Leo Whelan, R.H.A.

Purchased by a relative of the present owner, possibly circa 1919, and thence by descent

London, Royal Institute of Oil Painters, probably 1919, no.1

The canvas has not been lined. There are some areas of very fine craquelure in the centre and lower left corner of the composition which appear stable, only visible upon close inspection. Otherwise the work is clean and appears in good overall condition. UV light inspection reveals some small spots of retouching to the right hand framing edge, with some further minor touches to the background and in the lower left corner. Also a small line of infilling near the right side of the desk's drawers, well executed. Held in a gilt wooden frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Leo Whelan's genre subjects and portrait interiors are some of the most accomplished paintings to be produced in early 20th century Ireland, continuing the exceptional work of his teacher, William Orpen (perhaps most notably with Whelan's painting, Waiting, sold de Veres, 12 June 2007, lot 51). Yet despite Whelan's proficiency as a painter, few of his works appear at auction and rarely of this quality, which has newly emerged from a private collection. Painted in 1919, The Letter forms part of a select group of works executed by Whelan in which the troubles of the external world are dispelled in favour of interior reflection. The painting’s date provokes the viewer into consideration of the scene’s context, but its meticulous composure and academic approach refrains from any direct comment on rising conflicts in Ireland or the turmoil of the First World War.

Where Whelan's teacher at the Dublin Metropolitan School of Art, William Orpen, took inspiration from Velasquez and Rubens by way of a more masterfully energetic style, a point of difference seen in the present work is Whelan’s more traditional brushwork in the manner of Vermeer and the early Dutch genre masters.

The female model for this work is likely to be the artist’s sister, Lily, as Whelan frequently made use of family members as sitters in his compositions, such as Reverie (1920) and The Doctor (1916). A frequent exhibitor at the Royal Hibernian Academy from the age of nineteen, he later became a visiting teacher as well as the Academy’s representative on the board of governors of the National Gallery of Ireland.