligo 1996, RHA Gallery, Dublin 1997.Literature: ‘Basil Blackshaw - Painter” by Brian Ferran, illustrated plate 63, p.66; 'Basil Blackshaw’ by Eamonn Mallie illustrated Plate 92, p.222Basil Blackshaw's model Jude Stephenson is almost as well known as Basil himself. A trained anthropologist, Jude sat for Blackshaw for more than three decades. In her own words I loved Basil but not in the conventional sense. She loved his wildness, his unpredictability, his challenge whether walking the shore line on the North West coast during which once, he challenged her to pose nude hanging from the rocks. She dutifully did and I will not disclose the details of the sequel in the pub to which Basil and Jude retired and where Basil unveiled some of his coastline drawings to some of the unsuspecting male patrons of the establishment. A gifted lady in so many ways Jude shared so many of Blackshaw's passions, for dogs, the countryside, art and 'quare boys' as they say in the countryside to describe characters. A lot of collectors are more familiar with Jude without her clothes than with her clothes. The 'Jude' illustrated here, by consensus of opinion encapsulates the sheer beauty of the lady adorned with wonderful flashes of pink and blue in her hair by the artist this time using charcoal. The pouting mouth is exquisite in execution. One senses the celerity with which Blackshaw tackled his subject to win that immediacy and freshness. I sense Blackshaw felt an urgency about bringing the work to fruition knowing that he had to get it right there and then. He knew there was no going back as was the experience of Degas. Jude floated into my life in January 1989 as annotated on the surface of the work, (viewed by the artist as very much as an inseparable part of the image) when I walked into an exhibition of Irish art hosted by Maeve Hall of Narrowater Castle in Warrenpoint. The minute I spotted the painting in a corridor I called out Maeve put a red dot on this for me. I found out the price later. My old friend Vincent Ferguson of Sligo, another Blackshaw aficionado, later persuaded me to let him have Jude in a transaction. Jude's absence from our home was much lamented by my wife, deemed her favourite work and several years later in another happy exchange with Vincent, Jude like a favourite pet, made her way back to our Myrtlefield home where she has dwelled for many years with a very happy lady of the house. Eamonn Mallie
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Sarah Purser HRHA (1848-1943)Self Portrait Pencil 13 x 22cm (5¼ x 8½'')Signed and inscribed '19 Wellington Road' Exhibited: 'Sarah Purser Drawings and Watercolours Exhibition', The Gorry Gallery, May/June 1993, catalogue No. XXX, illustrated front cover of the catalogue. In 1876 Sarah Purser's mother took a lease on 19 Wellington Road and Sarah and her brother lived there for a number of years. This was later to become the home of PJ and Breda Mara and thus their interest in the artist as part of the history of the house.
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