Printmaking Artwork by Lady Sheelyn Browne is Now on Sale in Westport House

Lady Sheelyn Browne of Westport House, is the 14th great grand-daughter of Grace O’Malley, the Pirate Queen.  Sheelyn, like her ancestors before her, has firmly put her own stamp on the estate itself since returning from her life as an artist in San Francisco in the naughties.  When Sheelyn gets a break from running one of Ireland’s best loved attractions, she enjoys returning to her printmaking skills.

Original Linocut block showing last colour raised in relief
Original Linocut block showing last colour raised in relief

Sheelyn’s prints are now available to buy in Westport House with a choice of the following:

  • Framed original and Giclee prints available in the basement.
  • Unframed works available at Reception.

The Woodcut & Linocut Printmaking Process

After drawing an outline of the image on the wood block, the first step is to cut out any areas that are to remain the color of the paper. The first color is then printed by rolling ink onto the surface of the block and running it through a press to transfer the ink to the paper. Every sheet of paper in the edition must be printed, because after the next step of cutting begins it is impossible to go back and create more prints. Next, the block is cleaned off and any areas of the image that will remain the first color are cut away, and the next color is then printed on top of the first color. And so on, cutting and printing color by color until the print is completed. Generally, colors are built up from light to dark, and depending on the opacity of the ink the underlying colors may influence the tone of the colors printed over them.


The Reduction Method

Final print of Maud Gonne.
Final print of Maud Gonne.

According to Sheelyn, “I use the “reduction” method when I produce colour prints which means I use one block of wood or lino instead of multiple blocks. I carve out my first colour, place a sheet of paper over the inked block and by hand rub the image onto paper. I start each edition with several sheets of paper – many more than I expect to end up with in the final signed edition. This allows for mistakes to to happen – due to the importance of exact registration – with the introduction of future cuts (colours). Returning to the block, I then carve out my next colour. The original sheets of paper are placed on the inked block once again, one by one, making sure that they are placed in exactly the same position as they were the first time. This is to ensure good registration. This process is continued until I reach the final image or final limited edition of original images. Although numbered as an edition of X images, the final edition is in reality composed of monotypes or unique images because each print has been individually inked and rolled.”


      • 1982-1983 Certificate in Visual Education, Galway Regional College.
      • 1984-1987 Bachelor of Design in Visual Communication, The National College of Art and Design (Dublin).

Please call Westport House on +353(0)9827766 or email if you have an inquiry.


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