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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. -
Moving Ahead with the Stevens Competition
the WORSHIPFUL COMPANY of GLAZIER S & PAINTERS OF GLASS Issue Number 63 Spring 20 21 the 2020 competition or do it differently. Then came lockdown two! No problem, Moving ahead We chose the latter. we have been here before. We reintroduced Firstly, we delayed the entry date by four the Design Only category and sat back. with the Stevens months in the hope that lockdown would be Inevitably, lockdown three arrived, so the eased in time for participants to complete entry date has been delayed to July and Competition their work. This worked. Secondly, we Prizegiving until October. Judging will be introduced a new type of entry, Design Only, virtual again and we have a panel of judges BRIAN GREEN reports: Organising the which allowed competitors to submit their who are looking forward to the challenge. Stevens Competition in 2020 and 2021 has design but removed the need to produce a The delay has been used to widen the been quite a game! So far, the Glaziers are sample panel. This worked; roughly 40% of potential field of entry; translations of the in the lead and we intend to keep it that way. the entries fell into this category. Thirdly, the brief have been circulated in Spanish, French The original game plan for Stevens 2020 decision was taken to judge the competition and German. had to be abandoned when the country online. This worked surprisingly well. We hope Stevens 2022 will be more went into the first lockdown in March 2020 At the end of the day the Prizegiving was straightforward. -
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
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. -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
THS NEWSLETTER No. 1
THS NEWSLETTER No. 1 n TULSK HISTORY SOCIETY NEWSLETTER No. 1 July 2021 THS NEWSLETTER No. 1 Tulsk History Society [email protected] Members: Cathal McCormack (Chair), Mary Kelly, Deirdre Jones, John Higgins, Mike Lennon (Secretary), Pauline Jones, Catherine McGuire, Eileen Beirne, Noel Sheerin (Archivist), Maeve Hanley, Jim Dockery, Jody Moylan (PRO), Darragh Kelly, Therese Hanley (Treasurer), Fergus Moffitt, Michael Jones. WELCOME IT IS WITH great enthusiasm that we welcome our readers to Tulsk History Society’s very first newsletter. We hope this will be the first of many, in the Society’s aim of celebrating the rich history of the parish. From our initial steps only a few short months ago we have built up an enthusiastic membership and committee. We hope to push on to even better things as the year progresses. As we have mentioned elsewhere (in our constitution and on social media) the aim of the society is to pursue and promote all aspects of local history, be it social, cultural, political or economic, as well as our archaeological heritage, traditions, folklore, arts, crafts and games. The newsletter is our first venture into having our own publication, which will cover the broad range of history that is on our doorsteps. A collection of archival material is already gathering pace with contributions, and we hope our newsletters will form a central part of that archive going forward. We hope you enjoy reading, and please feel free to drop us a line through our email above. Membership details are included at the end. In this month’s edition our cover story, by Cathal McCormack, looks at the Cloonyquinn origins of the famous French family, while Mary Kelly takes a deep dive into the Dúchas Folklore Collection, of 1935, and its many contributions from the schools of the parish. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
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. -
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. -
Copyright by Colleen Anne Hynes 2007
Copyright by Colleen Anne Hynes 2007 The Dissertation Committee for Colleen Anne Hynes certifies that this is the approved version of the following dissertation: “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity Committee: Elizabeth Butler Cullingford, Supervisor Barbara Harlow, Co-Supervisor Kamran Ali Ann Cvetkovich Ian Hancock “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity by Colleen Anne Hynes, B.S.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2007 Acknowledgements This dissertation project would not have been possible with the support, wisdom and intellectual generosity of my dissertation committee. My two supervisors, Elizabeth Butler Cullingford and Barbara Harlow, introduced me to much of the literature and many of the ideas that make up this project. Their direction throughout the process was invaluable: they have been, and continue to be, inspirational teachers, scholars and individuals. Kamran Ali brought both academic rigor and a sense of humor to the defense as he pushed the manuscript beyond its boundaries. Ann Cvetkovich translated her fresh perspective into comments on new directions for the project and Ian Hancock was constantly generous with his resources and unique knowledge of the Irish Traveller community. Thanks too to my graduate school colleagues, who provided constructive feedback and moral support at every step, and who introduced me to academic areas outside of my own, especially Miriam Murtuza, Miriam Schacht, Veronica House, George Waddington, Neelum Wadhwani, Lynn Makau, Jeanette Herman, Ellen Crowell and Lee Rumbarger. -
Important Irish Paintings Wednesday 05 December 2012 17:00
Important Irish Paintings Wednesday 05 December 2012 17:00 Ross's Fine Art Auctioneers 37 Montgomery Street Belfast Northern Ireland BT1 4NX Ross's Fine Art Auctioneers (Important Irish Paintings) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Estimate: £1,000.00 - £1,500.00 Charles McAuley - CATTLE GRAZING BY THE RIVER, Oil on Canvas, 15 x 22 inches / 38 x 56 cm, Signed* Estimate: £1,000.00 - £1,500.00 Lot: 12 Maurice Canning Wilks, ARHA RUA - THATCHED COTTAGE, ANTRIM COAST, Watercolour Drawing, 10 x 14 inches / 25.5 x Lot: 2 35.5 cm, Signed Frank McKelvey, RHA RUA - DONEGAL BOG, Watercolour Estimate: £500.00 - £600.00 Drawing, 10 x 14 inches / 25.5 x 35.5 cm, Signed Estimate: £500.00 - £700.00 Lot: 13 Joseph William Carey, RUA - WITH A BONE IN HER TEETH, Lot: 3 Pen & Ink Drawing, 6 x 7 inches / 15 x 17.5 cm, Signed & James Humbert Craig, RHA RUA - FAIRHEAD, Watercolour Dated 1928 Drawing, 10 x 14 inches / 25.5 x 35.5 cm, Signed Estimate: £100.00 - £200.00 Estimate: £500.00 - £600.00 Lot: 14 Lot: 4 Gerard Dillon - CAT RESTING, Pen & Ink Drawing with Frank Egginton, RCA FIAL - GREENANE PIER, KERRY, Watercolour Wash, 7 x 7 inches / 17.5 x 17.5 cm, Signed Watercolour Drawing, 15 x 21 inches / 38 x 53 cm, Signed & Estimate: £300.00 - £500.00 Dated 1977* Estimate: £1,000.00 - £1,200.00 Lot: 15 Norman J. Smyth, RUA - DAPPLED SUNLIGHT ON Lot: 5 COTTAGES, Oil on Board, 6 x 8 inches / 15 x 20 cm, Signed George Campbell, RHA RUA - ABSTRACT, Mixed Media, 19.5 Estimate: £100.00 - £200.00 x 13.5 inches / 49.5 x 34 cm . -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC OCCASIONAL LIST: NEW YORK ANTIQUARIAN BOOK FAIR 2020 P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. WITH AN ORIGINAL PHOTOGRAPH 1. [ART – BURCKHARDT] KATZ, Vincent & Rudy BURCKHARDT. Boulevard Transportation. Tall 8vo, illustrated with photographs by Rudy Burkhardt, original pictorial wrappers. N.Y.: Tibor de Nagy Editions, 1997. First edition. One of 26 lettered copies signed by the artist and poet, and with an original photographic print by Burckhardt, signed with the title “Rain Pavement” and dated 1995 in pencil on the back, tipped in as a frontispiece. The image “Rain Pavement” is not one of the images reproduced in the book. A fine copy. $3,500.00 2. [ART – CELMINS] CELMINS, Vija. Drawings of the Night Sky. Oblong folio, illustrated, original linen, in publisher’s card slipcase. London: Anthony d’Offay, (2001). First edition. Limited to 480 copies signed by Celmins. Comprises portraits of the artist by Hendrika Sonnenberg and Leo Holub, reproductions of drawings by Celmins, and an essay entitled “Night Skies: The Distance Between Things” and an interview with the artist by Adrian Searle. Laid in is a separately printed insert with a portrait of the artist by James Lingwood and, on the verso, William Butler Yeats’s poem “The Lake Isle of Inisfree.” As new. $500.00 INSCRIBED BY KANDINSKY TO JAMES JOHNSON SWEENEY 3.