DOCSLIB.ORG

Connections~Verbindungen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Connections~Verbindungen Connections~Verbindungen: Irish German Perspectives through Etching By Gerhardt Gallagher, Gisela Holfter and Mícheál Ó hAodha Connections~Verbindungen: Irish German Perspectives through Etching, by Gerhardt Gallagher, Gisela Holfter and Mícheál Ó hAodha This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Gerhardt Gallagher, Gisela Holfter and Mícheál Ó hAodha All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2636-7, ISBN (13): 978-1-4438-2636-5 TABLE OF CONTENTS The Exhibition: “How the Book was Born” .............................................. vii Gerhardt Gallagher and Gisela Holfter Preface...................................................................................................... xiii Some Notes on Gerhardt Gallagher’s Work Mícheál Ó hAodha Irish-German Art Relations ......................................................................... 1 Gisela Holfter Margarethe and Gerhardt........................................................................... 11 A Biographical Note by Gerhardt Gallagher Verbindungen - Connections ..................................................................... 21 Gerhard Gallagher and Gisela Holfter in Conversation Etchings by Margarethe Gerhardt.............................................................. 41 Aquatint Etchings by Gerhardt Gallagher ................................................. 87 Appendix ................................................................................................. 131 Gerhardt Gallagher: Exhibition Details About the Authors ................................................................................... 135 THE EXHIBITION : “H OW THE BOOK WAS BORN ” GERHARDT GALLAGHER AND GISELA HOLFTER When Gerhardt Gallagher’s mother died in 1995 he inherited a number of etchings and paintings which had been done by his grandmother (Oma) Margarethe Gerhardt. He had always been familiar with some of them and they were part of the family furniture in Waterford where he grew up. He had also hung a few of these same unframed prints in his studio. Naturally, the acquisition of these items piqued Gerhardt’s interest further and led him to seek out and learn as much as he could about Margarethe’s artistic career. This research of his was given a further impetus when, in her later years, his mother compiled a family history. Having collated what he knew about Margarethe and the family’s artistic endeavours, it was when these early prints were being re-framed a few years ago – and on the promptings of his wife Miriam – that Gerhardt realised these prints were deserving of far greater public exposure than they had previously been given. During the process of re-framing itself, a large number of art connoisseurs and customers expressed their admiration and interest in the prints. In fact, a good number of the picture framer’s customers were interested in buying Margarethe’s prints, so taken as they were with them. The idea of mounting an exhibition of Margarethe’s works was born at this point and the impetus for such a celebration of her life and artistic career only grew further when it became clear that the vagaries of life and a confluence of world events at the time when her art was at its most productive had prevented her from having adequate opportunity to exhibit her striking depictions of the North German landscape. That her legacy and work deserved much better than this was acknowledged by many and the question now became – how best to exhibit these paintings and prints, many of which were only now being framed for the first time. Quite separately from these developments, the late 1990s had seen Gerhardt himself develop a strong interest in etching, the presence of viii The Exhibition: “How the Book was Born” Margarethe’s works in his studio quite possibly functioning as the initial catalyst and inspiration. Gerhardt mentioned the idea of an exhibition to his brother who also had some of Margarethe’s etchings and the two brothers pooled their resources in order to supplement the prints which were now available for public viewing. At this stage, the idea of combining his grandmother’s etchings with some of his own aquatints also seemed a possibility with much potential. Gerhardt had been working on techniques for the composition and structuring of his own aquatints for a number of years by then and had produced a body of work, a large element of which seemed complimentary if also distinct from that of his grandmother. Whilst differing somewhat in technique each of their respective styles shared some common elements particularly as relating to subject matter, the landscapes and the seascapes, for example; albeit that Gerhardt’s works had a stronger figurative aspect to them. In all, the collection of ‘Oma’s’ works (including an additional etching provided by friend, Pat Grogan) and Gerhardt’s own - amounted to some 40 pieces in total. Having decided on an exhibition the next thing was to find the most appropriate venue. As an Irish/German event, it seemed that the ideal location would be an arts centre which had links with both cultures. The Goethe Institute (where Gerhardt had exhibited previously), the Hunt Museum, and the Centre for Irish-German Studies at the University of Limerick (UL) all initially came to mind. Gerhardt put together a catalogue of images representing both bodies of work and initially approached the Goethe Institute which expressed some interest in the project but indicated that it would have to re-evaluate its own programme to see if the project could be more readily accommodated. Later Gerhardt and Miriam set out for Limerick intending to visit both the Hunt Museum and the Irish- German Centre. As chance would have it their journey first took them past the University of Limerick where Miriam suggested that they call before driving further into the city (Gerhardt had not made any appointment there as this was to be an initial approach). He turned the car into UL enquired how he might make contact and knocked on Gisela Holfter’s door; she was in, kindly listened to his proposal and examined the brochure; to Gerhardt’s great delight the project took off. Gisela immediately liked the pictures he showed and was very interested in the family connections. In her opinion this was a “living” form of “Irish-German Studies” and a project which ought to have strong support within the Centre for Irish-German Studies. She approached UL photographer Eoin Stephenson and graphic designer Dave Lilburn, the latter an artist in his own right. Both of them found the idea interesting and Connections~Verbindungen: Irish German Perspectives through Etching ix venues were discussed. In the end they settled on the ground floor of the Glucksman Library as the best location given that this was an area which had been used previously for other exhibitions organised by the Centre for Irish-German Studies; it was a pleasant and comfortable area which had appropriate lighting and was ideal for any wine reception, book launch or exhibition opening. Further meetings of Gisela and Gerhardt sorted out the practicalities such as times, dates, how much of the space needed to be used, how many pictures ought to be exhibited and the organising of introductions with both Eoin and Dave. Gerhardt designed the invitations and the exhibition catalogue while Gisela wrote the introduction and organized the wine reception. When it came closer to the big opening Eoin Stephenson was a great support on how best to hang Gerhardt’s various exhibits while Dave Lilburn opened the exhibition with a particularly insightful introduction. The numerous attendees, who came from all over Ireland, were (appropriately!) impressed and complimentary about the entire event. The exhibition also caught the interest of Dr Mícheál Ó hAodha who works in both the UL History department and the library and who thought the entire undertaking very worthy of publication and the production of a co-authored book – thereby ensuring a permanent and ongoing memento of a history as incorporating cultural exchange, creative endeavour and the artistic relationships as fostered between different generations and countries. The final task which remained to be undertaken in this - the pre-publication stage - was the photographing of the various exhibits, a task which Eoin Stephenson undertook using his customary excellence and skill. The exhibition, “Connections-Verbindungen” took place in October 2008. x The Exhibition: “How the Book was Born” Gerhardt with Daughters Mia and Etain Gisela and Gerhardt with Exhibition Group – from left to right: Mia Gallagher, Phyl Herbert, Gisela Holfter, Ann Gallagher, Gerhardt Gallagher, Mary Sheridan, Martin Sheridan, Etain Gallagher Connections~Verbindungen: Irish German Perspectives through Etching xi The Artist and Works The Gallagher and Grogan Brothers xii The Exhibition: “How the Book was Born” Joachim Fischer, David Lilburn and Gerhardt Gallagher PREFACE SOME NOTES ON GERHARDT GALLAGHER’S WORK MÍCHEÁL Ó H AODHA One day I was helping a student locate a rarely-consulted volume in the library store when I noticed
Recommended publications
  • SOUTER Camille

    SOUTER Camille

    The Trinity College Dublin Art Collections Artist: Camille Souter Title: On Their Way Medium: oil on Paper Dimensions: 79cm x 57cm b. 1929, Northamptonshire, England Born Betty Pamela Holmes, her first husband Gordon Souter allegedly nicknamed her ‘Camille’ after the consumptive heroine of Alexandre Dumas’ novel ‘La Dame aux Camélias’. She was raised in Ireland, and studied nursing at Guy’s Hospital in London. She began painting in the 1950s when recovering from tuberculosis on the Isle of Wight and is mostly self-taught. She took brief classes in clay over wire sculpture, which she continued to practice, destroying all but one work as they failed to meet her standards. She began painting in earnest on the spur of the moment in 1953, and almost despite herself, she realised her deep desire to paint and declared ‘I shall have to spend the rest of my life fighting for it’. She maintained her strict standards and destroyed all her work of this period, though she cites the Abstract Expressionists (such as Jackson Pollock) as influences at this time. After travelling and working in Italy (where she sold her first work) and France, she returned to Ireland and began to exhibit. Her first solo-exhibition was in 1956 in the El Habano Restaurant, Dublin. In 1957 she first exhibited in the Irish Exhibition of Living Art where she received critical acclaim and sold all works submitted. She won an Italian Cultural Institute scholarship to Italy for a year in 1958. When living on Aichill Island she began wearing her signature black woollen beret of the local fishermen, to keep her hair out of the way when working.
  • The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society

    The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society

    University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A.
  • Sir John Lavery's the Dentist

    Sir John Lavery's the Dentist

    Sir John Lavery’s The Dentist IN BRIEF • Sir John Lavery’s portrait of The Dentist (Conrad Ackner and his Patient) is an GENERAL unusual departure for a painter renowned (Conrad Ackner and his Patient) for his portraits of the contemporary celebrities. K. McConkey1 • It shows its subject in action. His patient, Hazel Lavery, one of the great beauties of the day, is partially obscured. • Lavery’s depiction of dentists’ equipment gives us an almost unprecedented view of a surgery of the 1920s. The rise of the dental profession coinciding with the invention and rapid spread of photography means that there are very few paintings of dentists in action. The present article describes Sir John Lavery’s unusual depiction of The Dentist (Conrad Ackner and his Patient) in which the conventions of contemporary society portraiture are set aside. The resulting canvas has much to tell us about the up-to-date equipment used in a surgery of the late twenties by a successful practitioner who pioneered the use of X‑rays. In 1929, Sir John Lavery exhibited one of in 1926, one commentator dubbed the com- His career blossomed after he moved his most striking portraits – The Dentist missions Lavery received in New York, Long to London and purchased 5 Cromwell (Conrad Ackner and his Patient) (Fig. 1). Island and Boston as portraits of ‘million- Famed for his pictures of society host- aires surrounded by their millions’.2 esses, political leaders and members of the The artist was 70 when this new genre Royal Family, Lavery had recently devel- emerged.
  • Arts Council of Northern Ireland National Lottery Fund Annual Report 2006-07

    Arts Council of Northern Ireland National Lottery Fund Annual Report 2006-07

    ARTS COUNCIL OF NORTHERN IRELAND NATIONAL LOTTERY FUND ANNUAL REPORT 2006-07 Presented to Parliament Pursuant to Section 34(3) of the National Lottery etc. Act 1993 (Incorporating HC414: Accounts for 2006-07 of the Arts Council of Northern Ireland Lottery Distribution, with the report of the Comptroller and Auditor General thereon, as ordered by the House of Commons to be printed on 10 March 2008) London: The Stationery Office £18.55 3 © Crown Copyright 2008 The text in this document (excluding the Royal Arms and other departmental or agency logos) may be reproduced free of charge in any format or medium providing it is reproduced accurately and not used in a misleading context. The material must be acknowledged as Crown copyright and the title of the document specified. Where we have identified any third party copyright material you will need to obtain permission from the copyright holders concerned. For any other use of this material please write to Office of Public Sector Information, Information Policy Team, Kew, Richmond, Surrey, TW9 4DU or e-mail: [email protected] 4 CONTENTS Chairman’s Foreword 6 Chief Executive’s Introduction 7 Lottery Grants & Capital Committee Activity Report 8 Grants Awarded 1 April 2006 – 31 March 2007 10 Breakdown of Awards 2006/07 45 Policy and Financial Directions 48 National Lottery Distribution Account 61 Notes to the Accounts 84 Appendix 96 5 CHAIRMAN’S FOREWORD The Arts Council is the statutory body which, since the inception of the National Lottery in 1994, has been responsible for the administration and distribution of Lottery funds to the arts in Northern Ireland.
  • The Life and Works of Beatrice Elvery, 1881-1920

    The Life and Works of Beatrice Elvery, 1881-1920

    Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin.
  • An Artistic Praxis: Phenomenological Colour and Embodied Experience

    An Artistic Praxis: Phenomenological Colour and Embodied Experience

    Journal of the International Colour Association (2017): 17, 150-200 Balabanoff An Artistic Praxis: Phenomenological colour and embodied experience Doreen Balabanoff Faculty of Design, OCAD University, Toronto, Canada Email: [email protected] Artistic knowledge resides within the works that a visual artist makes. .Verbalising or discussing that knowledge is a separate exercise, often left to others, who make their own interpretations and investigations. In this introspective study of artworks spanning four decades, I look into and share insight about a practice in which knowledge about colour, light and spatial experience was developed and utilised. The process of action, reflection and new application of gained knowledge is understood as a praxis—a practice aimed at creating change in the world. The lessons learned are about human embodied experience of light, colour and darkness in spatial environments. The intent of the study (as of the artwork) is enhancement of our capacities for creating sensitive and enlivening space for human life experience and human flourishing, through understanding and use of colour and light as complex environmental phenomena affecting our mind/body/psyche. Four themes arose from reflecting upon the work. These are, in order of discussion: (1) Image and Emanation, (2) Resonance and Chord, (3) Threshold and Veil, and (4) Projection, Reflection, Light and Time. My findings include affirmation that a Goethian science (phenomenological, observational) approach to investigating and unconcealing tacit knowledge—embedded in an artistic praxis and its outcomes—has value for developing a deeper understanding of environmental colour and light. Such knowledge is important because environmental design has impact upon our bodies, our minds and our life experience.
  • Joseph Maunsell Hone Papers P229 UCD ARCHIVES

    Joseph Maunsell Hone Papers P229 UCD ARCHIVES

    Joseph Maunsell Hone Papers P229 UCD ARCHIVES [email protected] www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2009 University College Dublin. All Rights Reserved ii CONTENTS CONTEXT Biographical History iv Archival History iv CONTENT AND STRUCTURE Scope and Content v System of Arrangement vi CONDITIONS OF ACCESS AND USE Access vii Language vii Finding Aid vii DESCRIPTION CONTROL Archivist’s Note vii iii CONTEXT Biographical history Born in Dublin in February 1882, Joseph Maunsell Hone was educated at Wellington and Jesus College, Cambridge and began a writing career which gained him a reputation as a leading figure of the Irish literary revival. He wrote well regarded biographies of George Moore (1939), Henry Tonks (1936), and W.B. Yeats (1943) with whom he was on terms of close friendship. His political writings included books on the 1916 rebellion, the Irish Convention, and a history of Ireland since independence, published in 1932. He had a strong interest in philosophy, translating Daniel Halévy’s life of Nietzsche and working with Arland Ussher on an anthology of philosophers which was never completed. He was elected President of the Irish Academy of Letters in 1957. With George Roberts and Stephen Gwynn, he co-founded Maunsel & Company, publishers, and served as its chairman. The company published more than five hundred titles to become Ireland’s largest publishing house, publishing works by all the revival’s leading figures. The imprint later changed to Maunsel & Roberts. Joseph Hone died in March 1959 and was survived by his wife Vera (neé Brewster), a noted beauty from New York who he had married in 1911.
  • Peoples College Lectures 2015.Pdf

    Peoples College Lectures 2015.Pdf

    Dublin City Gallery The Hugh Lane Peoples College Lectures 2015/2016 AVENUES INTO MODERN AND CONTEMPORARY ART Course programmed by Jessica O’Donnell Commencing Saturday 3rd October 2015 Avenues into Modern and Contemporary Art Inspired by the Hugh Lane Gallery’s renowned collection, this series of slide illustrated art history lectures delivered by guest lecturers and Gallery curators will look at a diverse range of influences and subject matter explored by some of the most interesting and innovative artists from the 19th to the 21st centuries. There will also be the opportunity of exploring the Gallery’s temporary exhibitions including Sir Hugh Lane: Dublin’s Legacy and Loss; Jesse Jones: Laugh a Defiance; The Artist as Witness: John Lavery and the Appeal of Roger Casement. Venue: Dublin City Gallery The Hugh Lane, Charlemont House, Parnell Square North, Dublin 1 Time: 11.00am - Noon 20 classes OCTOBER 2015 Saturday 3 October 2015/11.00am Irish artists and France: Nathaniel Hone (1831-1917) and John Lavery Lecturer: Dr Sinead Furlong-Clancy Saturday 10 October 2015/11.00am Artist in Focus: Augustus John Lecturer: Aoife Flynn Saturday 17 October 2015/11.00am Sir Hugh Lane: Dublin’s Legacy and Loss Lecturer: Ciaran Woods Saturday 24 October 2015 / 11.00am No lecture – Bank Holiday weekend Saturday 31 October 2015/11.00am William Orpen and the New English Art Club Lecturer: Ciaran Woods NOVEMBER 2015 Saturday 7 November 2015/11.00am John Butler Yeats, W.B. Yeats, Jack B. Yeats and the Municipal Gallery of Modern Art Lecturer: Yvonne Pettit
  • Stained Glass in Ireland

    Stained Glass in Ireland

    Stained Glass in Ireland By Coral - Daphne – Sofie – Uta Participant teachers in English Matters’ Programme Dublin, Ireland What? • art form • coloured glass • mosaic stained glass art can be: • Classic • Modern • Smooth • Painted • Rough • … A little bit of history… • Real origins of stained glass are lost • Egyptians and the Romans • 7th century churches and monasteries in Britain • Medieval times: western churches & mosques • 19th-20th century: revival Stained Glass in Ireland St Theresa’s, Dublin National Library, Dublin (Harry Clarke) Bewley’s Café, (Harry Clarke) Grafton Str., Dublin The An Túr Gloine ("Tower of Glass") cooperative studio • 1901 throughout the first half of the 20th century. • artists included Michael Healy, Evie Hone, Beatrice Elvery, Wilhelmina Geddes and founder Sarah Purser. • hoped to provide an alternative to the commercial stained glass imported from England and Germany • "perhaps the most noteworthy example of the newly- awakened desire to foster Irish genius" • Influences: Arts and Crafts Movement, Irish revivalism and the artistic tradition of Celtic manuscript illumination. Influences Design for Trellis Wallpaper, William Morris, 1862 Proserpine, Dante Gabriel Rossetti Harry Clarke (1889-1931) • studied at Belvedere College and the Dublin Metropolitan School of art. • commissions even outside Ireland (Australia, US) • also an illustrator • fine detail of his drawing use of rich colours (especially deep blues) an innovative integration of the window leading • influenced by the Art Nouveau and Art Deco movements the French Symbolist movement the Arts and Crafts movement and the Pre-Raphaelites in Britain the revival of the Celtic tradition Medieval as well as Gothic art Clarke’s Famous Works The Geneva Window St.
  • Jan 2002 Exhibition

    Jan 2002 Exhibition

    Gorry Gallery 15. FRANCIS WILLIAM TOPHAM FRONT COVER: Samuel Lover R.H.A. 1797 - 1868 Catalogue Number 12. (Detail) © GORRY GALLERY LTD. GORRY GALLERY An Exhibition of 18th, 19th and 20th Century Irish Paintings 31st January – 8th February, 2002 1. HOWARD HELMICK 4 12. SAMUEL LOVER R.H.A. (1797-1868) ‘Procession to “The roiall iusts [jousts] holden in Smithfield, London.” A.D. 1390.’ Oil on canvas, 61 x 92 Signed and dated: ‘S. Lover 1825’ Framed in an Irish 1820s gilt frame. Illustrated front cover (detail) Exhibited: 1829, Royal Hibernian Academy Annual Exhibition (no.87). Catalogue entry affixed to the frame. Provenance: Private Collection, Dublin. Literature: Caffrey, P., ‘Samuel Lover’s Achievement as a Painter.’ Irish Arts Review, vol. III, no. 1, pp. 51-54. Caffrey, P., Treasures to Hold, Dublin, National Gallery of Ireland, pp. 135-139. Samuel Lover was born in Dublin where he was taught to paint by John Comerford (c.1770-1830). He attended some drawing lessons at the Dublin Society Schools although his name is not recorded in the lists of pupils educated there. He began exhibiting work at the Royal Hibernian Academy in 1826 and was elected a full academician in 1828. Lover worked in a wide range of media, painting full-scale oil pictures, as well as watercolours, drawing caricatures and painting miniature portraits. During the period 1815-1835 he worked mainly as a painter but throughout his life he wrote poetry, songs, operas, novels, plays and was a theatrical impresario. Historical subjects that were inspired by medieval history, literature and the 1820s vogue for the historical novel were the inspiration for many of Lover’s works.
  • July Edition 2017

    July Edition 2017

    Alan J. Poole Promoting British & Irish Contemporary Glass. 43 Hugh Street, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] British & Irish Contemporary Glass Newsletter. A monthly newsletter listing information relating to British & Irish Contemporary Glass events and activities, within the UK, Ireland and internationally. Covering British and Irish based Artists, those living elsewhere and, any foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. JULY EDITION 2017. * indicates new and amended entries since the last edition. EXHIBITIONS, FAIRS, MARKETS & OPEN STUDIO EVENTS. 2016. 17/09/1603/09/17. Summer 2017. Ebeltoft Glasmuseet Collection Exhibition. inc: Lene Bødker. National Glass Centre. Sunderland. GB. Tel: 0191 515 5555. Email: [email protected] Website: http://www.nationalglasscentre.com/about/whatson/details/?id=740&to=2016-10- 18%2000:00:00&from=2016-10-18%2010:00:00 2017. 04/02/1704/09/17. "Glass Microbiology". Luke Jerram Solo Exhibition. The Box @ Bristol Science Centre. Bristol. GB. Tel: 0117 915 1000. Email: [email protected] Website: www.at-bristol.org.uk/event/box-presents-glass-microbiology 18/021731/12/17. "Companion Pieces". Mixed Media Permanent Collection Selected Exhibition. inc: Max Jacquard, Alison Kinnaird M.B.E. & Rachael Woodman. Shipley Art Gallery. Gateshead. GB. Tel: 0191 477 1495. Email: [email protected] Website: https://shipleyartgallery.org.uk/whats-on/companion-pieces 25/03/1701/10/17. "Jewellery: Wearable Glass". inc: James Maskrey, Joanne Mitchell, Ayako Tani & Angela Thwaites. University Of Sunderland. National Glass Centre. Sunderland. GB. Tel: 0191 515 5555.
  • Whyte Sarah Gates BA Managing Director Director This Catalogue

    Whyte Sarah Gates BA Managing Director Director This Catalogue

    , WHY TE S SINCE 1783 IRISH & BRITISH ART 12 MARCH 2012 IRISH & BRITISH ART MONDAY 12 MARCH 2012 VIEWING Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 9 March, opening reception and gallery talks 6pm to 8pm Saturday 10 March 10am to 6pm (Gallery Talk 3pm) Sunday 11 March 10am to 6pm (Gallery Talk 3pm) Monday 12 March 10am to 6pm AUCTION Monday 12 March at 6pm Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 ENQUIRIES Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] BIDS Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] On-line bids: www.whytes.ie Front cover: lot 43, Charles Edward Perugini, Lovers In A Garden Inside front cover: lot 135, Patrick Hennessy, The Fledgling Page 8, 9: lot 52, Thomas James Mulvany, Coast Scene - Noon: Peasants Winnowing Corn, 1838 Page 90: lot 41, Grace Henry, Coming Home, Achill Island, c.1915 Page 92: lot 42, Sarah Henrietta Purser, Woman With Fan Page 94: lot 96, Study For “The Blue Window”, 1961 Back cover: lot 29, Jack Butler Yeats, On The Courthouse Steps, 1946 PLEASE NOTE The exhibition of works from this sale will take place at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE Friday 9 March 6pm to 8pm Saturday 10 March 10am to 6pm Sunday 11 March 10am to 6pm Monday 12 March 10am to 6pm The auction will be held on Monday 12 March at 6pm at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE BALLSBRIDGE MERRION OAD ROAD R WHYTE ,S R D S M A I N HALL ENTER HERE ANGLESEA COLLECTION OF PURCHASES Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 13 March from Clyde Hall.