In both these beautiful paintings by Dermod O’Brien of Dublin Port you can see the 100 tonne Crane which suggests they were painted from near Odlum’s building looking south.

Quite apart from his accomplishments as an artist, O’Brien’s contribution to Irish art in the first half of the 20th century is immeasurable. He was a friend and encourager to Jack B. Yeats, and Paul Henry acknowledged that it was O’Brien who gave him his first opportunity to show his pictures in Ireland. Until he produced his Studio Catalogue of 1,500 works, Nathaniel Hone’s ability with watercolour was unknown, and he worked tirelessly with Sir Hugh Lane in his efforts to improve Dublin – against the city’s own wishes, it seemed at the time.

At the outset of his career he overcame the handicap of being an upper- class landowner very much under the New Order, going on to become a Governor of the National Gallery of Ireland, President of the United Arts Club, and champion of the Royal Hibernian Academy. From an affluent Cahirmoyle farming family, his move to Dublin saw the Liffey – from source to industrial landscape – replace Limerick as his inspiration in landscape, ameliorated by his farmer’s understanding of the Irish countryside. O’Brien was also President of the Royal Hibernian Academy of Arts (RHA).

Information source: https://www.morganodriscoll.com/art/dermod-obrien-dublin-docks/49649