William Conor RHA PRUA OBE (1884-1968) Chair-o-planes Wax crayon on paper, 50 x 37cm (19½ x 14½) Signed Provenance: Previously in the collection of The Arts Council of Northern Ireland; their...

William Conor RHA PRUA OBE (1884-1968) Chair-o-planes Wax crayon on paper, 50 x 37cm (19½ x 14½) Signed Provenance: Previously in the collection of The Arts Council of Northern Ireland; their sale Sothebys, 24/11/93 Lot no. 34, where purchased by present owner William Conor is one of Belfast’s most enduring artists of the twentieth century and his works deservedly have broad appeal. In 1944 Richard Rowley has written in appreciation of the artist, ‘…he is a serious and important painter, endowed with a very personal vision, practised in many branches of his profession, and above all, that his work is based on the surest foundations, an innate capacity of draughtsmanship, a seeing and remembering eye, and a mental rectitude…He has devoted all his manhood’s years to the praise and glory of the city which gave him birth; he has immortalised her beauty, and the steadfastness of her people, in works which will last to carry her fame to remote generations…’ (Dictionary of Irish Artists). The artist himself was aware of the transitory nature of the scenes and society he was chronicling, and he anticipated their passing, “...when we have trampled on the best of the past and sacrificed everything of value to the much vaunted name of progress I trust these paintings and drawings will recall a world that is quickly disappearing and could soon be forgotten.” (The People’s Painter) ‘His early crayon drawings, with their very personal technique, using wax to achieve an uneven texture, develop from his early training as a lithographer and he achieves something of the same effect in oils.’ (Ireland’s Painters, 289). Conor is described in the Ulster History Circle’s ‘Dictionary of Ulster Biography’ as an artist who ‘raised the art of crayon drawing to the level of genius.’ The treatment with wax crayon uniquely adds to the nostalgia of the scene, a familiar one, honing in on a fairground ride that is still common, yet the clothes of the figures depicted indicate the era. ‘Chair-O-Planes’ is a gem of a work and it captures the mastery that Conor achieved in crayon, the nuances in colour and tone, the perfect balance of detail in the scene, the texture of the composition, the focus of the action and a convincing sense of movement and excitement. He has clearly studied the stance of passengers in this ride and it immediately brings a smile to the viewer’s face. Although it is not colourful, as such, it is invested with a great vitality and a bright summery air of recreation. It shares affinities with Conor’s works that focus on Fair Days. The closest relations of this piece, however are ‘Swing High, Swing Low’ 1944, that hones in on another fairground attraction; the swing boats, and the artist’s later work ‘Lamp Post Swinging’ 1957, featuring a street game of 1950s Belfast. In both of these works there is a similar compositional strategy employed by the artist - central focus on the figure group and lively movement with increased light and shade. Each work shows heads tilted, smiling faces and vivacious energy. In the catalogue to the 2006 National Gallery exhibition, ‘A Time and Place: Two Centuries of Irish Social Life,’ Brendan Rooney wrote ‘Significantly, and notwithstanding the complexity of Conor’s identity, these pictures, including those of children at play, transcend the sectarianism that had crept with increasing virulence into Belfast from the late nineteenth century onwards. Conor delighted in depicting recreational activities, from music and games to singing, dancing, visits to the beach, theatre and even polo. [These works reflect the] artist’s fascination with the collective nature of children’s recreation. His ability to communicate glee and good-humour was unsurpassed.’ Marianne O'Kane Boal May 2015

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