Gerard Dillon RHA RUA (1916-1971) The Jockey Oil on board, 63.5 x 73.2cm (25 x 30'') Signed and inscribed with title verso Provenance: George Waddington Galleries, Montreal (label verso) ...

Gerard Dillon RHA RUA (1916-1971) The Jockey Oil on board, 63.5 x 73.2cm (25 x 30'') Signed and inscribed with title verso Provenance: George Waddington Galleries, Montreal (label verso) Exhibited: ''Ulster Artists'' Exhibition, The Ava Gallery, April 2010, Cat No. 9; ''Ireland: Her People and Landscape'', The Ava Gallery, June 2012 - Sept 2012, Cat. No. 10; and ''Gerard Dillon, Art and Friendships'', Adam's, Dublin, July 2012, and The Ava Gallery, Clandeboye, August 2012, Cat. No. 48 Literature: ''Ulster Artists'' 2010, illsutrated p.10 ''Ireland: Her People and Landscape'' 2012, illustrated p.17; and ''Gerard Dillon, Art and Friendships'', Karen Reihill 2012, illustrated p.53 Omey Island is a tidal island close to Claddaghduff on the western edge of Connemara. Surrounded by views of the sea in one direction and the Twelve Pins in the other, the mile long beach only appears as the tide recedes. Annually, in August, at low tide a makeshift track is constructed. Jockeys, and horses are quickly groomed and exercised. The race against the threat of the tide and prize begins. After six hours, the sea returns and swallows up everything in its path. The Island itself remains a place of devotion to Saint Feichín, with a medieval granite church, holy well, and the ruins of Teampal Feichín. The artist exhibited three Omey Island paintings in his first solo show with Victor Waddington Galleries in 1950. These included ''Omey Island Regatta'', ''Omey Island Strand'' and ''Omey Island Race Day''. Other titles from this series of works include ''Before the Races, Omey Island'' ''Spectators Omey Island Race Day,'' and ''Omey Island Ponies''. This painting, ''The Jockey'' belongs to this series of paintings. In August 1950, several friends stayed with Gerard Dillon in Moyard, including a group of Australians he met at the Abbey Arts Centre, Hertfordshire in the late 1940's. This included the art historian Bernard Smith. After Smith's departure from Dillon's cottage, Dillon wrote to him giving him an account of his life as Smith had undertaken to write an article on the artist for the Envoy magazine. Dillon also spoke about a series of painting he had executed from a day trip he took to Omey Island. He described the events ''?The Jockeys were local boys from Omey and some girls too. People were barking on the beach and there was great excitement. With the clouds racing in the sky over the Twelve Pins and the mainland looking most strange with crags in every field and stonewalls around the crags-you'd have loved it and the whole day without rain, not even a shower. I've painted some of the subjects.'' In 1998, the artist's Biographer James White cited this painting ''.. a fascinating example of Dillon's work because it reflects the humour attitude to life in the West of Ireland The Jockey has mounted the two little girls on his horse and stands holding the horse steady by the reins, as if posing for the artist, presumably responding to his request for a few moments while he makes a little sketch for subsequent use in a painting. It combines the sense of fun and entertainment for visitors to the Race day on Omey Strand against the background of the church on the hill and the gradual entry of visitors and the presence of two other horses, one to the left and one further back on the right.'' Karen Reihill Currently researching Gerard Dillon & Friends

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