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Lot 58
John Behan RHA (b.1938)Famine Ship (2005)bronzesigned and dated 200572 x 66 x 40cm (28.3 x 26 x 15.7in)Provenance: Private Collection John Behan has explored many themes of ancient mythology, literature and legend. Each theme is moved to a depth of exploration, the imbued meaning in the works derive from his own in-depth knowledge of his subject, which is translated into the shape and form of his bronze work. John Behan is renowned for his many themed works, his great Bulls, Birds or Famine Ships, 'Paiste' and 'Family' are other universal themes explored by Behan. In their simplicity of depiction they are created with an energy; great metaphors of life's journey. John Behan first created The Famine Ship to stand at the base of Croagh Patrick, County Mayo. Fierce in impact, the hull of the boat is birthed at land, the mast laden with the skeleton bodies of lost emigrants. In large or smaller scale The Famine Ship series carries an indescribable depth of history, poignant loss and struggle for life. Commissioned by the Irish government to commemorate the contribution of Irish emigrants worldwide, a 26-by-24-foot bronze themed piece on The Famine Ship entitled "Arrival" now stands in the plaza in front of the United Nations headquarters in New York.
Lot 74
Hughie O'Donoghue RA (b.1953)Morass Portion (2002) oil and photographic element on canvas signed, titled and dated 2002 verso 116½ x 149½cm (45.9 x 58.9in) Provenance: Acquired directly from the artist by the present owner For Hughie O'Donoghue painting, and art in general, has been a process of research and excavation. Born in Manchester to Irish parents, he spent his childhood summers in rural Co Mayo with his mother's family (his father's family had lived further down the west coast). He became interested not only in his own family history - his father, who worked as a railway clerk and was extremely well read and musical, had served in the British Army during the Second World War - but in the circumstances of that history, how individuals are carried along on currents outside of their control. When he came across an image of one of the so-called bog people, those bronze age individuals whose remains were preserved by the anaerobic quality of dense peat, he realized he had a way to approach painting. Over time, he produced many series of works that delved into his father's wartime experiences, and his mother's family background in Mayo. In the meantime, he received a commission to make a series of paintings on The Passion, which he did, on an epic scale. In fact, he has generally sought to work in epic terms: his parents' lives, his work suggests, are the epic tales of ordinary people, those who fashion the fabric of the world but are generally unsung. He has long used large-scale photographs embedded in the surface of his paintings, initially archival or found images, and then his own staged photographs, often with his own daughter and son as protagonists. He was long aware that the landscape, especially the vast, boggy expanses of Mayo, can swallow things up, absorbing the dwellings, boundaries, and even the animals. Cars abandoned to corrode and disappear into the earth are a not uncommon aspect of life in rural Ireland. Here the dilapidated saloon car, slowly becoming submerged in the wet land, becomes an emblem of the hopes and dreams of those who once lived and farmed there. Aidan Dunne, September 2019
Lot 45
Frank McKelvey RHA RUA (1895-1974)Feeding the Hensoil on canvassigned lower left43½ x 53½cm (17.1 x 21.1in)Provenance: Private Collection One of Ireland's most popular painters, McKelvey was born in Belfast in 1895, the son of a painter and decorator. He trained as a poster designer with David Allen & Sons, before, in 1911, enrolling as a student in the Belfast School of Art. Six years later he won a bronze medal in the Taylor Art competition. In 1918 McKelvey exhibited at the Royal Hibernian Academy, and thereafter showed with the Academy every year until 1973. Along with Paul Henry and James Humbert Craig, he became identified with a particular approach to landscape painting, one that emphasized the natural beauty of the Irish countryside and coastline. In 1920 he established a studio in Royal Avenue and over the following years became a member of the Belfast Art Society, the Ulster Society of Painters and, in 1930, the Royal Hibernian Academy. A founder member of the Royal Ulster Academy in 1930, he last exhibited with the RUA in 1969. His favourite locations for painting landscape were Co. Armagh, the Antrim Coast and, in later years, Co. Donegal.
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