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[Page 1] [cursive handwritten date in ink at top of page] Aug - 1944

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NEWS GRAND CENTRAL ART GALLERIES 15 VANDERBILT AVENUE, NEW YORK 17, N. Y. Telephone: MUrray Hill 6-4737

FOR INFORMATION - CALL:

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FOR RELEASE

DE VALERA ACCEPTS GIFT OF PAINTING BY AMERICAN ARTIST

Eamon de Valera, Prime Minister of Eire, has instructed Leo T. McCauley, Consul General in New York, to accept the gift of a large oil painting, Writing the Epitaph [3 words underlined], by the American artist, William R. Leigh. The painting is to be shipped to Mr. de Valera in Dublin and may be hung there in one of the government buildings. When Mr. de Valera was in New York a score of years ago, he learned that Mr. Leigh was at work on the large symbolical painting and went personally to the artist’s studio on 57th Street to inspect it. He expressed such approval of and pleasure in the painting that recently the artist wrote him as follows: “In commemoration of your heroic perseverance in bringing order out of chaos, and my profound sympathy with your people, I am happy to contribute my effort embodied in The Writing of the Epitaph [4 words underlined], which met with your approval when you were in my studio some years ago.”

In accepting the painting on behalf of the Irish Government, Mr. McCauley said:

“It gives me great pleasure to accept this beautiful and significant painting on behalf of the Irish Government. Mr Leigh has chosen for his subject the moment in history when Ireland can write the epitaph of her young hero Robert Emmet, who, in an impassioned speech known to every Irishman, had said ‘Let my memory be left in oblivion and my tomb remain uninscribed [sic] until other times and other men can do justice to my character. When my country takes her place among the nations of the earth, then, and not till then, let my epitaph be written.’

“Any Irishman looking at Mr. Leigh’s picture will understand the significance of his theme and the transition which it implies from days of defeat and persecution to liberty and peace.

“In accepting this picture on behalf of the Irish Government I desire to convey to Mr. Leigh an expression of thanks for his gift and of appreciation for the good will that inspired both the creating and the giving.”

The painting will be held in the Consulate until its transportation to Eire can be arranged.

Mr. Leigh, noted for his paintings of the Old West and for his work as master painter of the habitat groups in the African Hall in the Museum of Natural History, has been abroad and in painting the picture drew not only upon his own knowledge of the land but consulted

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many Irish authorities for accuracy of historical and allegorical details. The idea for the painting, which is approximately three-and-a-half by six feet, was conceived during the First World War and was inspired by the seven-hundred-year fight for freedom waged by the Irish people. The Title, Writing the Epitaph [3 words underlined], is drawn from the words of Robert Emmet when, on September 20, 1803, as he stood on the gallows, his last words were a request that not until his country was free should his epitaph be written. At the center of the large canvas Mr. Leigh has painted a seated woman, a crown on her brow and a laurel wreath at her feet. The Harp of Tara is beside her and she writes with a quill the epitaph for Robert Emmet. To the left of the painting are scenes of sorrow, terror and despair, with the shadowy figure of Emmet hanging from a distant gibbet. To the right, the sun smiles on a fruitful and happy land, with luxuriant fields under cultivation and the order and well-being of a peaceful countryside. Mr. Leigh gives the following description of the history and allegory represented in his painting:

“In the center of the canvas I have placed the allegorical conception of Erin, a beautiful Celtic maiden seated on a cloud. She is garbed in the authentic Irish costume dating approximately from the days of Isolde. Upon her head is the ancient golden emblem of royalty; on her right shoulder appears the silver insignia, and on her breast the circular ornament signifying nobility and power. Upon her lap rests a tablet upon which, with a quill, she has begun the writing of the epitaph of Robert Emmet. To one side of her, partly concealed in the cloud, lies the harp of Tara, and before her the wreath of victory.

“Behind Erin the sun rises from out the darkness and vapors of oppression; to the right and left of her appear the past and the future. The cloud upon which the maiden sits rests upon the ruins of a forgotten sanctuary (as seen on the left hand as the beholder views it); and farther back, on a rock-ribbed eminence, a typical rural home appears; an eviction is in progress. The straw thatch has been set on fire; the bailiffs are manhandling the outnumbered and disarmed inhabitants. The modest household belongings lie in disorder outside the door; the old grandfather, staggering on his stick, conducts the weeping grandmother away from the hideous scene—away—anywhere, out among the stones. The blustering bailiffs bully even the frightened children; dilapidation, misery, stark degradation and squalor shriek to heaven.

“Farther back, over the brow of the hill, a caravan is seen—the wretched are winding in long processing toward the sea to flee their homeland. Beyond, more somber dwellings are seen, and in the distance one of the ancient watch towers, built when the people were defending themselves desperately against invasion. Near it a ruined church stands, and above this melancholy scene of tragedy and woe appears the shadowy silhouette of Robert Emmet on the gallows as, still unconquered

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and unafraid, he uttered his last immortal challenge to tyranny.

“Shifting from this realm of gloom, the eye beholds upon the right hand a sunlit scene—emancipation, freedom, peace, industry, plenty. In the foreground are sheep—so important in the life of ‘The Emerald Isle’—and just beyond a mowing machine with driver and team. Coming up over the hill is a lass bringing lunch to her father. Beyond, the comfortable home, surrounded by trees and flowering shrubs; the eye strays on over fruitful fields, undulating and rich with crops, pastures, and dwellings; the eye travels on to the sea where steamships and busy life team. The heart regains hope and tranquillity [sic], for in the distance are seen the smoking chimneys of industry, and upon the cloud formed by this smoke rises Ireland, reborn, with unfurled banner, holding the sword of independence.”

New York City, August 24, 1944