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Artist: Joseph Patrick Haverty RHA (1794-1864) Title: Portrait of the Manders Sisters of Brackenstown, Co Galway Medium: oil on canvas Size: 101.70 x 76.20cm (40 x 30in) Framed Size: 123 x 97.5cm (48.4 x 38.4in) Provenance: Christies, 'Fine Irish Paintings and Drawings', 1989 Cat No. 308; Gorry Gallery, Dublin; Private Collection Exhibited: Gorry Gallery, Dublin, 'An Exhibition of 18th-21st Century Irish Paintings' 1st-19th November 2021 No.17(illustrated on p.15) a#morebtn { color: #de1d01; } a#morebtn:hover { cursor: pointer;} Depicting two sisters of the Manders family, this is one of Joseph Patrick Haverty's most charming portraits. Bakers, flour merchants and brewers, but active also in politics, the Manders family lived at Brackenstown, in Swords, Co. Dublin. As the nineteenth century advanced, through marriage they b... Read more Joseph Patrick Haverty Lot 72 - 'Portrait of the Manders Sisters of Brackenstown, Co Galway' Estimate: €10,000 - €15,000 Depicting two sisters of the Manders family, this is one of Joseph Patrick Haverty's most charming portraits. Bakers, flour merchants and brewers, but active also in politics, the Manders family lived at Brackenstown, in Swords, Co. Dublin. As the nineteenth century advanced, through marriage they became associated with Mount Anville, Roebuck, Stillorgan, Belfield and Rockmount. Several members of the Manders family lived at Mountjoy Square. One of the girls depicted in this painting has been identified as Emmeline Maria, the youngest daughter of Richard and Susannah Manders (née Beere) who married in 1815. Richard and his brother Robert owned mills at Island Bridge, and a brewery at 113 James Street. Almost four decades later, Emmeline went on to marry John Brooke Blennerhasset at St. George's Church. The name of the other sister has not been confirmed, but is likely to be Emmeline's older sister Louisa. Their parents, Richard and Susannah Manders, who lived at 3 Mountjoy Square, died in the early 1860's. Portrayed in a woodland setting, the two sisters have been collecting flowers, and both hold nosegays in their hands; one also carries a basket overflowing with red and white blooms. Emmeline lays her hand gently on the head of Louisa. Although they are not adorned with jewellery, the girls' hair is styled in fashionable ringlets, and they both wear similar black court shoes and white dresses, embellished with lacework and blue silk sashes. At their feet, two rabbits munch away at a leaf. In the distance can be seen a glimpse of the sun setting behind a blue mountain. Born in Galway, Haverty painted mainly portraits, one of his best-known being Daniel O'Connell, while his 1844 The Limerick Piper is one of the few nineteenth-century portraits that depicts an uillinn piper: the sitter for this was Pádraig Ó Briain from Co. Clare, who played on the streets of Limerick. Elected an associate of the Royal Hibernian Academy in 1823, Haverty participated in the inaugural RHA exhibition two years later. He lived and worked for some time in Limerick, but worked also in Galway, Dublin and London. In 1835 he submitted to the Royal Academy a portrait of Dr. Doyle, Bishop of Kildare, and in 1844 sent to the RA his Father Mathew receiving a Repentant Pledge-breaker. The previous year he had painted a canvas depicting a political 'Monster Meeting' in Clifden, Co. Galway. This included portraits of daughters of Daniel O'Connell who were in the audience. He also painted religious pictures, including a set of three, Baptism, Confession, and Confirmation. In the decade that followed, Haverty was a frequent exhibitor in London. He died at his home in Rathmines, Dublin, in 1864. His half-brother Martin Haverty was a journalist and historian, who wrote for the Freeman's Journal and worked as a librarian at the Kings Inns in Dublin. Haverty's son Thomas left a bequest to form the Haverty Trust, to support Irish artists. In 2006, Haverty's large portrait of a group by a lakeside, thought to be the