Tuarascáil Bhliantúil 202019 An íomhá ar an gClúdach
Grianghraf © Maxwells, Baile Átha Cliath, a tógadh le linn an taispeántais Moment in Time: A Legacy of Photographs/Works from Bank of America Collection (30 Samhain 2019 – 18 Meán Fómhair 2020) San íomhá feictear macasamhail de The Dancers: Martha Graham in Letter to the World, 1940 le Barbara Morgan (1900 -1922). Prionta geilitín airgid ó Bhailiúchán Bank of America.
Le caoinchead Martha Graham Resources, rannán de chuid Martha Graham Centre of Contemporary Dance, Inc.
Grianghraif agus páipéir de chuid Barbara agus Willard Morgan, Library Special Collections, Charles E. Young Research Library, UCLA. Tuarascáil Bhliantúil 2019 3
Clár
Bord Gobharnóirí agus Caomhnóirí 4 Struchtúr Corparáideach 5 Réamhrá an Chathaoirligh 6 Athbhreithniú an Stiúrthóra 7 Ráiteas Misean 8 Bunluachanna 8 Straitéis 9 Máistirphlean Forbartha 9
Bailiúcháin agus Taighde 10 Buaicphointí na Saothar Faighte 11 Taispeántais 18 Caomhnú: Cúram a dhéanamh don Bhailiúchán 21 Foilseacháin agus Íomhánna 24 An Leabharlann agus na Cartlanna 24
Ag Roinnt Bailiúchán – taobh amuigh den Ghailearaí 26 Inrochtaineacht 29 Ról nua breise ‘Oibrithe Deonacha an Ghailearaí’ 29 Poiblíocht don taispeántas Sorolla 29 Renailssance 30 Suíomh Gréasáin, Nuachtlitreacha agus ardáin Meán Sóisialta an Ghailearaí, 31
Forbairt, Tiomsú Airgid agus Cairde 32
Seirbhísí Corparáideacha 35 AD (HR) 36 TF 36 Oibríochtaí 36 Soláthar 37 Cúrsaí Tráchtála 37 Ráitis Airgeadais 39
Aguisíní 79 Saothair Faighte 2019 80 Iasachtaí ó Ghailearaí Náisiúnta na hÉireann do Thaispeántais Shealadacha 2019 99 Liosta foirne 2019 102 4 Tuarascáil Bhliantúil 2019
Bord Gobharnóirí agus Caomhnóirí Ghailearaí Náisiúnta na hÉireann
Grianghraf: Maxwell Photography
Ar chúl: Lynda Carroll, Dan Flinter, Sean Rainbird (Stiúrthóir), John O’Doherty, Lesley Tully, Gary Jermyn, Una Sealy, Barney Whelan, Abigail O’Brien, Michael P. Kennedy, Patricia Golden (Stiúrthóir na Seirbhísí Corparáideacha)
Chun tosaigh: Jacqueline Hall, Mary Keane, Michael Cush (Cathaoirleach), James English, Ann Prendergast
Seo a leanas na comhaltaí boird nach bhfuil sa ghrianghraf: Bernie Brennan, Maurice Buckley, Margaret Glynn, Suzanne Macdougald, Owen J. Lewis, John Dardis (ón 5 Nollaig 2019) Tuarascáil Bhliantúil 2019 5
Struchtúr Corparáideach
Bord Gobhanóirí & Stiúrthóir GNÉ Caomhnóirí GNÉ
Rúnaí an Bhoird, Bainisteoir Tiomsú airgid & Forbairt Dlí & Comhlíonta Oifi g an Stiúrthóra Cairde GNÉ
Ceannasaí an Rannáin Ceannasaí rannáin na Stiúrthóir Rannán na Bailiúchán & Taighde Rannpháirtíochta Poiblí Seirbhísí Corparáide
Rannóg Chaomhnaithe Rannóg Cumarsáide, Rannóg Trádála Margaíochta & Dhigiteach Rannóg na Rannóg Choimeádaithe gConarthaí & Rannóg Oideachais Soláthair Seirbhísí na dTaispeántas agus Bailiúchán Rannóg Eispéireas Rannóg Airgeadais Cuairteora Rannóg Leabharlainne & Cartlainne Rannóg AD
Rannóg na bhFoilseachán & Íomhánna Rannóg TF
Rannóg Oibríochtaí
Foireann na Ceannaireachta Feidhmiúcháin (ELT) Comhaltaí 2019
Stiurthóir Sean Rainbird
Stiúrthóir na Seirbhísí Corparáideacha Patricia Golden
Ceannasaí na mBailiúchán & Taighde Adriaan Waiboer go dtí 3 Meitheamh 2019
Kim Smit ón 2 Nollaig 2019
Ceannasaí na Rannpháirtíochta Poiblí Catherine Griffin (ar shaoire mháithreachais ó Aibreán 2019) 6 Tuarascáil Bhliantúil 2019
Réamhrá an Chathaoirligh
D’oibrigh foireann an Ghailearaí, in 2019, ar chláir a bhí Bíonn an Gailearaí go síoraí ag forbairt scéim na an-éagsúil agus thar a bheith beoga. Ba léiriú ar spreacadh gComhpháirtithe Corparáideacha agus ár n-oibríochtaí réimsí áirithe an bhailiúcháin na deich dtaispeántas agus miondíola sa siopa, agus faigheann ár ngnóthais ealaíne léiriúchán sealadach nua a cuireadh i láthair i rith na bliana, tacaíocht thábhachtach uathu seo. agus tugadh faoi réimsí nua spéise chomh maith. Bhí clár fairsing gníomhaíochtaí poiblí agus oideachais ag gabháil Mar a luadh i dtuarascáil na bliana seo caite, sheol an le gach ceann de na tionscadail seo. Bhí siad seo dírithe rialtas plean in 2018 chun infheistíocht a dhéanamh ar na gnáthchuairteoirí ach chomh maith leis sin, bhí siad i mbonneagar cultúir. Sannadh € 54 milliún chun saindeartha do ghrúpaí spéise éagsúla a bhfuil sé d’aidhm máistirphlean an Ghailearaí a thabhairt chun críche. Táthar ag an nGailearaí dul i gcion orthu. ag díriú faoi láthair ar thionscadail níos lú in eagraíochtaí eile, ach tá an Gailearaí ag cur brú seasta le Máistirphlean Chuireamar tús leis an mbliain le taispeántas Canaletto and Forbartha (MDP) an Ghailearaí a thabhairt chun críche. the Art of Venice, a osclaíodh i mí na Nollag 2018. Thaispeáin Tá sé ríthábhachtach don Bhord an Máistirphlean sé seo an raon agus doimhneacht as cuimse atá i saothar Forbartha a thabhairt chun críche. Dar linn, is deis é Canaletto agus saothair a lucht comhaimsire sa Veinéis. Tá seo nach mbeidh ann ach uair amháin chun caighdeáin siad ar fad sa Bhailiúchán Ríoga. Ón Veinéis go tírdhreacha agus saoráidí músaem an 21ú haois a bhaint amach don na hÉireann, bhí saothar os cionn caoga ealaíontóir Ghailearaí. I measc na n-áiseanna atá ag teastáil, tá; Ionad Éireannach thar thréimhse 250 bliain, a d’oibrigh i ngach Bairr Feabhais don Chaomhantas; áiseanna oideachais; cineál meán, ar taispeáint in Shaping Ireland: Landscapes Leabharlann agus Cartlann a bheidh inrochtana don in Irish Art. Breathnaíodh ar ghnéithe uile an tírdhreacha phobal; dánlanna taispeántais nua; comhtháthú iomlán ar - éiceolaíocha, polaitiúla, sóisialta agus stairiúla. I rith an na seirbhísí teicniúla go léir laistigh den ionad fuinnimh atá tsamhraidh, i gcomhar arís le Gailearaí Náisiúnta Londain, ann; agus rochtain lán-airde, idir an dá bhealach isteach chuireamar Sorolla: Spanish Master of Light i láthair. Bhí agus na saoráidí seo go léir ar Chearnóg Mhuirfean agus ar an-tóir ar an taispeántas cumhachtach seo, le healaíontóir Shráid an Chláir. Tá dul chun cinn an phlean seo ag brath nár tugadh dóthain aitheantais dó i dtuaisceart na hEorpa. ar an Roinn Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Chonaic os cionn 48,000 cuairteoir an taispeántas. Ba é Spóirt agus na Meán (DTCAGSM) le nósanna imeachta cuí a taispeántas an fhómhair, ná Moment in Time: A Legacy of leagan síos ionas go bhféadfaí caiteachas a cheadú de réir Photographs | Works from the Bank of America Collection. Ba an Chóid Chaiteachais Phoiblí. Tá Gailearaí ag moladh dul é seo an chéad thaispeántas grianghrafadóireachta i stair chun cinn a dhéanamh maidir leis an tionscadal seo, atá fós an Ghailearaí. Cuireadh rogha grianghraf ó bhailiúchán le cur i gcrích. iontach grianghrafadóireachta Bhanc Mheiriceá ó lár an 20ú haois ar taispeáint. Tharraing sé aird freisin ar réimse Cloíonn an Bord leis an gCód Cleachtais um Rialú nua-shealbhaithe de chuid an Ghailearaí féin, agus muid ag Comhlachtaí Stáit, a d’fhoilsigh an tAire Caiteachais cur lenár mbailiúchán grianghrafadóireachta. Phoiblí agus Athchóirithe. Leagann an Bord béim i gcónaí ar ardchaighdeáin rialachais chorparáidigh mar ghné Bhí taispeántais eile ar bun chomh maith leis na lárnach d’oibríochtaí uile an Ghailearaí. Bhí gach comhalta taispeántais mhóra seo agus léiríodh forbairtí suntasacha. Boird ag feidhmiú i rith na Bliana, 2019. Ba mhaith liom Rinne na ceithre phortfóilió prionta de chuid Bauhaus sa mo bhuíochas a ghabháil leis na comhaltaí Boird uile as Ghailearaí Priontaí comóradh 100 bliain ar bhunú an scoil a léargas agus a dtuiscint fheasach agus as an gcion atá deartha, a raibh tionchar as cuimse aici sa réimse seo. déanta acu ar mhaithe leis an mBord agus ag cruinnithe Scrúdaigh Making their Mark: Irish Painter-Etchers 1880–1930 coiste, agus as a rannpháirtíocht dhíograiseach i neart an tréimhse ag deireadh an 19ú haois nuair a thosaigh gníomhaíochtaí sa Ghailearaí. Ba mhaith liom mo ealaíontóirí Éireannacha in athuair ag déanamh priontaí bhuíochas a ghabháil freisin leis an bhFeidhmeannas agus mar mheán cruthaitheach léiritheach. Bhí Nathaniel Hone foireann uile an Ghailearaí as ucht a gcuid oibre ar mhaithe á chomóradh freisin, agus cuireadh an taispeántas ar siúl le cuspóirí straitéisacha an Ghailearaí a bhaint amach. Ar i seomra Hugh Lane, agus ba í seo an séú bliain de Duais deireadh, ba mhaith liom mo bhuíochas a ghabháil leis an Portráide an Ghailearaí, le caointacaíocht Zurich Insurance Aire agus a cuid oifigeach sa Roinn Turasóireachta, Cultúir, plc, ó 2018. Bhí duais i mbliana d’ealaíontóirí faoi 18 Ealaíon Gaeltachta Spóirt agus Meán as ucht a dtiomantas mbliana d’aois freisin. agus a dtacaíocht do Ghailearaí Náisiúnta na hÉireann.
D’éirigh leis an nGailearaí cur lena ghrúpaí Cairde agus Michael Cush SC Pátrúin chun tacú leis an gclár uaillmhianach seónna, imeachtaí agus gníomhaíochtaí seo. Is é an rialtas a Cathaoirleach, Gobharnóirí & dhéanann costais foirne agus áitribh a mhaoiniú, go Caomhnóirí Ghailearaí Náisiúnta na hÉireann príomha, ach is ó fhoinsí ioncaim eile a thagann maoiniú don chuid is mó dár gclár imeachtaí. Tuarascáil Bhliantúil 2019 7
Athbhreithniú an Stiúrthóra
Ba iad aidhmeanna an Ghailearaí, in 2019, ná raon iomlán Lean an Rannóg Leabharlainne agus na gCartlann ag na gclár ealaíne a bhfuil sé mar aidhm ag an nGailearaí iniúchadh an tsaibhris thar cuimse i gCartlann Sir Denis tabhairt fúthu a chomhdhlúthú, agus leanacht ag feabhsú Mahon, le taispeántas de leabhair neamhchoitianta ar ár struchtúir agus ár bpróisis eagraíochtúla. théama an taistil.
Tá an clár caipitil - ár mian chun an Máistirphlean Forbartha I measc na dtaispeántas, bhí ómós do Nathaniel Hone, arb (MDP) a chur i gcrích – ag brath ar chomhpháirtíocht le é a shaothar an ceann is mó i mbailiúchán an Ghailearaí. príomhranníocóirí eile chun na chéad chéimeanna eile Rugadh péintéir Spáinneach, Joaquín Sorolla glúin i ndiaidh maidir leis an bhforbairt a bhainistiú de réir an Chóid Hone. Tá an-tóir air ina thír dhúchais agus ar chósta thoir Chaiteachais Phoiblí. Tá an Gailearaí ag leagan béime ar Mheiriceá. D'éirigh go hiontach le taispeántas dá phictiúir an ngá atá leis an Máistirphlean Forbartha (MDP) a chur lonrúla, a roghnaíodh i gcomhar leis an nGailearaí Náisiúnta i gcrích, mar b’fhéidir go bhfuil dul amú ar dhaoine agus i Londain. Bhain níos mó ná 48,000 cuairteoir taitneamh as go gceapann siad go bhfuil an Máistirphlean críochnaithe an taispeántas seo i rith mhíonna an tsamhraidh. Thaitin de bharr go ndearnadh athchóiriú ar na sciatháin an taispeántas go mór le Cairde an Ghailearaí. Lean siad stairiúla. Leanadh ar aghaidh le hathchóiriú práinneach ag tacú linn go diongbháilte, léiríodh an tacaíocht seo ar na tithe ina n-oibríonn go leor foirne oifige, chun le linn thaispeántas Phortfóilió Bauhaus sa Ghailearaí caighdeáin chosanta dóiteáin a chinntiú. Beidh réimse Prionta. Ghlac Cairde páirt freisin i go leor cuairteanna agus leathan saoráidí agus áiseanna don phobal, ar aon dul le imeachtaí, agus chabhraigh siad linn saothair ealaíne a fháil caighdeáin músaeim in áit ar bith, ar fáil nuair a chuirfear don bhailiúchán. Le cur le tiomantas an Ghailearaí maidir an Máistirphlean i gcrích go hiomlan. le saothair ghrianghrafadóireachta a fháil, chuireamar Moment in Time: A Legacy of Photographs | Works from the Bíonn a lán pleanála agus ullmhúchán cúramach i gceist Bank of America Collection ar taispeáint. Ba e seo ár gcéad chun réimse leathan clár a leagan amach: coimeádaithe seó mór i meán na grianghrafadóireachta, bunaithe ar ag ceapadh agus ag beartú taispeántas; nó saothar faighte bhailiúcháin shaibhre Bhanc Mheiriceá. Bhí rogha do a thabhairt chun tosaigh; bainistíú ár mbunachar sonraí bhailiúchán grianghraf an Ghailearaí féin, View of Ireland: bailiúcháin chun go mbeidh eolas faoi gach saothar sa Collecting Photography ar taispeáint ag an am céanna, i bhailiúchán san áireamh iontu; an Rannóg Chaomhnaithe Seomra Hugh Lane. D’eagraigh ár gcomhghleacaithe sa ag déanamh cúraim do bhailiúcháin; ullmhúchán na Rannóg Oideachais sraith gníomhaíochtaí agus imeachtaí n-iasachtaí a fhaightear isteach nó a seoltar amach;an a bhí an-spéisiúil bunaithe ar na taispeántais seo, agus iliomad imeachtaí poiblí agus clár oideachais a bheartú bhain grúpaí éagsúla ar fud na hÉireann leas as a gcláir don chun freastal ar raon leathan lucht spéise ar an láthair agus phobal. ar líne; foilseacháin agus ábhar digiteach a ullmhú chun tacú leis na tionscadail seo agus chun cabhrú le margaíocht Ba í tír na hÉireann freisin an t-ábhar a bhi i dtaispeántas agus cumarsáid éifeachtach i dtaca lenár gcláir; fáilte earraigh an Ghailearaí, faoin tírdhreach san ealaín, sa chairdiúil ónár bhfoireann fáilteachais agus slándála go léir; tréimhse ó na 1760idí go dtí an lá inniu. Tá tromlach an iliomad feidhmeanna riaracháin atá mar bhonn agus na n-ealaíontóirí a raibh a saothar sa taispeántas fós taca lenár n-oibríochtaí uile; agus a lán gníomhaíochtaí eile gníomhach sa lá atá inniu ann, agus tugtar faoi deara gur ar fud an Ghailearaí. thréig an Gailearaí an traidisiúin a bhíodh á chleachtadh roimhe seo i ré an Ghailearaí, agus tá i bhfad níos mó Léirigh an clár éagsúil léiriúcháin agus taispeántas saothar le healaíontóirí náisiúnta agus idirnáisiúnta, atá beo roinnt athruithe níos leithne atá curtha i bhfeidhm ar fós, faighte le tamall. fud na heagraíochta. Rinneadh bailiúchán ar bhealach difriúil i rith 2019 agus tá seo le feiceáil i réimse na I measc na n-ealaíontóirí beo, bhí cothroime le feiceáil idir grianghrafadóireachta. Chuir an Gailearaí leis an ealaíontóirí fear agus ban, agus cuireadh roinnt saothar mbailiúchán grianghraf, grianghraif ón 20ú hAois, a isteach sa bhailiúchán níos déanaí. Chuir sé seo tús le dul i bhaineann le hÉirinn, go príomha. Chomh maith leis ngleic leis an éagothroime stairiúil a bhí inár mbailiúcháin sin, cuireadh go mór leis an gCartlann, leis an stór de agus inár gcláir taispeántas. Tá ealaín nua-aimseartha agus chomhfhreagras idir Hugh Lane agus Sarah Cecilia Harrison comhaimseartha cruthaithe ag scoth na n-ealaíontóirí idir nach facthas le fada an lá. Bhí ábhar anseo maidir le fear agus ban in Éirinn. Tá a lán de shaothar Mainie Jellett tréimhse stiúrthóireachta Lane ar an nGailearaí, spéis agus Evie Hone, ó thús na 20ú haoise, ar taispeáint cheana na beirte in abhcóideacht ar son ealaín nua-aimseartha, féin. I rith na bliana, fuair an Gailearaí saothar ealaíontóirí gníomhaíochtaí Lane mar mhargaire ealaíne agus bunú eile ó thréimhse níos déanaí, ina measc, Amelia Stein, Inge ghailearaí nua-ealaíne Bhaile Átha Cliath, a bhfuil ainm Morath, Alice Neel, Marie Louise von Motesiczky, Dorothea Lane fós air. Fuarthas deontas speisialta ón rialtas chun Lange agus Dorothy Cross. dlús a chur leis an obair ar Source, tionscadal digitithe dár mbailiúcháin chartlainne. 8 Tuarascáil Bhliantúil 2019
D'éirigh leis na coimeádaithe dul i ngleic leis an dúshlán a bhaineann le caomhnú na saothar seo agus gach saothar nua eile. D’éirigh leo freisin maoiniú breise a fháil le Misean haghaidh cóireálacha casta caomhnaithe fadtéarmacha. Chun aire a thabhairt don ealaín, í a léirmhíniú, a fhorbairt Tá obair tosaithe go háirithe ar an bpéintéireacht ó agus a thaispeáint ar bhealach a fhágann go bhfuil Gailearaí láimh an ealaíontóra, Lavinia Fontana, le tacaíocht ó Náisiúnta na hÉireann ina áit spreagúil chun teacht ar chlár caomhnaithe Bhanc Mheiriceá. Fuarthas tacaíocht ealaín. thábhachtach ó chiste Getty chun cóireáil, atá pleanáilte le fada an lá, a dhéanamh ar phictiúr déthaobhach, a phéinteáil Juan Gris i 2013, agus a d’fhág Evie Hone ag an nGailearaí i 1955. An tríú tionscadal fadtéarmach, a bhfuil Fís dul chun cinn maith á dhéanamh aige, ná an chóireáil Eispéireas den scoth a spreagann spéis san ealaín agus ar Lamentation of Christ le Gerard Seghers, atá le cur ar tuiscint uirthi a chur ar fáil do gach duine. taispeáint i 2021.
Táim buíoch go háirithe do mo chomhghleacaithe uile ar fhoireann an Ghailearaí as a dtiomantas comhsheasmhach Ár Ról maidir le hardchaighdean na ngníomhaíochtaí agus na Tiomanta maidir le daoine agus a n-ealaín a thabhairt le gclár a eagraíonn siad agus a chuireann siad i láthair. chéile. Faightear tacaíocht airgeadais dóibh seo trí fhlaithiúlacht ár gComhpháirtithe Corparáideacha, díolacháin ticéad, agus trínár ngníomhaíochtaí tráchtála sa Siopa agus sa Chaifé. Tá ról tábhachtach ag ár nOifig Forbartha maidir le cur leis an deontas-i-gcabhair a fhaighimid ón rialtas. Bunluachanna Gabhaim buíochas freisin leis an mBord as an maoirseacht thábhachtach, shaineolach i dtaca lenár stiúradh Ionracas – Déanaimid rudaí ar na cúiseanna cearta. Táimid straitéiseach agus as caighdeáin rialachais chorparáidigh anseo chun an t-eispéireas is saibhre is féidir ar an ealaín a a chomhlíonadh. Cinntítear go gcomhlíonann an Gailearaí chur ar fáil. an Cód Cleachtais chun Comhlachtaí Stáit a Rialú. Gabhaim buíochas ó chroí leis an Aire, Josepha Madigan, TD, agus leis Oscailteacht – Bímid i dteagmháil le raon leathan lucht na hoifigigh i RTCEGSM (DTCAGSM), go háirithe, an tArd- spéise agus páirtithe leasmhara. Glacaimid le héagsúlacht Rúnaí Katherine Licken, as a gcomhairle agus a dtacaíocht agus cuirimid comhionannas chun cinn. Bíonn ár ndoirse luachmhar. oscailte don phobal seacht lá na seachtaine agus tá saorchead isteach. Ar deireadh, tá an Gailearaí ann mar eagraíocht ealaíon agus mar an Príomh-Institiúid Cultúrtha Náisiúnta chun Cruthaitheacht – Táimid cruthaitheach, nuálach agus freastal ar an bpobal. Tagann líon mór cuairteoirí as Éirinn seiftiúil. Spreagaimid ár lucht spéise trí chur go mór lena agus ó thar lear chuig an nGailearaí i rith na bliana. Is áit gcuid eolais ar an ealaín agus an taitneamh a bhaineann chairdiúil, eolasach agus fháilteach é an Gailearaí. Tugann siad aisti. a lán daoine eile cuairt orainn ar an suíomh Gréasáin agus glacann siad páirt i ngníomhaíochtaí ar líne, ó cibé áit ina Saineolas – Tá cuid mhaith speisialtóirí againn, a roinneann mbíonn siad. Is í an aidhm atá againn leanúint ag forbairt a gcuid scileanna, a saineolas agus a léargais go toilteanach mar institiúid, agus tuigeann muid fiúntas ár bhfoireann, lenár lucht spéise uile, ar líne agus sa Ghailearaí féin, ar Bord, Pátrúin, Cairde, lucht tacaíochta agus ár bpáirtithe bhealach atá samhlaíoch agus spreagúil. leasmhara sa rialtas. Leanfaimid orainn ag freastal ar riachtanais agus ionchais éagsúla an phobail, agus a gceart a thabhairt ar bhealach cothrom d’éilimh laethúla agus d’ár bplean caipitil ar mhian linn é a chur i gcrích.
Sean Rainbird,
Stiúrthóir, Gailearaí Náisiúnta na hÉireann Tuarascáil Bhliantúil 2019 9
Straitéis Máistirphlean
Fás agus Feabhsú – Cuirfidh an Gailearaí lena láithreacht agus a cháil trí líon mór cuairteoirí a mhealladh agus Forbartha méadú a chur ar achar agus lorg a fhágann an Ghailearaí Le blianta beaga anuas, rinneadh athchóiriú ar Sciathán go náisiúnta. Dargan agus Bhaile an Mhuilinn an Ghailearaí, sin Éisteacht agus Roinnt – Éistfidh an Gailearaí agus Céimeanna 1-3 de Mháistirphlean Forbartha an Ghailearaí roinnfidh siad tuairimí lena lucht spéise, chun tuiscint a fháil (MDP). Tá forbairt mhór a bhfuil tábhacht idirnáisiúnta léi i ar a riachtanais, chun a mianta a chomhlíonadh, agus deis gceist i gCéim 4 den MPF. Beidh uasghrádú ar na háiteanna a thabhairt dóibh tuiscint a fháil ar an ealaín agus deis a poiblí san áireamh sa chéim dheiridh seo, mar a mbeidh thabhairt dóibh rochtain a fháil ar an mbailiúchán náisiúnta, forbairt leabharlainne nua-aimseartha don amharcealaíon, pé bealach a oireann dóibh féin. ionad do chaomhnú ealaíne agus mol oideachais. Beidh seomra oibre -stiúideo, spás taispeántais, seomra Infheistiú agus Cosaint – Tabharfaidh an Gailearaí a acmhainne agus halla éisteachta, le 300 suíochán, sa mhol mháistirphlean chun críche. Infheisteoidh sé i bhfoireann seo. Is í aidhm na céime seo ná cúrsaíocht i nGailearaí breise agus ullmhóidh sé an eagraíocht lena aghaidh Náisiúnta na hÉireann a fheabhsú agus cur le heispéireas sin. Cruthóidh an Gailearaí Ionad Barr Feabhais don iomlán na gcuairteoirí. De bharr na bhforbairtí atá Chaomhantas, sainláthair inrochtana ina ndéanfar an beartaithe i gCéim 4, beidh Gailearaí Náisiúnta na hÉireann leabharlann agus na cartlanna ealaíne is mó in Éirinn ar aon dul le gailearaithe idirnáisiúnta. D’fhéadfadh sé go a stóráil, agus soláthróidh sé áiseanna tiomnaithe le meallfaí níos mó cuairteoirí idirnáisiúnta chuig an nGailearaí haghaidh gníomhaíochtaí oideachasúla. Leanfaidh sé agus go hÉirinn. Is í aidhm an MPF ná Gailearaí Náisiúnta na cur leis an mbailiúchán a agus cruthóidh sé taispeántais hÉireann a athrú ó bhonn, ionas go mbeidh sé ina lárionad bunaithe air. bairr feabhais i réimsí na seirbhísí caomhnaithe agus taighde, agus chun deiseanna nua a chruthú a dhéanfaidh forbairt agus feabhsú breise ar ár gclár oideachais. Tabharfaidh an fhorbairt seo deis don Ghailearaí cur le líon na gcuairteoirí sa todhchaí, chomh maith le méadú suntasach de os cionn 21,600 méadar cearnach a chur le hachar an Ghailearaí.
Aidhmeanna in 2020: Fáiltiú roimh 90,000 cuairteoir chuig an nGailearaí.
700,000 rannpháirtíocht ar an suíomh gréasáin agus na meáin shóisialta.
Gníomhaíochtaí oideachasúla agus poiblí a bheidh réamháirithe a chur ar fáil do 80,000 cuairteoir.
Ocht dtaispeántas shealadacha a léiriú i rith 2020. Beidh ticéid le ceannach do dhá cheann díobh.
Bealaí nua, samhlaíocha a chruthú chun freastal ar ár lucht spéise éagsúla agus rochtain ar an mbailiúchán a mhéadú.
Bíonn an-tóir acu siúd atá ‘fiosrach faoi chultúr’ ar an nGailearaí de réir shainmhíniú Fáilte Éireann agus mar sin táimid ag díriú ar mheascán cuairteoirí a mhealladh, sé sin 50% as Éirinn agus 50% ó thíortha thar lear. Bailiúcháin agus Taighde
Julia Margaret CAMERON (1815–1879) Browning’s Sordello (Henry John Stedman Cotton and Mary Ryan), 1867 Prionta albaimín 33.3 x 25.7 cm Ceannaithe, 2019 NGI.2019.330 Tuarascáil Bhliantúil 2019 11
Buaicphointí na Saothar Faighte
Cé gurbh í duine de na grianghrafadóirí b’iomráití sa Ina cuid oibre, díríonn Diana Copperwhite ar an gcaoi a Bhreatain i ré Victoria, bhí Julia Margaret Cameron bpróiseálann sícé an duine faisnéis, agus féachann sí ar an (1815-1879) sách sean sula ndeachaigh sí i mbun meicníocht a úsáideann an duine aonair chun an rud atá grianghrafadóireachta. Tugadh ceamara di den chéad uair fíor a fhoirmliú. Cruthaíonn Copperwhite timpeallachtaí sa bhliain 1863, ag aois 48. Ón bpointe sin ar aghaidh, pictiúrtha ina mbíonn an rud fíor neamhréalaíoch agus thosaigh sí ag déanamh portráidí de mhuintir na háite agus bíonn an neamhréaltacht seo i gcónaí ag athrú agus á dá cairde. I measc na suiteoirí, ar ghlac sí grianghraif díobh, athchóiriú. Cruthaíonn sí é seo trí mheascán d’fhoinsí a bhí na filí Alfred Lord Tennyson agus Henry Wadsworth chur i sraitheanna, ar nós, foinsí ó chuimhní pearsanta, Longfellow, an réalteolaí Sir John Herschel, agus an t-eolaí eolaíochta, na meáin choitianta agus ón idirlíon. Léiríonn Charles Darwin. Ó thosaigh sí ag obair, ba dhíol suntais pictiúir dhinimiciúla mar Shapeshifter an cur chuige seo. an léiriú mothálach a chruthaigh sí maidir le háilleacht na mban, mar a léirítear sna portráidí den aisteoir Ellen Terry, Cónaíonn agus oibríonn Copperwhite i mBaile Atha Cliath a neacht Julia Jackson, agus a cailín aimsire, Mary Ryan. agus i Nua Eabhrac.
Bhí Mary ina cailín aimsire dílis agus mar chuspa ag Cameron sular phós sí Sir Henry Stedman Cotton, duine de Státseirbhísigh na hIndia, a thit i ngrá le ceann de phortráidí a ghlac an grianghrafadóir di.
Ba é Sordello, laoi leis an bhfile Sasanach Robert Browning, a foilsíodh i mí an Mhárta, 1840 a bhí mar inspioráid don phortráid áirithe seo. Is minic a bhunaigh Cameron a grianghraif ar fhoirmeacha ealaíne eile, ar nós péintéireacht, fealsúnacht agus filíocht. Is éSordello de chuid Browning an dara portráid ina bhfuil Mary Ryan i mbailiúchán an Ghailearaí. Léirítear an cailín aimsire óg cúpla bliain roimhe sin i stíl uathúil Cameron, sé sin bearradh dlúth agus fócas bog, sa saothar After the Manner of Perugino (Mary Ryan), c.1865 (NGI.2018.55).
Dorothy CROSS (b.1956) | Shark Heart Submarine | 2011 Meáin mheasctha | Seastán ealaíne: 520 × 80 cm, Fomhuireán: 91 cm, Próca le Croí ann: 6 cm Ceannaithe, 2019 NGI.2019.43 Le caoinchead an ealaíontóra agus Gailearaí Kerlin , Baile Átha Cliath. Grianghraf: Gailearaí Náisiúnta na hÉireann. Grianghrafadóir: Roy Hewson
Tá croí caomhnaithe siorca de chineál craosaire, agus ar rugadh air trí thaisme in eangach amach ó chósta theas na hÉireann istigh i samhail órnite d’fhomhuireán núicléach atá leagtha ar sheastán ón 19ú haois. Sa chatalóg do Connemara sa Turner Contemporary i Margate, an áit inar taispeánadh an saothar den chéad uair, scríobh an Diana COPPERWHITE (b.1969) | Shapeshifter | 2016 t-ealaíontóir: ‘Bhí an croí ag bualadh uair amháin istigh in Olaphictiúr ar chanbhás | 175 × 235 cm ainmhí atá an-ársa ach nach bhfuil mórán ar eolas faoi. Ceannaithe, páirtbhronntanas ón ealaíontóir, 2019 Tá siorcanna ag maireachtáil inár n-aigéan leis na milliúin NGI.2019.89 bliain, agus i dtéarmaí éabhlóideacha is beag athrú atá © Gailearaí Náisiúnta na hÉireann. Grianghrafadóir: Roy tagtha orthu, mar gheall ar a n-éifeachtúlacht.’ Léiríonn an Hewson fomhuireán an bhagairt a bhaineann le siorcanna, agus tugann an bealach a bhfeidhmíonn sé mar chumhdach taisí deis don lucht féachana machnamh a dhéanamh ar cad a síltear atá naofa agus cén fáth atá leis seo. Léiritear siorcanna arís agus arís eile i saothar Cross. 12 Tuarascáil Bhliantúil 2019
‘Tá suim mhór agam sa rud atá déistineach agus sa rud Tá an phortráid ollmhór, ina bhfuil a aghaidh ag glacadh atá go hálainn,’ a dúirt sí, ‘mar gheall go bhfuileamar suas an chuid is mó den spás sa phictiúr, taibhseach agus féin chomh trína chéile mar gheall air sin i dtaca lenár pearsanta ag an am céanna. gcoirp féin, ó thaobh gnéasachta agus ár mbás féin. Léiríonn an siorc é sin freisin, i dtéarmaí eagla agus dúil agus míthuisceana.’(Financial Times, 27 Meán Fómhair 2013). Tugann an saothar seo ealaín, innealtóireacht agus ceardaíocht le chéile; rinne tógálaithe luamh an fomhuireán i gCionn tSáile agus mhaisigh máistir-cheardaí é.
In 2019, d’éirigh leis an nGailearaí Glassilaun Snow Peak (2014) le Dorothy Cross a fháil agus bhí sé le feiceáil sa taispeántas Shaping Ireland: Landscapes in Irish Art, an diptic Darkness and Light (2017) agus Ghost Ship (i) agus Ghost Ship (ii) (2011).
Eamonn DOYLE (b.1969) | Untitled 28 from the series ‘i’ 2013 | Prionta lí cartlainne | 80 × 53.5 cm Ceannaithe, 2019 NGI.2019.167 © Eamonn Doyle.
Rugadh Eamonn Doyle i mBaile Átha Cliath agus bhain sé Dioplóma amach sa Ghrianghrafadóireacht in IEDT (ADT) Colin DAVIDSON (b.1968) | The Day I Heard that in 1991. Chaith sé cuid mhaith den 20 bliain ina dhiaidh sin Mark Hollis Had Died (Féinphortráid) | Olaphictiúr ar ag obair le cúrsaí ceoil go neamhspleách. Bhunaigh sé Féile chanbhás | 105 × 97 cm | Bronnta, Cairde Ghailearaí Ealaíon Leictreonach Bhaile Átha Cliath (DEAF) in éineacht Náisiúnta na hÉireann leis na lipéid taifeadta D1 Recordings agus Dead Elvis sular NGI.2019.238 fhill sé ar an ngrianghrafadóireacht in 2008. Baineann an © Gailearaí Náisiúnta na hÉireann. Grianghrafadóir: Roy chuid is mó de shaothar Doyle le lár chathair Bhaile Átha Hewson Cliath, ceantar a bhfuil cur amach mór aige air.
Tá Colin Davidson i measc na n-ealaíontóirí Foilsíodh a chéad leabhar grianghraf,i,fiar-thagairt comhaimseartha is mó a bhfuil meas, cáil chriticiúil orthu do dhráma Samuel Beckett, Not I, in 2014. Is éard atá agus aithne fhorleathan orthu. Rugadh é i mBéal Feirste sa staidéar áirithe seo ná sraith de phortráidí áille agus fuair sé a chuid oideachais in Ollscoil Uladh. Tá de dhaoine aonair agus iad ag déanamh gnáthrudaí roinnt mhaith duaiseanna buaite aige, ina measc, Bonn laethúla. Tá formhór na ndaoine scothaosta, agus léirítear Keating/McLoughlin (BSL) san AHR (RHA) in 2009, Duais neamhbhuaine go láidir sna híomhánna, dá bharr seo. Phortráidíochta de chuid Chomhairle na Stát Aontaithe agus Tugann Doyle le fios ‘nuair nach dtaispeántar aghaidheanna na hÉireann (Ireland-US Council) in 2010, agus boinn óir ‘go léirítear a laghad eolais atá againn faoi dhaoine agus dá agus airgid Acadamh Ríoga Uladh. Bhí an-tóir ag cuairteoirí réir sin, fúthu siúd go léir a chastar orainn ar feadh achar agus ag an bhfoireann ar cheann de phortráidí an an-ghearr sa suíomh uirbeach’. ealaíontóra den fhile agus den díolamóir Michael Longley, a tugadh do Ghailearaí Náisiúnta na hÉireann in 2012. Cé nach féidir aghaidh na mná a fheiceáil ach ar éigin, in Bhí an saothar seo le feiceáil i dTaispeántas do Dhuais Untitled 28, tá sé léirithe le scáthanna tiubha, i gcodarsnacht Féinphortráide Ruth Borchard in 2019 i Londain. leis na stríoca ildaite atá ar an mbus taobh thiar di. Níl aon Bhí Davidson ag éisteacht le ceol Talk Talk agus é ag ainm ar an duine ar nós na ndaoine eile i sraith i, de chuid péinteáil na portráide, agus baineadh geit as nuair a chuala Doyle. Dúirt an grianghrafadóir cáiliúil as an mBreatain sé faoi bhás phríomh-amhránaí an bhanna, Mark Hollis, Martin Parr gurbh é an fiar-leabhar‘i’ ‘an leabhar grianghraf sular chríochnaigh sé é. Thug sé faoi deara, tar éis dó an sráide is fearr a tháinig chun cinn le deich mbliana’. nuacht a chloisteáil, go raibh a dhreach féin athraithe, agus rinne sé iarracht é seo a léiriú sa phortráid chriochnaithe. Tuarascáil Bhliantúil 2019 13
Evelyn HOFER (1922–2009)| Girl with Bicycle, Dublin, 1966 Yousuf KARSH (1908–2002) | George Bernard Shaw 1966, priontáilte 2005 | Prionta aistrithe ruaime 1943 | Prionta airgid seanré | 27.7 × 22.1 cm 41.6 × 33.5 cm | Ceannaithe, 2019 Ceannaithe, 2019 NGI.2019.182 NGI.2019.330 © Eastát of Evelyn Hofer. Grianghraf le Yousuf Karsh, Camera Press London
Theith an grianghrafadóir faisnéise agus portráide Evelyn Grianghrafadóir de chuid na hAirméine-Cheanada Hofer as an nGearmáin i 1946. Thosaigh sí ag obair ar dtús ab ea Yousuf Karsh. Is fearr aithne air mar gheall ar a do Alexey Brodovitch ag Harper's Bazaar. Bhain sí úsáid as phortráidí d’fhir agus de mhná cáiliúla sa pholaitíocht, ceamara le hamharc 4 × 5" agus lean Hofer sa traidisiún sa scannánaíocht, san eolaíocht agus sna healaíona, ina céanna le August Sander agus an cineál a chleacht William measc, Sir Winston Churchill, Albert Einstein, Grace Kelly Eggleston ina shaothar daite ina dhiaidh sin. Dúirt criticeoir agus Walt Disney. Nuair a fiafraíodh de cén fáth ar ghlac sé ealaíne an New York Times, Hilton Kramer, gurbh í Hofer ‘an pictiúir de dhaoine cáiliúla seachas daoine eile, d’fhreagair grianghrafadóir anaithnid is cáiliúla i Meiriceá’. sé ‘Táim ag obair leis an ngrúpa daoine is suntasaí ar domhan. Creidim gurb é an mionlach seachas an tromlach Thug Hofer cuairt ar Éirinn i 1966, bliain ríthábhachtach a fhágann a lorg ar an domhan.’ Faoin am a ndeachaigh agus an tír ag comóradh cuimhneachán 50 bliain Éirí Amach Karsh ar scor i 1992, bhí níos mó ná 20 dá chuid grianghraf na Cásca. Bhí spéis ag Hofer sa tírdhreach uirbeach agus le feiceáil ar chlúdach na hirise Life. Bhí soilsiú drámatúil ina sna daoine a mhair i gcathracha na hÉireann. Thaispeáin shaintréith de stíl portráide Yousuf Karsh. Ba é seo ceann Hofer an tír, agus an phríomhchathair go háirithe, ag pointe de na tréithe ba tharraingtí dá phortráid de George Bernard tábhachtach ama, ina raibh an chuma air nach raibh cultúr Shaw i 1943. coimeádach níos sine, ag réiteach le saol nua-aimseartha a bhí ag teacht chun cinn. Léiríonn an saothar Girl with Bicycle, Thagair Karsh den phointe ama ar roghnaigh sé an íomhá Dublin, 1966 cailín óg ar rothar ‘High Nelly’ sa cheantar seo den scríbhneoir ardéirime a ghlacadh: stairiúil, an Com, i ndeisceart chathrach Bhaile Átha Cliath. Tá rud éigin dúshlánach faoin gcailín óg agus í ag amharc “Dúirt sé go bhféadfainn pictiúr maith a go diongbháilte ar an mbreathnóir agus í ag seasamh go dhéanamh de - ach ní bheadh ceann ar bith muiníneach os cionn a rothair atá i bhfad ró-mhór di. chomh maith leis an bpictiúr a chonaic sé ag cóisir dinnéir le déanaí ina bhfaca sé portráid D’fhéadfadh sé nach díol mórán suntais a bheadh sa gcailín fhoirfe dó féin nuair a d’fhéach sé thar ghualainn de bharr go bhfuil spéir throm, tithe láidre brící agus bóthar bhean an tí: ‘Cruálach, an dtuigeann tú, leathan ansin, murach an chaoi a seasann sí go daingean scigphictiúr mallaithe, ach fírinneach, go hiomlán’. agus an chaoi a bhfuil sí ag stánadh. Is é an cur chuige Bhrúigh an bhean é i dtreo na híomhá bheo, agus seo maidir le comhdhéanamh an phictiúir an chúis nach thuig sé ansin go raibh sé ag breathnú isteach radharc neamhshuntasach ón ngnáthshaol amháin atá ann i scáthán! Bhreathnaigh an seanfhear orm go feasta ach léiriú machnamhach ar theacht in aois. fiosrach féachaint ar thaitin a scéilín grinn liom agus sin an íomhá a léirigh mé de i mo phortráid.” 14 Tuarascáil Bhliantúil 2019
Edward LEAR (1812–1888) | Clondalkin Round Tower, Inge MORATH (1923–2002) Co. Dublin | Graifít ar pháipéar | 16.5 × 10.8 cm Gypsies, Killorglin, County Kerry Ceannaithe, le tacaíocht Chairde Bhailiúchán 1954, priontáilte 2009/2010, prionta lí cartlainne Náisiunta na hÉireann, 2019 23.5 × 35.5 cm | Ceannaithe, 2019 NGI 2019.196 NGI.2019.126 Grianghraf: Gailearaí Náisiúnta na hÉireann. © Inge Morath/Magnum Photos. Grianghrafadóir: Chris O’Toole D'oibrigh an grianghrafadóir de chuid na hOstaire- Is fearr aithne ar Edward Lear mar údar ‘The Owl and Mheiriceá, Inge Morath mar aistritheoir, iriseoir the Pussycat’ agus véarsaíocht luimnigh a bhí le feiceáil agus eagarthóir sular thosaigh si ag dul don ina leabhair ‘Nonsense Books’, a raibh an-tóir orthu. Ba ghrianghrafadóireacht. Thosaigh sí ag glacadh grianghraif i línitheoir agus péintéir bisiúil a bhí ann freisin agus, ón Londain i 1951, agus chuaigh sí isteach sa ghníomhaireacht mbliain 1836, chaith sé go leor ama ag taisteal agus ag nua-bhunaithe Magnum Photos in 1953. Chaith sí cuid maireachtáil thar lear, ag cruthú na mílte saothar ealaíne. mhaith de na 1950idí ag taisteal timpeall na hEorpa. In 1954, ar mholadh óna cara agus a comhghleacaí Henri Tá sé aitheanta sa lá atá inniu ann mar dhuine de na Cartier-Bresson, thug sí cuairt ar Éirinn, áit ar ghlac sí línitheoirí topagrafacha ab fhearr sa naoú haois déag. Thug grianghraf d’Aonach an Phoic i gCill Orglan, Contae Chiarraí. Lear cuairt ar Éirinn i mí Lúnasa 1835. D’fhreastail sé ar Bhi suim mhór aici sa chultúr, gníomhaíochtaí agus i muintir chruinniú bliantúil Chumann na Breataine um Chur Chun Chill Orglain, agus rinne sí taighde dá saothar ina dtithe Cinn na hEolaíochta i mBaile Átha Cliath lena chara Arthur agus ar a ngairmeacha beatha agus a gcuid caitheamh Stanley. Tar éis an chruinnithe, chuaigh Lear ar thuras aimsire. siúlóide, ag sceitseáil ar an mbealach. Ba cor cinniúna é seo maidir lena shlí bheatha san ealaín mar thosaigh sé Fuair Gailearaí Náisiúnta na hÉireann ocht ngrianghraf le ag díriú ar thopagrafaíocht agus bhog sé ar shiúl ó na Morath in 2019, a thaispeánann roinnt fear, ban agus leanaí líníochtaí eolaíochta ildaite d’éin, a raibh cáil air ina leith, go a d’fhreastail ar Aonach an Phoic in 1954 agus léirítear na dtí sin. Is ceann de naoi gcinn de sceitsí Éireannacha Lear cluichí, na stallaí agus na cleachtais a bhain leis an ócáid sin. atá sa leathán seo, a cheannaigh an Gailearaí le tacaíocht fhlaithiúil ó Chairde Bhailiúcháin Náisiúnta na hÉireann. Ní Ba bhaill den Lucht Siúil, ar a dtugtaí ‘giofóga’ go coitianta fios an bhfuil aon radharcanna Éireannacha eile de chuid ag an am sin, iad go leor de na daoine agus na teaghlaigh Lear ar fáil ach amháin na radharcanna topagrafacha a léiríodh i ngrianghraif Morath, mar shampla Gypsies, fíneálta agus beachta de láithreacha i gCill Mhantáin agus i Killorglin, County Kerry, 1954. Rinne sraith grianghraf Morath mBaile Átha Cliath. I measc na radharcanna eile, tá Bré agus doiciméadú tábhachtach ar stair shóisialta na hÉireann Little Sugarloaf, Loch Té, Bellevue i nDeilgne agus Gleann agus tugann sé léargas ar shaol agus ar phobal an Lucht Dá Loch. Siúil i rith na 1950idí.
Seo ceann de dhá sceitse den chloigtheach i gCluain Dolcáin, ceann de na cinn is fearr atá caomhnaithe in Éirinn. Tuarascáil Bhliantúil 2019 15
Bea ORPEN (1913–1980) | Study of a Reclining Nude 1933 | Graifít ar pháipéar | 38 × 56 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 NGI.2019.84
© Eastát an Ealaíontóra. Grianghraf: Gailearaí Náisiúnta na Brian O’DOHERTY (b.1928) hÉireann. Grianghrafadóir: Chris O’Toole. Ogham on Broadway | 2003 | Aicrileach ar chanbhás 183 × 183 cm | Ceannaithe, an t-Ealaíontóir, 2019 Tá an líníocht seo ar cheann de 18 staidéar daonfhíorach, NGI.2019.199 a cruthaíodh nuair a bhí Bea Orpen ag freastal ar Scoil © Gailearaí Náisiunta na hÉireann. Grianghrafadóir: Roy Ealaíne na Cathrach. Fuarthas iad seo in 2019 in éineacht Hewson. le gouache de Chuan Fhionntrá, dar dáta 1939, agus dhá leabhar sceitse ó 1969 agus 1973 faoi seach. Seo cuid In Ogham on Broadway, rinne O’Doherty script ársa de shaothar níos mó, ina bhfuil líníochtaí daonfhíoracha Éireannach, ina raibh línte leagtha amach i gceithre chlár, agus dearaí póstaeir agus teicstíle, a bhronn teaghlach an a chuíchóiriú agus leag sé an script amach i gcomhthéacs ealaíontóra, tar éis do bheirt mhac an ealaíontóra, Brian nua-aimseartha Nua Eabhrac. agus Fiachra Trench cuairt a thabhairt ar an nGailearaí. Shocraigh siad roinnt de shaothar a máthar a bhronnadh Déanann an teideal tagairt freisin don phictiúr clúiteach thar ceann an teaghlaigh mar chreid siad gur cheart an Broadway Boogie Woogie (1942–43) a rinne Piet Mondrian, t-ábhar sin a chur ar fáil do thaighdeoirí agus go dtabharfaí agus a bronnadh ar Mhúsaem na Nua-Ealaíne i Nua aire dó go brách. Eabhrac i 1943.
Cuireadh oiliúint ar Bea Orpen i Scoil Ealaíne Chathrach Cháiligh Brian O’Doherty mar dhochtúir leighis in Éirinn Bhaile Átha Cliath agus i Scoileanna RHA, áit ar bhuaigh sular thosaigh sé ag deireadh na 1950idí ar a ghairm sí duaiseanna as líníocht agus péintéireacht ábhair bheo. fhada mar ealaíontóir, léirmheastóir, scríbhneoir, déantóir D’fhreastail sí ar Scoil Ealaíne Slade agus rinne sí staidéar scannán agus oideachasóir. Is intleachtóir agus teoiricí é ar dhearadh teicstíle agus tráchtála i Scoil Ealaíon agus agus tugann O’Doherty aghaidh ar ábhair mar dhioscúrsa Ceardaíochta de chuid Chomhairle Contae Londain. aeistéitiúil, stair, teanga, an féin agus institiúidí ealaíne. Nuair a tháinig sí ar ais go hÉirinn, mhúin sí ealaín i roinnt scoileanna i nDroichead Átha, agus ina dhiaidh sin Ba é Name Change (1972), an chéad shaothar taibhithe de bhí sí ina Stiúrthóir ar chúrsaí na Comhairle Ealaíon do chuid O’Doherty ar ghlac an t-ealaíontóir an t-ainm Patrick Mhúinteoirí Náisiúnta. Ba í Bea Orpen neacht an ailtire Ireland. Choimeád an t-ealaíontóir an persona seo go dtí agus an uiscedhathadóir Richard Caulfield Orpen agus 2008, mar agóid i gcoinne mharú roinnt daoine a ghlac páirt an phéintéara Sir William Orpen, agus bhí ról lárnach i máirseáil na gcearta sibhialta i nDoire. Tá sé ina chónaí aici i mbunú Ghailearaí Cathrach Dhroichead Átha. Bhí a agus ag obair i Nua Eabhrac. cuid saothar ar taispeáint gach bliain san AIR (RHA) idir In 2019, fuair an Gailearaí dhá phortráid de O’Doherty: 1932 agus 1980.Cuireadh os cionn 100 pictiúr dá cuid ar féinphortráid luath in ola dar teideal Portrait of the Artist taispeáint agus toghadh í ina ball oinigh i 1980. as a Naked Young Man (1953) agus Cézanne’s Apple (2018), grianghraf den ealaíontóir, ag aois 90, le Fionn McCann, a bhí ar ghearrliosta Dhuais Phortráide Zurich, in 2018. 16 Tuarascáil Bhliantúil 2019
Mary Farl POWERS (1948–1992) | June 1991 | 1991 Eitseáil ar pháipéar | 100 × 83 cm | Ceannaithe, 2019 NGI 2019.113 Man RAY (1890–1976) | James Joyce, 1922 | c.1932 © Eastát an Éalaíontóra. Grianghraf: Gailearaí Náisiúnta na Prionta geilitín airgid | 12.3 × 9 cm | Ceannaithe, 2019 hÉireann. Grianghrafadóir: Roy Hewson NGI.2019. © Iontaobhas Man Ray , ADAGP Paris/IVARO Baile Átha Rugadh Mary Farl Powers i Minnesota, agus tháinig sí Cliath, 2020. go hÉirinn lena teaghlach i 1951 agus bhí sí ag staidéar i Scoil Ealaíne Dhún Laoghaire agus sa Choláiste Náisiúnta Rinne Man Ray go leor portráidí d’amharcealaíontóirí, Ealaíne. Thosaigh sí ag obair le Graphic Studio i mBaile scríbhneoirí, ceoltóirí agus daoine cáiliúla le linn na 1920idí Átha sna 1970idí agus bhí sí ina stiúrthóir air, ina dhiaidh agus na 1930idí. Léiríonn an phortráid seo de James sin. Tá cáil ar shaothar Powers mar gheall ar an gcaighdeán Joyce pointe tábhachtach i stair liteartha na hÉireann. In callagrafach a bhaineann leis agus an marc-chruthú 1922, sheol foilsitheoirí Shakespeare and Company James tomhaiste treallúsach atá ann. Léiríonn a saothar teibí Joyce chuig stiúideo Man Ray i bPáras chun grianghraif nádúr an duine agus ábharthacht san ealaín. poiblíochta a dhéanamh mar bhí Ulysses le foilsiú go gairid ina dhiaidh sin. Cé go ndúirt Man Ray gur mheas Joyce gur Ba é June 1991 an eitseáil dheireanach a rinne sí sula ‘crá croí’ dó suí do na grianghraif, d’éirigh leis an íomhá bhfuair sí bás agus gan í ach 43 bl. d’aois. Is é seo agus shuaithinseach seo don údar a chruthú. December 1989, a fuair an Gailearaí freisin ó Graphic Studio Dublin, na heitseálacha is mó a rinne sí. Bhí sé i gceist go Bhí Man Ray ina cheannródaí ar ghrianghrafadóireacht mbeadh siad san áireamh in eagrán ina mbeadh 60 eitseáil, avant-garde san 20ú haois, agus ba dhuine iomráiteach é ach rinneadh níos lú ná 20 de gach ceann a phriontáil i ngluaiseachtaí ealaíne Dada agus Osréalachais sna Stáit agus a shíniú. Ba é an gnáthchleachtas a bhí aici ná líon Aontaithe agus sa Fhrainc araon. Chuir sé eolas ar dtús beag a chruthú ag an am, mar bhí an próiseas priontála ar avant-garde na hEorpa ag an Armory Show i 1913. Ba mall agus theastaigh a lán fuinnimh len aghaidh. Dúirt é seo an chéad taispeántas Meiriceánach a raibh ealaín sí le healaíontóir eile gur féinphortráid a bhí i June 1991, nua-aimseartha ann. Thréig Man Ray an phéintéireacht ach toisc go mbíodh drogall uirthi labhairt faoi bhrí agus agus an cholláis go luath sna 1920idí agus dhírigh sé ar inspioráid a saothair, b’fhéidir go raibh roinnt den fhírinne ghrianghrafadóireacht. D’oscail sé a stiúideo portráide féin anseo a d’inis sí mar scéilín grinn. i bPáras, agus chuir sé faoi ansin i 1921. Cheap sé modh nua grianghrafadóireachta gan cheamara, ar ar thug sé Chonaic sí í féin mar ealaíontóir teibí agus scríobh sí: ‘Ní ‘fótagraim nó rayographs’, agus tugadh moladh dó as a chur chruthaím íomhá de rud, ach, tá súil agam, an rud ann féin.’ chuige neamhghnách i leith na grianghrafadóireachta. Tuarascáil Bhliantúil 2019 17
Sean SCULLY (rugadh é in 1945, Baile Átha Cliath) Landline Red Run | 2018 | Ola ar alúmanam 215.9 × 190.5 cm | Bronnta, Sean Scully, 2019 NGI.2019.115
© Sean Scully. Le caoinchead Ghailearaí Kerlin, Baile Günter SCHÖLLKOPF (1935–1979) | Molly Bloom, 1964 Átha Cliath. Grianghraf: Gailearaí Náisiúnta na hÉireann. Eitseáil | 9.9 × 50.1 cm (leathán); 49.5 × 33 cm (pláta) Grianghrafadóir: Roy Hewson Bronnta, Heidrun Schöllkopf-Schober, 2019 NGI.2019.260 Meastar go forleathan go bhfuil Sean Scully ar dhuine de © Eastát an Ealaíontóra. Grianghraf: Gailearaí Náisiúnta na na péintéirí teibí is mó le rá ar domhan. Rugadh i mBaile hÉireann. Grianghrafadóir: Chris O’Toole Átha Cliath é agus tógadh i Londain é, cónaíonn sé i Nua Eabhrac, sa Spáinn agus sa Ghearmáin. Fuair Scully Tá sé seo ar cheann de 79 saothar ar pháipéar le Schöllkopf inspioráid ó go leor gnéithe de chultúr na hEorpa, ina a spreag Finnegans Wake agus Ulysses de chuid James Joyce. measc, idéil ailtireachta na Sean-Ghréige agus dearadh Bhronn deirfiúr an ealaíontóra an saothar ar an nGailearaí. dúchasach na mballaí cloiche a fheictear faoin tuath Ba mhaisitheoir bisiúil, déantóir priontaí agus péintéir a in Éirinn. Chuir sé le hoidhreacht an teibithe sna Stáit bhí in Schöllkopf. Bhí an-suim aige sa litríocht agus rinne Aontaithe. Comhcheanglaíonn stíl teibí ceannasach Scully, sé na céadta eitseáil de shaothair scríbhneoirí na Fraince, atá aitheanta go hidirnáisiúnta, drámaíocht as cuimse le na Gearmáine agus na hÉireann. Bhí spéis aige i bhfilí, dathanna beoga agus fíneáltacht radhairc as cuimse. drámadóirí agus úrscéalaithe mar François Villon, Heinrich Heine, Stendhal, Honoré de Balzac agus James Joyce. Roghnaigh Scully féin Landline Red Run, a críochnaíodh in Léirigh sé freisin saothair Shakespeare, Dickens, Wilde agus 2018, do Ghailearaí Náisiúnta na hÉireann mar shampla dá scríbhneoirí comhaimseartha, filí agus iriseoirí, ina measc chleachtas reatha agus tá sé feiliúnach le cur sa bhailiúchán Thaddäus Troll agus Fritz Gordian. náisiúnta. Bhí cáil mhór ar líníochtaí dubh agus bán Schöllkopf a Bhronn an t-ealaíontóir Aran Portfolio, ar an nGailearaí rinne sé do phreas na Gearmáine. Bhí sé i mbun saothair freisin, seo sraith de 24 grianghraf dubh agus bán de ó na 1950idí go dtí na 1970idí, agus meastar go raibh sé ar chlaíocha cloiche, ar ar foilsíodh sé eagrán díobh. Bhí an dhuine de na príomh-dhéantóirí priontaí sa Ghearmáin. portfóilió le feiceáil i dhá thaispeántas sa Ghailearaí, Seán Scully (2015) agus Shaping Ireland: Landscapes in Irish Art Sa bhliain 1956, bhuaigh Schöllkopf Duais na Grafaice de (2019). chuid State Academy of Fine Arts i Stuttgart. In 1965 agus 1966 fuair sé scoláireacht ón Villa Massimo sa Róimh, agus in 1979, bhronn Cité Internationale des Arts i bPáras scoláireacht air. Nuair a d’éag sé, agus é 44 bliain d’aois, d’fhág sé timpeall 1,000 saothar, ina raibh liteagraif, líníochtaí, uiscedhathanna agus olaphictiúir, chomh maith le heitseálacha.Taisceadh 350 dá chuid priontaí, mar aon le 70 leabhar sceitse agus dialann, i gCartlann cáiliúil Litríochta na Gearmáine, Marbach. Taispeánfar roinnt den saothar seo go luath i 2022 chun comóradh céad bliain Ulysses, le James Joyce, a cheiliúradh. D’fhoilsigh Sylvia Beach an leabhar ina iomláine i bPáras ar an 2 Feabhra 1922. 18 Tuarascáil Bhliantúil 2019
Taispeántais
Turner – Tiomnacht Vaughan Sa Taispeátas, Nathaniel Hone: Travels of a Landscape Artist, 1–31 Eanáir 2019 bhí os cionn 30 saothar le Hone ó bhailiúchán an Ghailearaí Gailearaí na bPriontaí| Saorchead isteach Náisiúnta amháin, a léirigh gairm an ealaíontóra agus é ag Coimeádaí: Niamh MacNally taisteal ó Éirinn go háiteanna éagsúla san Eoraip, san Afraic Tacaíocht don taispeántas ó Sarasin & Partners agus sa Mheánoirthear.
I 1900, fuair Gailearaí Náisiúnta na hÉireann tiomnacht de Making their Mark: Irish Painter-Etchers 31 saothar uiscedhatha agus líníochtaí de chuid Turner ón 1880–1930 mbailitheoir Sasanach Henry Vaughan (1809–99). Ina uacht, 2 Márta – 30 Meitheamh 2019 roinn Vaughan a bhailiúchán idir gailearaithe náisiúnta Gailearaí na bPriontaí| Saorchead isteach Londain, Dhún Éideann agus Bhaile Átha Cliath. Shonraigh Coimeádaithe: Anne Hodge agus aoi-choimeádaí, Dr sé gur chóir an saothar uiscedhatha a chur ar taispeáint i Angela Griffith, Coláiste na Tríonóide, Baile Átha Cliath mí Eanáir gach bliain, le saorchead isteach. Is bailiúchán samplach de shaothar ar pháipéar Turner atá sa Turner - Thug an taispeántas seo deis do lucht spéise saothar Tiomnacht Vaughan i nGailearaí Náisiúnta na hÉireann. Sa péintéirí-eitseálaithe na nua-aoise luath, a rugadh in taispeántas seo, mar aon le saothar uiscedhatha Turner, Éirinn nó de bhunadh na hÉireann, a fheiceáil. Chuir na cuireadh san áireamh chomh maith rogha priontaí ó Liber healaíontóirí seo go mór le hAthbheochan Eitseála na Studiorum - an fiontar foilsitheoireachta ab uaillmhianaí 1880idí. Fuair siad aitheantas óna bpiaraí agus ó chriticeoirí de chuid an ealaíontóra - ina raibh saothair éagsúla ealaíne comhaimseartha. Léirigh eitseálacha le Myra tírdhreacha agus muirdhreacha. Is é Liber Veritatis le Claude Hughes, Edward Millington Synge, Percy Gethin agus Lorrain nó ‘leabhar na fírinne’, sraith líníochtaí a cruthaíodh Roderic O’Conor an chaoi ar ghlac eitseálaithe Éireannacha mar thaifead ar phictiúir tírdhreacha an ealaíontóra chun leis an modh oibre a bhíothas a chleachtadh ar an mór- brionnú a chosc, a bhí mar inspioráid ag Liber Studiorum. roinn agus ar a dtugtaí Whistlerian, sé sin a bheith ag I gcodarsnacht leis sin, is éard a bhí i Liber Studiorum de obair go díreach ón móitíf ar an bpláta copair. Bhí roinnt chuid Turner ná 71 bunsaothar a chruthaigh sé chun ardú déantúsóirí priontaí Éireannacha chun tosaigh maidir le céime a thabhairt do stádas na healaíne tírdhreacha. De triail a bhaint as turgnamh nua teicniúil, ina measc Edward bharr an tionscadail priontála seo, bhí níos mó daoine Lawrenson, a chruthaigh eitseálacha le dathanna iontacha, in ann teacht ar a shaothar agus thug sé poiblíocht ag úsáid iliomad plátaí. éifeachtach dá chuid oibre. Gné shuntasach de dhéantús priontaí na hÉireann ab ea Sa bhliain 1903, bhronn an ministir Stopford Augustus líon na mban a ghlac páirt san obair seo. Bhí líon mór Brooke (1832-1916), a rugadh in Éirinn, sraith iomlán eitseálacha, de Bhaile Átha Cliath, le Estella Solomons, de phriontaí Liber Studiorum ar Ghailearaí Náisiúnta na duine de na heitseálaithe ba bhisiúla in Éirinn, ar cheann de hÉireann. bhuaicphointí an taispeántais.
Nathaniel Hone: Travels of a Landscape Artist Is é Coláiste na Tríonóide, Baile Átha Cliath a thug an 23 Feabhra – 13 Deireadh Fómhair 2019 saothar seo ar iasacht don Ghailearaí. Seomra Hugh Lane | Saorchead isteach Coimeádaí: Sarah McAuliffe Chuir catalóg, ina raibh léaráidí, taighde nua i láthair ar an ngné seo d’ealaín na hÉireann nach raibh mórán eolais Rinneadh comóradh céad bliain ar Thiomnacht Hone, faoi, agus pléadh an inspreagadh agus na dúshláin a bhí an tabhartas aonair ba mhó (ó thaobh méide), a tugadh ag déantúsóirí priontaí na hÉireann i gcomhthéacs na do Ghailearaí Náisiúnta na hÉireann. Cuireadh rogha de hAthbheochana Eitseála agus ealaín chomhaimseartha shaothar Nathaniel Hone, duine de na healaíontóirí ab na hÉireann. Bhíothas in acmhainn é seo a dhéanamh trí iomráití i stair ealaíne na hÉireann, ar taispeáint. Mheas mhaoiniú flaithiúil a fuarthas ó Chairde Gailearaí Náisiúnta Hugh Lane gurb é Hone an péintéir tírdhreacha ba na hÉireann agus Ionad Taighde Ealaíne na hÉireann, chumasaí in Éirinn. B’ealaíontóir ceannródaíoch é Hone, Coláiste na Tríonóide, Baile Átha Cliath (TRIARC). Bhain an agus fuair sé oiliúint fhoirmiúil i bPáras sular fhorbair sé a comhthionscadal seo, a chuir leis an taighde bunaidh a chuid scileanna i gceantar tuaithe na Fraince. rinne Angela Griffith, leas as iasachtaí flaithiúla saothar ó institiúidí poiblí in Éirinn agus sa Ríocht Aontaithe. Thug Magdalene, bean chéile Hone, an tiomnacht don Ghailearaí i 1919, dhá bhliain tar éis a bháis, agus rinneadh sealbhúchán orthu i 1951. Tá i bhfad os cionn 500 saothar (212 olaphictiúir agus 336 saothar ar pháipéar) sa bhailiúchán seo. Tuarascáil Bhliantúil 2019 19
Voyage of Italy: 200 Years of Travel Guides Sa lá atá inniu ann, mar a bhfuil méadú ag teacht ar 16 Márta 2019 – 3 Bealtaine 2020 fheasacht maidir leis an tionchar a bhíonn ag daoine ar Seomra 11 | Saorchead isteach éiceachóras na Cruinne, chuaigh Shaping Ireland i ngleic Coimeádaí: Catherine Sheridan leis an dioscúrsa reatha maidir le cúrsaí comhshaoil tríd an mbealach ar léirigh an ealaín an stair a bhaineann leis Ba roinnt treoirleabhar taistil de chuid na hIodáile ón 17ú an ábhar seo. Thug an taispeántas deis do chuairteoirí agus an 18ú haois a bhí sa taispeántas, Voyage of Italy: 200 machnamh a dhéanamh ar an tionchar as cuimse atá ag Year of Travel Guides. Bhí deis ag cuairteoirí léarscáileanna gníomhaíochtaí an duine agus an ról suntasach a bhí ag inscartha a bhí maisithe go hálainn agus greanadóireacht ealaíontóirí i múnlú ár dtuisceana maidir lenár dtionchar ar d’áiteanna tábhachtacha a fheiceáil. Tugadh tuiscint an dúlra. chomh maith ar thábhacht na dtreoirleabhar seo i réimse na scoláireachta ealaíne. Bhí leabhair, cuntas taistil agus Bauhaus 100: The Print Portfolios treoirleabhair taistil a bhain leis an Róimh, Napoli, an Gailearaí na bPriontaí | 20 Iúil– 1 Nollaig 2019 Veinéis, Florence agus Bologna san áireamh sa taispeántas. Saorchead isteach Léiríodh na háiteanna aitheanta ar shlí Thurais Mhóir Na Coimeádaí: Niamh MacNally hIodáile. Taispeántas i gcomhar le Staatsgalerie Stuttgart Tacaíocht ó Chairde Ghailearaí Náisiúnta na hÉireann Bhronn an connoisseur ealaíne, scoláire agus bailitheoir Ealaín Bharócach na hIodáile, Sir Denis Mahon an t-ábhar Rinneadh comóradh 100 bliain ar bhunú an Bauhaus, ar Ghailearaí Náisiúnta na hÉireann. Bhain Mahon an-úsáid ceann de na scoileanna ealaíne agus deartha b’iomráití as na leabhair ina chuid taighde. Baineadh úsáid as na sa 20ú haois. Fuair an Gailearaí ceithre shraith leabhair mar threoirphlean i gcomhair na dtreoirleabhar iomlán de phortfóilió priontaí Bauhaus ar iasacht ón nua-aimseartha a bhfuil taithí againn orthu sa lá atá inniu Staatsgalerie i Stuttgart. Ina measc seo, bhí 52 greanadh ann. Cuireadh mórthionscadal catalógaithe i gcrích chun adhmaid, eitseálacha, liteagraif agus gearradh líonóile taifead a dhéanamh de bhronntanas flaithiúil Mahon. agus tarraingaíodh aird lucht spéise in Éirinn ar éacht cheannródaíoch a baineadh amach sa Ghearmáin maidir Shaping Ireland: Landscapes in Irish Art le déanamh priontaí. Thug an taispeántas seo deis do 20 Aibreán – 7 Iúil 2019 Ghailearaí Náisiúnta na hÉireann saothar 45 ealaíontóir Sciathán Beit, Seomraí 6–10 cáiliúil avant-garde a thaispeáint, ina measc, Lyonel Líon cuairteoirí: 10,973 | Ticéid le ceannach don Feininger, Paul Klee, Franz Marc, Max Beckmann, George Taispeántas Grosz, Ernst Ludwig Kirchner, Marc Chagall, Wassily Coimeádaí: Donal Maguire Kandinsky, Umberto Boccioni agus Natalia Goncharova.
You’re on Earth. There’s no cure for that … our human span an Kirchner, Marc Chagall, Wassily Kandinsky, Umberto eyeblink. To save the world is not so simple as to mine an Boccioni and Natalia Goncharova. ocean for each salt tear we’ve wept. Thacaigh Cairde Ghailearaí Náisiúnta na hÉireann leis an Paula Meehan, ‘The Island a Prospect’, coimisiúnaithe do taispeántas seo, i gcomhar leis an Staatsgalerie Stuttgart. Shaping Ireland. Sheol Ambasadóir na Gearmáine in Éirinn, Mrs Deike Potzel, an taispeántas. Cuireadh sraith cainteanna agus léiriúchán i Scrúdaigh Shaping Ireland an gaol idir daoine agus an láthair i gcomhar leis an Goethe-lnstitut Irland. tírdhreach in ealaín na hÉireann thar thréimhse 250 bliain. Bhí 72 saothar ealaíne le 50 ealaíontóir sa taispeántas, Rinne an Dr Christiane Lange, Stiúrthóir an Staatsgalerie ina measc, saothair le healaíontóirí iomráiteacha mar Stuttgart, a labhair ag an oscailt, comhghairdeas leis an George Barret, Paul Henry agus Jack B. Yeats; ealaíontóirí nGailearaí de bharr an líon daoine a thug cuairt ar an comhaimseartha mar Dorothy Cross, Willie Doherty, Kathy taispeántas. Thug 63,000 duine cuairt ar an taispeantas. Prendergast agus Sean Scully; chomh maith le healaíontóirí atá ag teacht chun cinn ar nós, Caoimhe Kilfeather, Samuel Chruthaígh an Gailearaí naisc láidre le hollscoileanna Laurence Cunnane, Ruth Lyons agus daoine eile. chomh maith le go leor scoileanna. Cuireadh saothair ealaíne i meáin thraidisiúnta agus i meáin nua, idir olaphictiúir, uiscedhathanna agus Sorolla: Spanish Master of Light grianghrafadóireacht, dealbhóireacht agus físeán, san Sciathán Beit Íochtarach (Seomraí 6–10) 10 Lúnasa – áireamh sa taispeántas. 3 Samhain 2019 | Líon cuairteoirí: 48,139 I Ticéid le ceannach | Coimeádaí: Brendan Rooney agus Aoife Cuireadh san áireamh freisin, iasachtaí ó bhailiúcháin Brady phoiblí agus phríobháideacha, saothar nua ó ealaíontóirí óga spreagúla, agus roinnt saothar a fuair an Gailearaí Bhí cáil ar an bpéintéir Joaquín Sorolla (1863–1923),as Náisiúnta le déanaí. Bhí olaphictiúr mór de chuid Nick Valencia, mar gheall ar an léiriú grianmhar a thug sé ina Miller, From Pat Cogan’s Shed, chomh maith le Aran Walls, chuid pictiúr ar shaol, fhóillíocht, thírdhreacha agus ar sraith grianghrafadóireachta le Seán Scully agus Boglands 4, thraidisiúin na Spáinne. Péinteáladh a lán díobh lasmuigh pictiúr le T.P. Flanagan san áireamh freisin. agus bhí siad ollmhór. Ba é an taispeántas seo a ullmhaíodh 20 Tuarascáil Bhliantúil 2019
i gcomhpháirtíocht leis an nGailearaí Náisiúnta, Londain, agus a eagraíodh i gcomhar leis an Museo Sorolla, Maidrid, an chéad uair a cuireadh saothar Sorolla ar taispeáint in Éirinn. Bhí 52 pictiúr san iomlán sa taispeántas, a fuarthas ar iasacht ó bhailiúcháin phríobháideacha agus phoiblí ar fud an domhain. Bhí réimse leathan de radhairc Spáinneacha i dTaispeántas Bhaile Átha Cliath, ina measc, portráidí teaghlaigh, gairdíní agus tírdhreacha, muirdhreacha, feisteas agus faisean, agus léargas ar an saol laethúil agus ar an gcultúr.
Sa taispeántas seo, chonacthas muirdhreacha dallraitheacha de thránna Valencia, radhairc ó aillte arda Ibiza, daoine ar an bpromanáid ag breathnú ar na tonnta ag briseadh i San Sebastián agus lánléargais ar spéartha gormghlasa mórthaibhseacha an Costa Blanca. Chomh maith leo sin, bhí pictiúir a rinne Sorolla de phálás Seville Enda Bowe, buaiteoir Dhuais Phortráide i nGailearaí agus Granada, pictiúir de thírdhreacha shainiúla agus Náisiúnta na hÉireann, lena shaothar Cybil McCaddy áitritheoirí Salamanca, Toledo, agus Ghleann Roncal ag bun with Daughter, Lulu, 2018. Shléibhte na bPiréiní, agus na léaráidí a rinne sé de chósta Grianghraf: Maxwell Photography na Fraince agus é ar laethanta saoire lena theaghlach i mbaile saoire Biarritz, go léir san áireamh sa taispeántas Baineann saothar Enda Bowe le scéalaíocht agus solas seo. agus áilleacht a aimsiú i ngnáth-rudaí. Dúirt Bowe faoin ngrianghraf a bhuaigh an gradam, Cybil McCaddy with Bhí ábhar ó choimeádaithe Ghailearaí Náisiúnta na Daughter Lulu: ‘léiríonn an phortráid seo an ceangal hÉireann, an Dr Brendan Rooney agus an Dr Aoife Brady mothúchánach idir tuismitheoir nua agus a leanbh, a san áireamh i gcatalóg ina raibh léaráidí ann chomh maith. chuirfeadh léiriú traidisiúnta máthair agus linbh i gcuimhne duit’. Rinneadh an phortráid ar eastát tithíochta in oirthear Duais Phortráide Zurich 2019 Londain agus tá sé mar chuid de thionscadal leanúnach de Gailearaí na bPortráidí, Bailiúchán Náisiúnta Portráidí chuid Bowe, dar teideal Clapton Blossom, atá ina cheiliúradh (Seomra 23) | 5 Deireadh Fómhair 2019 – 12 Eanáir 2020 ar an daonnacht agus an éagsúlacht shóisialta. Saorchead isteach Coimeádaithe: Niamh MacNally agus Sarah McAuliffe Bhí an-áthas ar an nGailearaí Duais Phortráide Zurich a thabhairt ar thuras den chéad uair in 2019. I mí Eanáir, Ba é 2019 an séú bliain as a chéile ar reáchtáladh comórtas tugadh na saothair a bhí ar ghearrliosta Dhuais Phortráide portráide bliantúil Ghailearaí Náisiúnta na hÉireann. Zurich, agus Duais Phortráide Zurich do Dhaoine Óga Is portráidíocht chomhaimseartha a bhíonn i gceist i chuig Gailearaí Ealaíne Crawford i gCorcaigh. Dúirt Mary gComórtas Portráide Zurich agus tá an comórtas oscailte McCarthy, Stiúrthóir Ghailearaí Ealaíne Crawford, go d’ealaíontóirí atá 19 mbliana d’aois agus níos sine. Tagann gcuirfeadh an taispeántas ‘ar chumas ár lucht spéise iontrálacha don chomórtas ó gach cearn d’oileán na rochtain a fháil ar bhailiúchán níos leithne agus méadaíonn hÉireann agus ó ealaíontóirí Éireannacha atá ina gcónaí sé ár gcomhoibriú leanúnach le Gailearaí Náisiúnta na thar lear. Faigheann buaiteoir Dhuais Phortráide Zurich hÉireann.’ Léiríodh na taispeántais sa dá ionad i gCatalóg coimisiún chun saothar nua a chruthú le cur san áireamh taispeántais, a d’fhoilsigh Gailearaí Náisiúnta na hÉireann. sa Bhailiúchán Náisiúnta Portráidí. Bronntar dhá dhuais as saothair a thuill ardmholadh freisin. Seo an dara bliain a Duais Phortráide Zurich do Dhaoine Óga ndearna Zurich Insurance plc urraíocht ar an duais. Gailearaí Náisiúnta na hÉireann. I Stiúideo Sciathán na Mílaoise | 5 Deireadh Fómhair 2019 – 12 Eanáir 2020 Bhí féiniúlacht, an teaghlach, cuimhne, inscne, aosú, athrú Gailearaí Ealaíne Crawford, Corcaigh, Gailearaithe sóisialta agus éagsúlacht i measc chuid de na téamaí ar Gibson I 31 Eanáir – 13 Aibreán 2020 thug na 26 ealaíontóir, a bhí ar an ngearrliosta, aghaidh orthu. Chuir os cionn 300 ealaíontóir isteach ar an In 2019, thug Gailearaí Náisiúnta na hÉireann comórtas gcomórtas i mbliana. Bhí siad seo a leanas ar an bpainéal nua isteach, Duais Phortráide Zurich do Dhaoine Óga. moltóireachta: Mike Fitzpatrick, Ceann Scoil Ealaíne agus Creidtear go bhfuil an duais seo tábhachtach i dtaca Deartha Luimnigh; An tOllamh Fiona Kearney, Stiúrthóir leis an aidhm leanúnach atá ag an nGailearaí maidir le bunaithe an Glucksman i gCorcaigh; agus Mick O’Dea, cruthaitheacht, úrmhaireacht agus féinléiriú a chothú, i ealaíontóir agus ball den AIR (RHA). Ba é an grianghrafadóir measc leanaí agus daoine óga. Glacadh le hiontrálacha ó Éireannach Enda Bowe, a chónaíonn agus a oibríonn i dhaoine óga, de gach cumas, suas go 18 mbliana d’aois Londain a bhuaigh an duais. Bronnadh duais ardmholta ar ó gach cearn d’oileán na hÉireann. Roghnaigh painéal Joe Dunne agus Salvatore as Leamhcán. breithiúna saothar ó 20 iomaitheoir a bhain amach an Tuarascáil Bhliantúil 2019 21
babhta deiridh den chomórtas, i gceithre chatagóir aoise (sé ar bhailiúcháin griangrafadóireachta an Ghailearaí féin a bliana agus níos óige, seacht - 11, 12–15 agus 16-18), agus dhoiciméadú. Bhí saothair le n-ealaíontóirí mór le rá as cuireadh ar taispeáint iad i Stiúideo Sciathán na Mílaoise Éirinn agus ealaíontóirí idirnáisiúnta sa taispeántas, ina ón 5 Deireadh Fómhair 2019. Ba iad na moltóirí in 2019, measc, Jane Bown, Eamonn Doyle, Erich Hartmann, Nevill ná, an t-ealaíontóir Hetty Lawlor; an grianghrafadóir agus Johnson, Inge Morath, agus Amelia Stein. scannánóir Perry Ogden; agus an Dr Brendan Rooney, Príomh-Choimeádaí i nGailearaí Náisiúnta na hÉireann. Moment in Time: A Legacy of Photographs | Ba iad Callie Le Page, Jiaming Zheng, Erin Welch agus Cara Works from the Bank of America Collection Pilbeam na hiomaitheoirí a bhuaigh sna catagóirí éagsúla. Sciathán Íochtarach Beit (Seomraí 6–10) | 30 Samhain Ba é an saothar a bhuaigh an chéad Duais Phortráide Zurich 2019 – 18 Meán Fómhair 2020 | Líon cuairteoirí (ar 31 do Dhaoine Óga ná grianghraf, dar teideal, The new age leis Nollaig 2019): 3,502 I Taispeántas le ticéid na colceathracha, Mabel Forsyth agus Mary O’Carroll, 12 Coimádaithe: Anne Hodge agus Sarah McAuliffe bliana d’aois as Baile Átha Cliath. Taispeánadh an saothar Reáchtáladh an taispeántas trí chlár Ealaín inár bPobal® a bhuaigh Duais Phortráide Zurich do Dhaoine Óga taobh de chuid Bhanc Mheiriceá leis an saothar a bhuaigh an phríomhdhuais, i nGailearaí Ealaíne Crawford i gCorcaigh ón 31 Eanáir 2020 go dtí an 13 In 2019, reáchtáil an Gailearaí an chéad mhórthaispeántas Aibreán 2020. Dúirt Neil Freshwater, POF Zurich Insurance grianghrafadóireachta riamh. Moment in Time: A Legacy of plc: “Bhí sé iontach an dara duais a thabhairt isteach i mbliana Photographs | Works from the Bank of America Collection. agus saothar le healaíontóirí de gach aois a chur ar taispeáint. Bhí seo ar cheann de na bailiúcháin corparáideacha Tá úire agus beogacht sna saothair seo a chuireann ar bís grianghrafadóireachta ba mhó ar domhan, agus bhí muid maidir leis an tallann a thiocfaidh chun cinn sa todhchaí saothair le cuid de na grianghrafadóirí is iomráití ar agus ar mhian leis an gcomórtas seo a chur chun cinn”. domhan san áireamh anseo, ina measc, Julia Margaret Cameron, Henri Cartier-Bresson, Robert Frank, Dorothea Buaiteoir iomlán – Duais Phortráide Zurich do Lange agus Eugene Smith. Bhí roinnt mhaith pictiúr Dhaoine Óga 2019 íocónach sa taispeántas freisin, ina measc, Grand Prix de l’ACF., Circuit de Dieppe (1912) de chuid Jacques Henri Lartigue, Circuit de Dieppe (1912), Greta Garbo (1928) le Edward Steichen agus Couple au bal musette des Quatre- Saisons de Brassaï, Rue de Lappe (1932 ) de chuid Brassaï.
Bhí an taispeántas, a thug léargas saibhir agus éagsúil ar stair na grianghrafadóireachta ó lár an naoú haois déag go dtí na 1960idí, ar taispeáint roimhe seo i Músaem na nEalaíon Grianghrafadóireachta i San Diego. Áfach, chuir na coimeádaithe Anne Hodge agus Sarah McAuliffe i láthair é i gcumraíocht nua i mBaile Átha Cliath. Caomhnú: Cúram a
dhéanamh don Mabel Forsyth agus Mary O’Carroll (12 bl. d’aois) The new age Grianghraf ar pháipéar Bhailiúchán
View of Ireland: Collecting Photography Réamhrá Seomra Hugh Lane (Seomra 31) | 25 Deireadh Fómhair 2019 – 16 Feabhra 2020 | Saorchead isteach Dhírigh an fhoireann Caomhnaithe, in 2019, ar bhearta Coimeádaithe: Anne Hodge agus Sarah McAuliffe seanbhunaithe cúram bailiúcháin a chur i bhfeidhm agus a nuashonrú, mar shampla, rinneadh monatóireacht ar an Cuireadh View of Ireland: Collecting Photography, taispeántas timpeallacht agus tugadh faoi chaomhnú coisctheach, chun i-bhfócas, i Seomra Hugh Lane ar siúl ag an am céanna aon riosca don bhailiúchán a mhaolú. Ba mhór an chabhair leis an taispeántas ní ba mhó, dar teideal, Moment in don fhoireann gur cruthaíodh dhá phost nua sa rannóg, i.e. Time: A Legacy of Photographs | Saothar ó Bhailiúchán Caomhnóir Coisctheach agus Caomhnóir Páipéir. Tugadh Bhanc Mheiriceá. Rinneadh an fhorbairt ghasta a tháinig faoi phríomhthionscadail taighde agus chaomhnaithe i 22 Tuarascáil Bhliantúil 2019
rith na bliana, mar shampla Tionscadal Lavinia Fontana, le – NGI.76, Lavinia Fontana, The Visit of the Queen of Sheba to tacaíocht Bank of America Art Conservation Project, agus King Solomon caomhnú The Lamentation of Christ le Gerard Seghers. – NGI.2019.43, Dorothy Cross, Shark Heart Submarine.
Beartas Caomhantais. Rinneadh anailís freisin ar ghrúpaí de shaothar ealaíne a bhaineann leis an taighde leanúnach ar phortráidí Thosaigh an Rannóg Caomhnaithe ag dréachtú doiciméad Túdaracha agus an bailiúchán painéal de chuid na hIodáile nua um Bheartas Caomhantais, ag teacht le tiomantas ón séú haois déag, rud a fhágann gur féidir staidéir an Ghailearaí i dtaobh bhainistíocht agus chaomhnú an chomparáideacha a dhéanamh agus a chur i láthair i bhailiúcháin. Tá sé mar aidhm ag an mbeartas freagrachtaí dtaispeántais atá le teacht. Chuir an t-anailíseoir XRF go caomhnaithe an Ghailearaí a shainiú, ag tabhairt treorach mór le cumas an Ghailearaí saothair ealaíne a scrúdú gan maidir leis an gcleachtas is fearr i gcúram gach saothar samplaí a thógáil astu. bailiúcháin, (cibé ar taispeáint, faoi bhealach, ar iasacht nó in ionad stórála). Tá an beartas nua á ullmhú i dteannta na bprótacail bailiúcháin agus freagrachtaí bainistíochta riosca atá ann cheana féin. Tionscadail Chaomhnaithe Taighde Eolaíoch Scientific Péintéireachta In 2017, fuair an Rannóg Chaomhnaithe anailíseoir fluaraiseach X-ghathach (XRF) láimhe le cur ar chumas na NGI.76, Lavinia Fontana, The Visit of the Queen of Sheba foirne caomhnaithe anailís eiliminteach a dhéanamh ar to King Solomon líocha agus ar thátháin. 2018 Tionscadal Caomhnaithe Bhanc Mheiriceá
Is é The Visit of the Queen of Sheba to King Solomon an pictiúr is mó a bhfuil eolas ag daoine air de chuid dhuine de na healaíontóirí mná ba cháiliúla i ré an Renaissance. Go dtí seo, tá cóireálacha cuimsitheacha caomhnaithe déanta ag coimeádaithe tionscadail ar an bpictiúr, agus chuathas i ngleic le saincheisteanna struchtúir agus aeistéitiúla. Rinneadh scrúdú agus staidéar teicniúil agus eolaíoch freisin, fad agus a bhí an chóireáil phraiticiúil ar siúl.
D’fhéadfaí gach céim den tionscadal caomhnaithe, a fheiceáil ar líne, ag baint úsáide as ábhar físe agus suíomh Gréasáin a dearadh chun cur leis an eolas faoi thábhacht Grianghraf: Gailearaí Náisiúnta na hÉireann. an ealaíontóra agus an tionscadail atá idir lámha. Tugadh Grianghrafadóir: Elline von Monschaw, Caomhnú cainteanna agus léachtaí, sa Ghailearaí agus in institiúidí comhpháirtíochta araon, agus rinneadh pleanáil do shraith Tá ar chumas an trealamh seo scrúdú domhain a imeachtaí caomhnaithe. Tá fuinneoga á réiteach ionas go dhéanamh ar shaothair ealaíne chun a fháil amach cén sórt mbeidh cuairteoirí ábalta féachaint isteach sa Stiúideo caomhnú nó cóireála atá riachtanach i gcomhair na saothar Caomhnaithe chun cóireáil bheo an phictiúir a fheiceáil ealaíne chomh maith le heolas a sholáthar faoi líocha nuair a chuirfear sraith léiriúcháin ar siúl anseo, i ndeireadh laistigh de phictiúir agus ábhair shubstráite, ar nós, miotail 2020. sa dealbhóireacht. Bíonn sainaithint ábhar mar bhonn eolais don taighde ach d’fhéadfadh impleachtaí praiticiúla a bheith aige maidir le cúram a thabhairt don saothar Nathaniel Hone: Travels of a Landscape Artist ealaíne; mar shampla, d’fhéadfaí srianta a chur ar nochtadh Cuireadh taispeántas pictiúr, a cruthaíodh nuair a bhí an shaothar ar leith don solas, má aithnítear go bhfuil ábhar t-ealaíontóir ag taisteal, ar siúl chun comóradh a dhéanamh datha neamhbhuan ann atá solas-íogair. ar thiomnacht shaothar Nathaniel Hone céad bliain ó shin. Scrúdaíodh 34 saothar agus roghnaíodh 19 acu seo le Rinneadh scrúdú ar na saothair a leanas in 2019: haghaidh taispeántas i-bhfócas ar shaothar an ealaíontóra i Seomra Hugh Lane. Ní raibh anseo ach roinnt bheag den – NGI.2014.1, Gerard Seghers, Lamentation of Dead Christ bhailiúchán mór de thart ar 500 saothar le Nathaniel Hone atá i mbailiúchán an Ghailearaí. – NGI.2358, F.W. Burton, Hellelil and Hildebrand, the Meeting on the Turret Stairs Tuarascáil Bhliantúil 2019 23
NGI.2014.1, Gerard Seghers, The Lamentation Beidh na dúshláin a bhaineann le caomhnú nua-aimseartha of Christ mar dhisciplín iomlánaíoch, i gceist sa tionscadal seo agus beidh gá le cur chuige ildisciplíneach, i dtaca le Is é Lamentation of Christ an t-aon saothar le Gerard gnéithe teicniúla, eiticiúla agus aeistéitiúla chomh maith le Seghers atá sa bhailiúchán. Tugadh an pictiúr mór seo réamhdhoiciméadú agus anailísí eolaíochta. Má dhéantar don Ghailearaí in 2014 agus ó shin i leith rinneadh go leor mionthaighde anailíseach agus doiciméadú ar stair cóireála air. Críochnaíodh cóireáil ar an taca canbháis chaomhnaithe chasta saothair ar leith, ansin, beidh ar in 2019. Baineadh de an sean líneáil canbháis agus chumas na foirne cineálacha cur chuige eiticiúla a phlé agus rinneadh cóireáil ar líneáil nua, chomh maith le roinnt a roghnú, agus beidh na foirne caomhnaithe ar an eolas obair dheisiúcháin, agus rinneadh measúnú ar an sínteán maidir leis na cóireálacha is oiriúnaí. adhmaid. Baineadh úsáid as teicnící íomháithe anailíse iomadúla, ina measc, grafaíocht frithchaithimh infridhearg Beidh lá staidéir freisin ar siúl maidir le saothair cholláis agus ultraivialait nuair a bhíothas ag scrúdú an phictiúir. Gris, ar a bhfreastalóidh scoláirí i réimse an choimeádaithe, Rinneadh anailís eiliminteach ar na sraitheanna péinte agus ceardlann dhá lá ar mhodhanna líneála traidisiúnta le fluaraiseacht x-ghathach. Caithfear roinnt míonna ag agus nua-aimseartha. Is í an aidhm ná díospóireachtaí baint vearnaise agus forphéint den phictiúr. Is cóireáil teoiriciúla agus plé teicniúil a ghiniúint agus cuidiú le chasta, a thógfaidh roinnt mhaith ama atá i gceist ach tá sé caighdeáin idirnáisiúnta caomhnaithe a nuashonrú. riachtanach é seo a dhéanamh chun go mbeifí ábalta an Tabharfaidh sé deis uathúil freisin chun oidhreacht an pictiúr a a fheiceáil níos soiléire. Leanfaidh an tionscadal ar eolais chaomhnaithe a bhaineann le saothair ealaíne ó aghaidh in 2020. chúlraí stairiúla agus teicniúla éagsúla a choinneáil, ag nascadh saineolas na gcoimeádaithe sinsearacha páipéar agus olaphictiúr de chuid an Ghailearaí. Cuirfear tús le Taispeántas Glamour and Governance cóireálacha taighde agus caomhnaithe i mí Aibreáin 2021; Nuair a bhíothas i mbun chóireálacha caomhnaithe i tá an obair le bheith críochnaithe i mí Aibreáin 2023. gcomhair an taispeántais, Glamour & Governance (2021), tugadh deis, nach bhfuarthas riamh cheana, léargas a fháil ar 14 portráid ar phainéal ó ré na dTúdarach. I mí na Nollag Intéirneacht, oiliúint agus cláir shocrúcháin 2019, d’oibrigh an tOllamh Peter Klein leis an bhfoireann oibre caomhnaithe chun anailís a dhéanamh ar na painéil. Is Bhí Clár Intéirneachta na Comhairle Oidhreachta deich speisialtóir adhmaid é an tOllamh Klein a chuidigh roimhe mbliana ar an bhfód i mbliana. Tugann an clár seo an sin leis an GNÉ le seirbhísí deindreacroineolaíochta ar an deis do choimeádaí olaphéintéireachta iarchéime, oiliúint tionscadal Rembrandt Research. a fháil i Rannóg Chaomhnaithe an Ghailearaí. Tá sé dírithe, go príomha, ar mhic léinn a bhfuil sainchúrsaí Tionscadal Caomhnaithe Canbháis caomhnaithe curtha i gcrích acu i réimsí an pháipéir, leabharcheangal agus na péintéireachta agus reáchtáiltear Fhondúireacht Getty é i gcomhpháirtíocht le Leabharlann Chester Beatty, Bíonn an Rannóg Chaomhnaithe i mbun caidrimh le Leabharlann Náisiúnta na hÉireann, an Chartlann Náisiúnta hinstitiúidí caomhnaithe agus le músaeim in Éirinn agus agus Sean Leabharlann Choláiste na Tríonóide, Baile Átha thar lear agus cuireann siad a gcuid oibre chun cinn. In Cliath. 2019, bhronn Fondúireacht Getty deontas substaintiúil ar an rannóg chun tabhairt faoi thaighde agus oiliúint i dtaca le trí shaothar i mBailiúchán Ghailearaí Náisiúnta Suirbhé ar Bhailiúchán na bPriontaí agus na na hÉireann a chaomhnú: Saint Joseph with the Christ Líníochtaí Child, Giovanni Battista Barbieri, ar a dtugtar Guercino Cuireadh tús leis an Suirbhé Caomhnaithe Priontaí agus (1591–1666); A Guitar, Glasses and a Bottle and Carafe, Juan Líníochtaí i mí Feabhra 2019, ina measc, mionphictiúir agus Gris (1887 –1927).; agus Cups and Glasses, Juan Gris (1887 grianghrafadóireacht. Tá sé mar aidhm ag an suirbhé seo –1927). faisnéis mhionsonraithe a chur ar fáil maidir le saothair atá sa Bhailiúchán Priontaí agus Líníochtaí. Chun léargas Tá leochaileacht, scealpadh, dílannú agus meathlú na níos fearr a fháil, cuirtear eolas a bhaineann leis an mbail dtacaí canbháis le tabhairt faoi deara sa trí phictiúr, agus agus an chóireáil atá le déanamh ar na saothair isteach i mar sin is gá taighde agus caomhnú a dhéanamh ar na gcatagóirí ar leith, chun cabhrú le tosaíocht a thabhairt do sárshaothair thábhachtacha seo, mar aon le hoiliúint a chur phriontaí agus líníochta de réir riachtanais chaomhnaithe. ar choimeádaithe maidir le saincheisteanna teoiriciúla agus De réir mar a théann an suirbhé ar aghaidh, aistreofar teicniúla a bhaineann le próisis líneála traidisiúnta agus na sonraí a bhailítear chuig Córas Bainistíochta um nua-aimseartha. Teastaíonn foireann idirdhisciplíneach Bhailiúcháin an Ghailearaí, a thacaíonn le riachtanais de choimeádaithe páipéir agus péintéireachta le cúram a taighde, ullmhú iasachtaí agus taispeántas. dhéanamh do shaothair ealaíne meán measctha (ola ar chanbhás agus colláis páipéir ar chanbhás). 24 Tuarascáil Bhliantúil 2019
Saothar Nua atá Faighte agus a úsáideann an Gailearaí; agus grianghrafadóireacht de shaothair ealaíne sa bhailiúchán agus i gcomhair In 2019, rinne coimeádaithe páipéir measúnú ar oiriúnacht taispeántas agus caomhnaithe. Ba chatalóga a ghabh le agus an riocht a bhí ar 317 saothar nua a bhíotas ag beartú cuid dár bpríomhthaispeántais - Shaping Ireland: Landscapes a fháil don ghailearaí. Ba ghrianghraif a bhí in 160 díobh in Irish Art; Making their Mark: Irish Painter-Etchers 1880–1930; seo. agus Duais Portráid Zurich 2019, na foilseacháin a cuireadh ar fáil in 2019. Tá dúshláin ar leith ag baint leis an mbailiúchán nua grianghrafadóireachta, toisc gur rudaí casta iad grianghraif. Láimhseáil an fhoireann Íomhánna & Ceadúnúcháin breis Bíonn siad déanta as sraitheanna nó ábhair comhnasctha, agus 20,000 iarratas agus ceist maidir le híomhánna, de ghnáth, agus bíonn tionchar difriúil ag an timpeallacht cóipcheart, scannánú agus grianghrafadóireacht ar an agus ag fórsaí ficiúla ar gach sraith ar leith. Breathnaíonn láthair chomh maith le híomhánna na mbailiúchán agus go leor grianghraf mar an gcéanna ar pháipéar, ach na dtaispeántas go léir a d’úsáid na rannáin ar fad sa bíonn an cheimic a bhaineann leo an-éagsúil ó thaobh an Ghailearaí, a sholáthar. Ina theannta sin, rinne an fhoireann phróisis grianghrafadóireachta, na n-ábhar a úsáidtear cúram d’imréitigh cearta don E-Museum-suíomh Gréasáin agus aois. Bhí próisis, toisí agus aoiseanna éagsúla i gceist an Ghailearaí, poiblíocht i gcomhair gach taispeántas, leis na grianghraif a fuair an Gailearaí agus mar sin, bhí dearadh taispeántais agus áiseanna oideachais. riachtanais éagsúla stórála, láimhseála agus taispeána de dhíth orthu. Rinne an fhoireann Caomhnaithe Páipéar Ghlac ár ngrianghrafadóirí gairmiúla breis agus 1,640 moltaí maidir le háiseanna stórála cearta, agus chuir siad grianghraf de shaothair ealaíne sna bailiúcháin chomh oiliúint ar an bhfoireann a bhí ag plé leis an mbailiúchán maith le grianghraif de shuiteálacha taispeántais. grianghrafadóireachta. Ceannaíodh ábhair stórála agus Cruthaíodh grianghraif do phainéil taispeána chomh maith cuireadh tús le clár feistithe le haghaidh stórála cosanta do le facsamhlacha ar ardchaighdeán le cur sna caibinéid ghrianghraif somhillte. taispeána in ionad leabhair shomhillte nach féidir a chur ar taispeáint ar feadh tréimhsí fada. Chuir an rannán Leabharlann agus an Chartlann – Cóireáil grianghrafadóireachta ábhar ar fáil freisin le haghaidh réimsí taifead, taighde agus caomhnaithe. Tógadh an Bhailiúcháin, nithe nua a fuarthas, san grianghraf de ochtó saothar ealaíne, ag baint úsáide as áireamh. córais grafaíocht frithchaithimh infridhearg agus ultraivialait In 2019,cuireadh tús le comhoibriú dlúth idir rannán um an Ghailearaí, in 2019 Chaomhnú Páipéar agus an rannan Leabharlainne agus Cartlann. Thug siad cúnamh dá chéile in ullmhú taispeántas agus suiteála. Bhí comhoibriú eatarthu chomh maith maidir le measúnú na saothar nua, athchóiríocht agus cóireáil an An Leabharlann bhailiúcháin. agus na Rinneadh suirbhé agus/nó cóireáil ar 1,077 saothar aonair, san iomlán, ón mbailiúchán cartlainne, ina raibh trí bhailiúchán i gceist: Saothair le Yeats 2017, Cartlann Gerda Cartlanna Frömel 2018 agus Saothair le Bea Orpen 2019. In 2019, lean an Leabharlann agus na Cartlanna ag Fuarthas bailiúchán Bea Orpen ina raibh 420 earra. forbairt agus ag cur seirbhísí ar fáil maidir le rochtain ar na Líníochtaí ón mbeo, sceitsí ullmhúcháin agus pictiúir bailiúcháin sa Ghailearaí féin agus i bhfoirm dhigiteach ar gouache, ba mhó a bhí sa bhailiúchán. Bhí roinnt líne, ina measc, seirbhísí taighde, an clár rannpháirtíochta comhfhreagrais agus ábhar ephemera ann a raibh poiblí agus comhfhiontair. Is é bailiúchán Lárionad BSL damáiste mór déanta ag múscán díobh. Thaispeáin an um Staidéar ar Ealaín na hÉireann (CSIA) ceann de na measúnú tosaigh a rinne rannán um Chaomhnú Páipéar hacmhainní is tábhachtaí agus is luachmhaire ar domhan, orthu go raibh damáiste déanta ag múscán do thríú cuid chun staidéar a dhéanamh ar ealaín na hÉireann. De den bhailiúchán. bharr deacrachtaí cóiríochta agus spáis, rinneadh Seomra Léitheoireachta Ionad Ealaíne na hÉireann (CSIA) i Sciathán na Mílaoise a athchóiriú agus anois úsáidtear é chun bailiúcháin a dhigitiú de réir mar atá méadú ag teacht Foilseacháin ar éileamh ár mbailiúchán ar líne. Rinneadh bailiúchán leabharlainne an CSIA a athlonnú go sealadach go Seomra Léitheoireachta Sir Denis Mahon, rinneadh obair agus Íomhánna freisin chun na háiseanna stórála reatha a mhéadú agus ullmhaíodh plean chun athfhorbairt a dhéanamh ar stór Tá an Rannóg Foilseachán agus Íomhánna freagrach as trí Yeats. ghné ar leith sa Ghailearaí, i.e. foilseacháin, íomhánna agus ceadúnú; bainistíocht ar mhaoin intleachtúil a chruthaíonn Tuarascáil Bhliantúil 2019 25
I gcatalógú mionsonraithe an bhailiúcháin, taifeadadh Forbairt na mbailiúchán meiteashonraí caighdeánacha bibleagrafacha agus ábhar, agus rinneadh taifead freisin ar shonraí anótála, míreana Tionscadal do Bhailiúchán Digiteach ‘Source’ insáite nó buanábhar a aimsíodh sna leabhair. Is acmhainn In 2017, bhronn an Roinn Cultúir, Oidhreachta agus fhíorleithleach é seo do scoláirí mar gheall ar an gcineál Gaeltachta (DCHG) maoiniú ar Ghailearaí Náisiúnta na catalógú cúramach agus cuimsitheach a rinneadh anseo. hÉireann chun acmhainn ar líne a fhorbairt, ag díriú ar Tá go leor imleabhar uathúil agus ársa i mbailiúchán na bhailiúcháin taighde ealaíne na hÉireann. Tugadh Source - leabharlainne agus meastar gur phríomhfhoinsí atá iontu Uncovering Stories of Art in Ireland mar ainm air seo. Chuaigh maidir le staidéar ar ealaín na hEorpa, go háirithe ealaín na an tionscadal ilbhliantúil seo chun cinn in 2019. Socraíodh hIodáile. Is é an t-imleabhar is luaithe sa bhailiúchán ná La an bonneagar chun catalógú agus digitiú a dhéanamh Pittura le Leon Battista Alberti, ón mbliain 1550. ar na bailiúcháin in Ionad BSL um Staidéar ar Ealaín na hÉireann le cinntiú go mbeadh taighdeoirí ábalta teacht Cartlanna agus Taifid na hInstitúide go héasca ar na bailiúcháin luachmhara seo sa todhchaí. Is cuid lárnach den tionscadal seo cúram agus caomhnú Rinneadh dul chun cinn freisin, in 2019, maidir le cúram na mbailiúchán, agus mar thoradh ar chomhoibriú leis an agus bainistíocht chartlanna agus thaifid an Ghailearaí. Rannóg Chaomhnaithe rinneadh 1,077 saothar a mheas Ullmhaíodh dréachtbheartais agus nósanna imeachta agus a chaomhnú. Rinne an fhoireann obair ullmhúcháin i do chlár Bainistíochta Taifead i gcomhairle le rannóga gcomhair thionscadal na mbailiúchán digiteach, Source, atá éagsúla ar fud an Ghailearaí. Bhí áthas ar an nGailearaí le tosú in 2021. Díríodh go príomha, in 2019 ar acmhainní cuimhneachán 40 bliain an Chumainn Cartlann agus agus trealamh a fháil chun tacú le catalógú agus digitiú Taifead a chur i láthair. D’fhreastail an tUachtarán Micheál bhailiúcháin taighde ealaíne na hÉireann. Fuarthas scanóir D. Ó hUiginn ar an ócáid agus thug sé óráid ag an ócáid ar Bookeye 4 V1A-C35, an chéad cheann a fuarthas in an 5 Nollaig. Éirinn. Bhí ríméad ar Cheannasaí na Leabharlainne agus na Cartlainne Andrea Lydon ‘‘Source: digitising Irish art archives at the National Gallery of Ireland’ a chur i láthair ag comhdháil bhliantúil ghairmithe leabharlainne ealaíne agus Comh- faisnéise ARLIS, in Ollscoil Ghlaschú ón 15 –17 Iúil 2019. pháirtíochtaí Leabharlann agus Cartlann Sir Denis Mahon Mar a bhí riamh, tá an Gailearaí buíoch den Roinn I measc na bpríomhfhorbairtí i mbailiúchán Leabharlann Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus agus Chartlann Sir Denis Mahon, cuireadh catalógú na Meán, Fondúireacht Sir Denis Mahon, Fondúireacht Leabharlann Sir Denis Mahon i gcrích agus cuireadh H.W. Wilson agus BSL as a dtacaíocht leanúnach d’obair tús le catalógú chartlann acadúil Mahon. Cuireadh le na leabharlainne agus na gcartlann agus Ionad BSL rannpháirtíocht i dtaispeántas agus i gcláir phoiblí GNÉ, um Staidéar ar Ealaín na hÉireann. In 2019, bhí rannán agus cuireadh le tuiscint idirnáisiúnta maidir leis an na Leabharlainne agus Cartlann mar aon le BSL ar an tábhacht a bhaineann leis an mbailiúchán mar acmhainn ngearrliosta do Ghradam an Lucht Gnó do na hEalaíona sa taighde. chatagóir don Chomhpháirtíocht Fhadtéarmach is Fearr.
Tugadh tús áite do pháipéir acadúla Mahon san obair phróiseála, agus lean an obair ar an ábhar seo i rith 2019. Críochnaíodh catalógú ar phríomhbhailiúchán Clár na leabharlainne, ina raibh na foilseacháin acadúla. Tá monagraif na n-ealaíontóirí, raisonné catalóige, catalóga taispeántais, catalóga díolacháin, irisleabhair, imeachtaí Comhaltachta comhdhála, treoirleabhair, paimfléid agus roinnt imleabhar Tá Fondúireacht H.W. Wilson agus BSL ag tacú le cláir mór a foilsíodh idir an 16ú haois agus an lá atá inniu Chomhaltachta i rannán Leabharlainne agus Cartlann ann, san áireamh anseo. Tá ealaín agus ealaíontóirí de Ghailearaí Náisiúnta na hÉireann ó 2014. De bharr na chuid na hIodáile, na Spáinna, na hÍsiltíre, na Fraince gComhaltachtaí, bíonn foireann na Leabharlainne agus na agus na Breataine san áireamh san ábhar a ndearnadh gCartlann in acmhainn foghlaim agus oiliúint den scoth catalógú orthu. Chomh maith le leabhair ar ealaín agus ar a chur ar fáil do chéimithe, ar mian leo oibriú san earnáil thaispeántais, tá ábhar a bhaineann le stair, tíreolaíocht, chultúrtha. Tá áthas ar an nGailearaí leanúint le forbairt ailtireacht, taisteal agus caomhnú sa bhailiúchán. Rinneadh an chláir in 2019 agus ceapadh Mary Clare O’Brien mar catalógú ar 8,395 leabhar san iomlán; ina measc 609 chomhalta de chuid Chomhaltacht Fhondúireacht H.W. imleabhar uathúla, 4,329 catalóg leabhar agus taispeántas Wilson chomh maith le Grace O’Boyle agus Donna Rose chomh maith le 3,286 sraithleabhar. mar Chomhaltaí BSL in Ionad BSL um Staidéar ar Ealaín na hÉireann. 26 Tuarascáil Bhliantúil 2019
– Taispeántas Acadamh Ríoga na hÉireann Discovering Thomas Moore: Ireland in 19th-Century Europe, 17 Turais, Meitheamh - 23 Nollaig. Thug an Gailearaí Moore’s Irish Melodies: Léirithe ag D. Maclise, RA [1866] ar iasacht cainteanna agus don taispeántas. Tá léaráidí greanta lámh-dhaite san imleabhar seo a léiríonn scil Maclise mar mhaisitheoir.
ceardlanna – Sheol an tAire Josepha Madigan an taispeántas Divine Illumination agus an foilseachán den teideal céanna a Is gné rialta de chlár poiblí an Ghailearaí anois na ghabhann leis i Leabharlann Lexicon, i nDún Laoghaire turais agus cainteanna faoi bhailiúcháin, seirbhísí ar an 11 Deireadh Fómhair, ag comóradh céad bliain agus taispeántais na leabharlainne agus na gcartlann. Aireagal an Chroí Naofa i nDún Laoghaire, a thóg na D’fhreastail 965 duine ar na 60 imeacht a d’eagraigh an Siúracha Doiminiceacha i 1918/19 mar chuimhne ar rannóg i mbliana, ina measc, cainteanna, turais agus fhir ón gceantar a fuair bás sa Cogadh Mór. Rinne an cur i láthair do Chairde an GNÉ, ionduchtú d’fhoireann tionscnamh staire agus oidhreachta áitiúil seo ceiliúradh agus do threoraithe nua, cuairteanna ó chomhinstitiúidí ar shaothar an tSr Concepta Lynch, a bhí freagrach as agus ceardlanna d’fhochéimithe agus d’iarchéimithe. péinteáil láimhe an aireagail i stíl na hAthbheochana Chomhoibrigh rannán na Leabharlainne agus na gCartlann Ceiltí, thar thréimhse 16 bliana. Bhí an comhfhiontar leis an bhfoireann Oideachais agus chuir siad fáilte tairbheach seo bunaithe ar bhailiúcháin a bhain le roimh rannpháirtithe ón gclár Idirbhliana. Tugadh eolas Sr Concepta agus a cuid oibre, a fuarthas i gcartlann do na micléinn faoi bhailiúcháin na Leabharlainne agus CSIA agus sa bhailiúchán Priontaí agus Líníochtaí. Tá na gCartlann, agus faoi bhainistíocht faisnéise agus an íomhánna ó na bailiúcháin le feiceáil san fhoilseachán tábhacht a bhaineann le coimeád faisnéise ar bhealach agus sa taispeántas. Thacaigh an Gailearaí leis an beacht, cruinn. gclár poiblí a bhain leis an tionscadal freisin. Bhí an taispeántas ar Leibhéal 3, i leabharlann Lexicon go dtí an D'oibríomar leis an bhfoireann Oideachais freisin ar an 4 Eanáir 2020. ócáid OUTing the Past ar 23-24 Márta, trí sheisiún ar leith a éascú tráthnóna Dé Sathairn, faoi stiúir an chúntóra leabharlainne, Iain Wynn Jones. Deis a bhí anseo iniúchadh Comhoibriú Acadúil a dhéanamh ar an ábhar ‘queerness’ mar a bhaineann Tá comhoibriú rathúil idir Rannóg Leabharlainne agus sé le healaíontóirí agus le saothair ealaíne i mBailiúchán Cartlann Ghailearaí Náisiúnta na hÉireann agus institiúidí GNÉ. Ghlac Claire Doohan, Cartlannaí Cúnta Thionscadal acadúla ag leanacht ar aghaidh i gcónaí. I measc na Sir Denis Mahon, páirt sa tionscadal pobail Something mbuaicphointí i mbliana, bhí comhoibriú nuálach leis from There a tionóladh sa Ghailearaí Náisiúnta. Scrúdaigh an Dr Elaine Sissons ón Institiúid Ealaíne, Dearaidh agus an tionscadal seo, faoi stiúir ealaíontóirí agus a thionscain Teicneolaíochta, Dún Laoghaire, agus dá bharr seo cuireadh Rannóg an Oideachais agus a d’fhorbair agus ar thacaigh an ceardlanna agus seisiúin taighde grúpa ar fáil, inar tugadh Gailearaí leis, an taithí a bhí ag daoine atá ag lorg tearmainn deis do mhic léinn dearaidh amharclainne agus feistis nó atá ina gcónaí i Soláthar Díreach in Éirinn. Cuirtear béim staidéar a dhéanamh ar chartlann Anne Yeats. Cruthaíodh sa tionscadal ar réada, agus scrúdaíonn gach rannpháirtí modúl ar a gcúrsa, bunaithe ar an mbailiúcháin, agus rud áirithe a thug sé/sí féin go hÉirinn, agus smaoiníonn d’fhoghlaim mic léinn fochéime faoin tábhacht a bhaineann siad ar cén bhrí atá leis an réad áirithe seo dóibh féin anois. le bunfhoinsí dá gcuid oibre agus taighde. Úsáideadh rudaí ó Chartlann Sir Denis Mahon mar phointe tosaigh don cheardlann seo, a bhí ar siúl i mí Mheán Lean CSIA agus BSL le comh-mhodúl acadúil bliantúil i Fómhair. gcomhar leis an gcúrsa BA sa Chultúr Amhairc i gColáiste Náisiúnta Ealaíne is Deartha. Is í seo an tríú bliain don mhodúl seo, a eagraítear i gcomhar leis an léachtóir agus an Comhoibrithe ealaíontóir de chuid CNED (NCAD) Sarah Pierce. Maireann Is minic a thacaíonn rannóg Leabharlainn agus Cartlann an modúl ar feadh tréimhse 12 sheachtain. In 2019, seoladh GNÉ agus Ionad BSL um Staidéar ar Ealaín na hÉireann le an ríomhiris The Forgotten a d’fhoilsigh na micléinn, ag raon tionscadal agus tionscnamh lasmuigh den Ghailearaí, deireadh an chúrsa. Cuireadh míreanna ó bhailiúcháin CSIA, mar a dhéantar i gcás gach bailiúchán taighde eile. I measc a choimeád na mic léinn i Seomra Léitheoireachta Sir Denis bhuaicphointí na bliana seo bhí: Mahon, ar taispeáint le linn an tseoladh chomh maith. Comh- Pháirtíocht Phoiblí
Lean Rannóg Oideachais an Ghailearaí ag feabhsú agus ag cur lena rannpháirtíocht le lucht spéise éagsúla trí raon leathan gníomhaíochtaí, ina measc, léirithe Flamenco Craobhlasrach, taispeáint thallann ár ndaoine óga sa chomórtas do Dhuais Phortráide Zurich do Dhaoine Óga, seoladh Thionscadal dinimiciúil Apollo. Déantar cinnte go mbíonn ar chumas daoine de gach aois agus cumas, páirt a ghlacadh i gcláir an Ghailearaí, cibé acu ar an láthair, lasmuigh den Ghailearaí féin nó ar líne. Ghlac 176,936 duine páirt in imeachtaí agus gníomhaíochtaí oideachais in 2019. Chuir an clár gníomhaíochtaí le taispeántais agus bailiúcháin bhuana an Ghailearaí, agus oibríodh le healaíontóirí comhaimseartha, institiúidí cultúrtha eile, agus comhoibritheoirí agus comhpháirtithe ar fud na hÉireann agus dá bharr seo, bhí compháirtíocht as cuimse idir an pobal agus an Gailearaí, in 2019.
Tháinig méadú ar lucht spéise an Ghailearaí ar líne i 2019. Bhí os cionn 135,000 leantóir ag meáin shóisialta an Ghailearaí faoi dheireadh na bliana. Bhí an-tóir ar ábhar cruthaitheach ar nós físeáin agus podchraoltaí, agus breathnaíodh 234,000 babhta ar fhíseáin an Ghailearaí i rith na bliana. Bhí an-tóir ag lucht féachana ar líne ar thaispeántas samhraidh Sorolla: Spanish Master of Light, mar ar díríodh ar chumarsáid amhairc sna feachtais dhigiteacha agus mhargaíochta. Athraíodh staighre Sciathán na Mílaoise sa Ghailearaí chun saothar ón taispeántas a thaispeáint, agus ba ghrianghraf de seo an postáil de chuid an Ghailearaí ba mhó a raibh tóir air ar Instagram le dhá bhliain.
Cuireadh fáilte roimh 761,469 cuairteoir chuig an nGailearaí, in 2019. Fuarthas tacaíocht ón bhfoireann Eispéireas Cuairteora agus oibrithe deonacha an Ghailearaí ag ár ndeasc fáilte. 28 Tuarascáil Bhliantúil 2019
1.5m+ cuairteoir chuig an nGailearaí agus ar líne in 2019 176,936 i láthair ag imeachtaí Oideachasúla 761,469 cuairteoir a tháinig chuig an nGailearaí 18,433 páiste agus a dteaghlaigh a d’fhreastail ar 162 imeachta do theaghlaigh 234,000 amharc ar YouTube 136,031 leantóir ar Facebook, Instagram agus Twitter 24,000+ a bhain úsáid as acmhainní Leabharlainne agus na gCartlann ar líne 123,022 duine a ghlac páirt i gcainteanna oideachasúla, turais, taispeáint ar scáileáin, léirithe agus podchraolta. 17% de mhéadú ar chuairteanna ar an suíomh gréasáin i gcomparáid le 2018 957 turas agus imeacht oideachasúil ag freastal ar 21,019 mac léinn agus múinteoir Tuarascáil Bhliantúil 2019 29
Chuidigh an Grúpa Fócais Deonach leis na cuspóirí a Inrochtaineacht chur chun cinn agus a chur in iúl do na 153 oibrí deonach Ba bhliain an-suntasach a bhí in 2019 don Fhoireann atá páirteach sa chlár agus fuair gach oibrí deonach Rochtana sa Ghailearaí maidir le rochtain níos fearr ar dian-oiliúint. Bhí an t-aiseolas i rith an tSamhraidh agus fhoirgnimh agus ar sheirbhísí an Ghailearaí agus ar a gclár an Fhómhair an-dearfach le 98% ag meas go raibh sé bailiúcháin agus taispeántas, a chur ar fáil. ‘sármhaith/an-mhaith’ i mí Mheán Fómhair.
Cuireann an fhoireann thrasrannach seo cláir chuimsitheacha, éagsúla agus oiriúnaithe chun cinn chun Poiblíocht don comhpháirtíocht a neartú i dtaca leis an mbailiúchán, leis an nGailearaí agus na seirbhísí a bhaineann leis. In 2019, taispeántas Sorolla cuireadh na tionscnaimh seo a leanas i gcrích: Tugadh an deis dul i gcion ar go leor cineálacha lucht spéise in Éirinn agus ar fud an domhain nuair a osclaíodh – Fuarthas maoiniú ó Aonad Inrochtaineachta Ailtireachta taispeántas Sorolla: Spanish Master of Light sa samhradh. Oifig na nOibreacha Poiblí (OPW) chun doirse Tugadh cuireadh do chuairteoirí eolas a chur ar uathoibrithe a chur in ionad dhá dhoras throma ar ‘Impriseanaí na Spáinne’ sa chéad thaispeántas de shaothar an mbealach isteach i Sciathán na Mílaoise. Crochadh Sorolla in Éirinn. Ón nóiméad a fógraíodh é, bhí an-tóir ag iad seo i mí na Nollag, agus tá an bealach isteach do an bpobal ar íomhánna de phictiúir a bhí sa taispeántas. Bhí chuairteoirí i bhfad níos fearr anois. íomhánna de na saothair ab fhearr le daoine, le feiceáil ar chláir fógraí ar fud Bhaile Átha Cliath, mar chuid d’fheachtas – Bronnadh creidiúnú ‘As I Am’, ar an nGailearaí de bharr fógraíochta an taispeántais. Bhí fógraíocht bhreise ann do chomh héasca agus a bhí sé ag daoine le huathachas lucht spéise faoi leith ar an raidió agus ar pháipéir agus ar an áit a úsáid. Seo an chéad chreidiúnú dá chineál a ardáin ar líne. bronnadh ar aon eagraíocht chultúrtha in Éirinn.
Thug feachtas digiteach nuálach deis don phobal níos – Thairg an fhoireann clár oiliúna cuimsitheach, chun mó a fhoghlaim faoin ealaíontóir agus faoin taispeántas. comhghleacaithe agus oibrithe deonacha a oiliúint agus Chruthaigh an Gailearaí níos mó ábhar físe, ag díriú ar a spreagadh chun cloí leis an bPlean Gníomhaíochta chumarsáid amhairc, arís eile. Cruthaíodh ocht bhfíseán Rochtana (2018–2021) go leanúnach. faoi Sorolla, ina measc, athchruthaíodh ar líne ceardlann – Lean an clár Rochtana Oideachais ag tairiscint agus ag teaghlaigh a bhí ar siúl ar an láthair. Athraíodh staighre forbairt réimse leathan turas, imeachtaí agus ceardlann Sciathán na Mílaoise sa Ghailearaí chun saothar ón uileghabhálach agus saincheaptha. taispeántas a thaispeáint, agus ba ghrianghraf de seo an postáil de chuid an Ghailearaí ba mhó a raibh tóir air ar – Rinne Foireann Rochtana an Ghailearaí iniúchadh maidir Instagram le dhá bhliain. Cuireadh saothair agus scéalta i le hinrochtaineacht dhigiteach agus chuir siad tús leis gcló in ailt, nuachtlitreacha agus i bpostálacha nua. an bpróiseas chun inrochtaineacht a leabú in ardáin ar líne agus ardáin dhigiteacha. Cuireadh tús le Nuachtlitir Nuair a d’oscail sé, bhí grianghraif den taispeántas nua i Rochtana nua, a fhoislítear gach ráithe, agus scaipeadh é Sciathán Beit le feiceáil i go leor de na nuachtán náisiúnta. ar chomhghleacaithe agus ar na hoibrithe deonacha. Cuireadh agallamh ar fhoireann an Ghailearaí ar chláir raidió náisiúnta, agus roghnaigh go leor daoine mór le rá Bhí an t-aiseolas a bhaineann le rochtain sa chúigiú háit i an taispeántas mar an ghné chultúrtha ab fhearr leo an dtreochtaí dearfacha na gcuairteoirí, tugadh aitheantas do bhliain sin. Cuireadh clár Oideachais an taispeántais chun chabhracht foirne, cláir agus seirbhísí, mar Changing Places cinn go mór san fheachtas seo, for-rochtain do na meáin, agus seirbhísí saor in aisce i dtaca le cathaoireacha rothaí. san áireamh. Rinneadh tuairisciú ar an taispeántas go hidirnáisiúnta, go háirithe, i meáin na Spáinne. Maidir leis an taispeántas, dúradh sa Sunday Times: ‘is aoibhinn uair an chloig nó mar sin a chaitheamh i dteannta cheiliúradh Ról nua breise ‘Oibrithe gheal lúcháireach ar an saol seachas bheith ag smaoineamh ar mhionrudaí shuaracha mharsantacha’. Luadh san Irish Deonacha an Ghailearaí’ Times nach raibh eolas rómhaith ag pobal na hÉireann ar In 2019, chuir an Clár Oibrithe Deonacha na trí réimse Sorolla roimh an taispeántas suntasach seo sa Ghailearaí: ar leith le chéile i réimse amháin chun athrú a chur ar ‘Tagann máistir an tsolais amach as na scáthanna’. ról na n-oibrithe deonacha. Bhí ceithre phríomhréimse i gceist i ról nua ‘Oibrithe Deonacha an Ghailearaí’; Taithí na gCuairteoirí, Ballraíocht Chairde an Ghailearaí, dualgais Oideachais agus Taighde, ag díriú ar rannpháirtíocht bhreise cuairteoirí agus inrochtaineacht ar an láthair. 30 Tuarascáil Bhliantúil 2019
Ba í Sinéad Rice, Ceannasaí an rannáin Oideachais, Renailssance agus Andrea Horan, POF Tropical Popical, coimeádaithe Bhí comhoibriú tairbheach i rith na bliana idir an Gailearaí an taispeántais a cuireadh i láthair ina dhiaidh sin. agus an salón ingne, Tropical Popical, atá lonnaithe i mBaile Taispeánadh roinnt déantús de bharr na méara Átha Cliath, agus a bhfuil duaiseanna buaite acu. Rinneadh sa chomhfhiontar, agus rinneadh léirmhíniú trí ceiliúradh ar an gcomhoibriú seo sa taispeántas spleodrach ghrianghrafadóireacht, faisean, dearadh agus meáin comhaimseartha - RENAILSSANCE- a bhí ar siúl sa mheasctha, agus léiríodh conas is féidir le healaíontóirí Ghailearaí. Bunaíodh an chomhpháirtíocht chruthaitheach ón am atá caite inspioráid a thabhairt i dtaca le healaín ar dtús chun bailiúcháin agus taispeántais a dhéanamh chruthaitheach sa todhchaí. níos inrochtana do lucht spéise éagsúla, agus chun a thaispeáint conas is féidir le saothair ealaíne stairiúla Bhí gníomhaíochtaí do gach aois agus cumais san áireamh inspioráid shaibhir a sholáthar i gcomhair chleachtais sa chlár oideachais, foghlama agus rannpháirtíochta. nua chruthaitheacha. De réir mar a tháinig sé chun cinn, Tháinig timpeall 54,000 cuairteoir chuig an taispeántas le áfach, thug an tionscadal seo an deis freisin sainmhínithe linn na tréimhse ocht seachtaine a raibh sé ar siúl. stairiúla ar an ealaín agus bunús na healaíne ingne a mheas, agus idirphlé ar chultúr, aeistéitic agus breithiúnas Bhí a lán tuairiscí faoin taispeántas sna meáin chlóite agus a spreagadh. Le linn na bliana, chuir an fhoireann ó Tropical chraolta (Irish Times, Totally Dublin, Irish Tatler, Image Popical taispeántais bheo agus ealaín ingne i láthair don Magazine, TV3, RTÉ Arena, 2FM, Today FM). phobal sa Ghailearaí féin, agus cuireadh mín-ealaín ingne mhionsonraithe i láthair sa salón, agus bhí feachtais éagsúla sna meáin shóisialta chomh maith.
24.2m Taispeáintí sna meáin shóisialta Facebook, Twitter, Instagram 712,700 rannpháirtíocht leantóirí 39% méadú ar na leantóirí ar Instagram 20% méadú ar rannpháirtiocht ar Instagram 17% méadú iomlán atá tagtha ar fud na dtrí phríomh-ardán um mheáin shóisialta 140,000 líon iomlán leantóirí 21% méadú ar shíntiúsóirí na nuachtlitreach ar ríomphos Tuarascáil Bhliantúil 2019 31
Suíomh Gréasáin, Nuachtlitreacha agus ardáin Meán Sóisialta an Ghailearaí, Tháinig fás as cuimse ar an méid gníomhaíochta a a bhí ar ardáin ar líne an Ghailearaí in 2019, go háirithe ar fud ár dtrí phríomh-ardán um mheáin shóisialta - Facebook, Twitter agus Instagram - áit a raibh 24.2 milliún taispeáint againn, agus 712,700 rannpháirtíocht ghníomhach ó leantóirí. Tháinig fás suntasach ar ár n-ardán Instagram in 2019, le méadú 39% ar líon na leantóirí agus méadú 20% ar rannpháirtíocht. Chonaiceamar méadú de 17% ar fud ár dtrí phríomh-ardán, le líon iomlán na leantóirí beagán faoi bhun 140,000, ag deireadh na bliana. Tháinig méadú 21% ar shíntiúsóirí nuachtlitreacha ríomhphoist an Ghailearaí in 2019.
Scéim Teanga 2017–2020 Lean an GNÉ ag feidhmiú agus ag déanamh monatóireachta ar chomhlíonadh na Scéime Teanga i rith na bliana. Forbairt, Tiomsú Airgid agus Cairde Tuarascáil Bhliantúil 2019 33
Cuireadh cuid mhaith den obair a rinne foireann staraithe Ba mhaith linn buíochas a ghabháil ealaíne, speisialtóirí oideachais agus coimeádaithe den lenár gComhpháirtithe Corparáideacha scoth an Ghailearaí i gcrích a bhuíochas d’fhlaithiúlacht agus Urraitheoirí go léir as a dtacaíocht na ndeontóirí príobháideacha, na gcomhpháirtithe corparáideacha, na gCairde agus na bPátrún, a raibh ríthábhachtach agus a ndílseacht: ról ríthábhachtach acu i saol an Ghailearaí. De dheasca AIB fhlaithiúlacht ár lucht tacaíochta is féidir leis an Bank of America nGailearaí taispeántais den scoth a chruthú, cur leis an Citadel Securities mbuanbhailiúchán agus cur leis an obair a dhéantar sa ESB réimse oideachais agus caomhantais. Tá an Gailearaí Focal Media buíoch freisin as an tacaíocht leanúnach ó Chairde Maples Group Ghailearaí Náisiúnta na hÉireann i Meiriceá agus ó Chairde Northern Trust Ghailearaí Náisiúnta na hÉireann sa Bhreatain. Permanent TSB Ryanair Sarasin & Partners Ár mbuíochas lenár ndeontóirí go léir a SMBC Aviation Capital thacaigh le hobair an Ghailearaí in 2019 Sotheby’s Fondúireacht Annenberg ╲ Fondúireacht Apollo ╲ Zurich Insurance plc Applegreen Blossom Fund agus Fondúireacht Óige na hÉireann ╲ Fondúireacht Theaghlach Blavatnik ╲ Brewin Tá Zurich Insurance plc an-bhródúil as urraíocht a Dolphin Ireland ╲ Ciste Thank You Coca-Cola ╲ Fondúireacht dhéanamh ar Dhuais Phortráide Zurich Ghailearaí Getty ╲ Fondúireacht H.W. Wilson ╲ Italian Cultural Institute Náisiúnta na hÉireann. Ba chúis áthais dom a ╲ Fondúireacht Sir Denis Mahon ╲ Fondúireacht State Street fheiceáil mar a chuidigh ár dtacaíocht leis an ╲ Iontaobhas Tomar ╲ Anthony & Karole Mourek ╲ Brian & gcomórtas fás agus forbairt a dhéanamh i rith Susan Dickie ╲ Jay & Silvia Krehbiel ╲ John McNamee Sullivan 2019 nuair a cuireadh tús le comórtas um Dhuais ╲ Peter Woods & Francis Ryan ╲ Tony Ahearne ╲ deontóirí Phortráide Zurich do Dhaoine Óga agus gur tugadh eile nach mian leo a n-ainmneacha a thabhairt. an taispeántas ar thuras chuig Gailearaí Ealaíne Crawford.
Comhpháirtithe agus Urraitheoirí Neil Freshwater POF, Zurich Insurance plc Corparáideacha De dheasca fhlaithiúlacht ár gComhpháirtithe Corparáideacha agus ár n-Urraitheoirí is féidir leis an Creidimid go fírinneach i gcumhacht na n-ealaíon nGailearaí a ról a chomhlíonadh i dtaca le pobal daoine cuidiú le rath a chur ar an ngeilleagar, oideachas agus a gcuid ealaíne a thabhairt le chéile. a chur ar an bpobal agus an tsochaí a shaibhriú, agus tuiscint chultúrtha níos fearr a chruthú. Le In 2019, bhí áthas ar leith orainn cur lena gcompháirtíocht bliain anuas tá forbairt agus rath tagtha ar ár le Bank of America. Thacaigh siad le caomhnú The Visit of gcomhpháirtíocht leis an nGailearaí – i dtaca the Queen of Sheba to King Solomon, le Lavinia Fontana, le: caomhnú The Visit of Queen Sheba to King agus chomhoibrigh siad linn le Moment in Time: A Legacy Solomon le Lavinia Fontana agus Moment in of Photographs |Works from the Bank of America Collection Time: A Legacy of Photographs | Works from a chur i láthair, agus chuir siad tús le Comhpháirtíocht the Bank of America Collection a thabhairt ar Chorparáideach chun rannpháirtíocht na foirne a neartú. iasacht, tús a chur le ballraíocht úr, ionas go mbeidh ár bhfostaithe ábalta rochtain a fháil ar Bhí an-áthas orainn fáilte a chur roimh cheannairí gnó chuig na taispeántais agus na himeachtaí is déanaí sa ár mBricfeasta do ‘Cheannairí’ i mí Mheán Fómhair 2019, áit Ghailearaí. Is comhpháirtithe den chéad scoth iad ar labhair Nick Butcher, Comhpháirtí Bainistíochta Maples Gailearaí Náisiúnta na hÉireann agus ba chúis agus Calder in oifig Maples Group i mBaile Átha Cliath, faoi áthais dúinn oibriú leo. na buntáistí gnó iomadúla a bhaineann le hurraíocht a dhéanamh ar Spás Cruthaitheach an Ghailearaí. Rena De Sisto, Global Executive for Arts & Culture and Women’s Programs, Bank of America Bhronn Neil Freshwater, POF nua-cheaptha Zurich Insurance plc Duais Phortráide Zurich 2019 ar an ngrianghrafadóir Enda Bowe. Thug Zurich tacaíocht don taispeántas seo i mbliana, agus bhronn siad duaiseanna freisin ar Mabel Forsyth agus Mary O’Carroll, buaiteoirí Dhuais Phortráide Zurich do Dhaoine Óga. 34 Tuarascáil Bhliantúil 2019
Cairde agus Pátrúin Bhí Cór Buachaillí Palestrina (Leas-Ardeaglais Mhuire) ag canadh ag an gceolchoirm seo agus bhí ticéid ar fáil Bliain shuntasach ab ea 2019 do Chairde Ghailearaí do dhaoine nach baill iad, freisin. Chomh maith leis sin, Náisiúnta na hÉireann. Ó dheireadh 2016, tháinig méadú taispeánadh Meet Me in St Louis, a bhí oscailte do dhaoine, faoi thrí ar líon na mball. Bhí lúcháir ar Chairde Ghailearaí nach baill iad freisin. Ba í 2019 an tríú bliain a taispeánadh Náisiúnta na hÉireann tacú leis an gcatalóg taispeántais do scannán Nollag. Making their Mark: Irish Painter-Etchers 1880–1930, chomh maith leis an taispeántas Bauhaus 100: The Print Portfolios. Leath bealaigh trí 2019, seoladh clár nua do Phátrúin. Cuireadh ceithre leibhéal ballraíochta do Phátrúin ar fáil Músclaíodh spéis roinnt de na baill atá ann le fada in agus cláraíodh Pátrúin ag gach leibhéal. Tionóladh ócáid athuair agus cuireadh fáilte roimh bhaill nua chuig réimse speisialta do Phátrúin i mí na Nollag, ‘nochtadh’ den leathan gníomhaíochtaí agus ócáidí. Thug Cairde agus saothar ealaíne is déanaí a ceannaíodh, a bhuíochas dá Pátrúin cuairteanna ar a lán taispeántas sa Ghailearaí. gcuid tacaíochta. Ba é an pictiúr sin ná The Day I Heard Tháinig méadú mór ar líon na mball nua de bharr Sorolla: that Mark Hollis had Died (Féinphortráid) de chuid Colin Spanish Master of Light. Fuarthas léargas ní ba mhine agus Davidson. Tar éis léargas príobháideach a fháil ar an eolas bunaidh ar an mbailiúchán i rith gníomaíochtaí a bhí bpéintéireacht le Stiúrthóir an Ghailearaí, Sean Rainbird, ar siúl do bhaill amháin. agus an Príomh-Choimeádaí, Brendan Rooney, thug Cairde agus na Pátrúin cuairt ar ionad na bPriontaí & Líníochtaí Spreag taispeántais nó bailiúchán an Ghailearaí imeachtaí leis na coimeádaithe Anne Hodge agus Sarah McAuliffe áit eile lasmuigh den láthair. Tugann na Cairde turas bliantúil ar fhoghlaim siad faoi bhailiúchán nua grianghraf a fuair an ar an Eoraip agus i mbliana, thug siad cuairt ar an Iodáil Gailearaí. chun turas Sir Denis Mahon a leanacht. Bhí an taispeántas The Voyage of Italy: 200 Year of Travel Guides ó Bhailiúchán Sir Denis Mahon ar taispeáint ag an am. Spreag taispeántas Canaletto and the Art of Venice a bhí ar siúl níos luaithe sa bhliain daoine chun cuairt a thabhairt nó filleadh ar an Veinéis. D’fhan an grúpa i Ferrara ar feadh cúig oíche, agus chuaigh siad ar thurais lae go Bologna agus go dtí an Veinéis.
Scrúdaíodh cuid de na healaíontóirí agus saothair ealaíne i nGailearaithe i Londain, a bhfuil baint acu le healaín agus ealaíontóirí i mbailiúchán an Ghailearaí, le linn chuairt phíolótach trí lá ar an mBreatain. Chuathas go Port Láirge le linn an turais bhliantúil in Éirinn. Dhírigh an turas ceithre lá seo ar théamaí a ndearnadh iniúchadh orthu in The Marriage of Strongbow agus Aoife le Daniel Maclise. I measc na dturas lae i rith 2019, tugadh cuairt ar Ard na Croise. Spreag na taispeántas Making Their Mark: Irish Painter- Etchers 1880–1930 agus Shaping Ireland: Landscapes in Irish Art, an turas seo.
Tionóladh 137 imeacht, san iomlán, do bhaill amháin, cúig imeacht poiblíochta agus sé imeacht do Phátrúin amháin. Eagraíodh turais réamhamhairc phríobháideacha faoi stiúir choimeádaithe ar thaispeántais áirithe. Seo ceann de na buntáistí a bhí ar fáil do Phátrúin. I measc na n-imeachtaí éagsúla do bhaill amháin, bhí Léacht an Stiúrthóra, a bhíonn ar siúl ar bhonn bliantúil anois, léachtaí réamh-thaispeántais leis na coimeádaithe sula n-osclaítear taispeántais don phobal, réamhléirithe de thaispeántais, cainteanna agus turais phríobháideacha sa Ghailearaí, turais siúlóide, turais lae agus cuairteanna ar institiúidí cultúrtha eile. Ag tús 2019, bhí ócáid ag ceiliúradh Turner ann ag deireadh mhí Eanáir agus go luath i mí na Nollag, bhí ceolchoirm Nollag i Seomra Shaw. Seirbhísí Corparáideacha 36 Tuarascáil Bhliantúil 2019
AD (HR) Rannpháirtíocht Chuir an Gailearaí béim mhór ar fhorbairt na heagraíochta Fosaithe agus ar phleanáil an fhórsa saothair le blianta beaga anuas agus ullmhaíodh Plean don Fhórsa Oibre atá sách Rinne an Gailearaí an chéad suirbhé ar rannpháirtíocht cuimsitheach. In 2019, fuair an Gailearaí 39 ceaduithe ón fostaithe in 2018. D’éirigh go maith leis an gcur chuige Roinn Cultúir, Oidhreachta agus Gaeltachta agus earcaíodh seo le cinntiú go ndéantar bainistiú agus monatóireacht 33 fostaí san iomlán, i ngach réimse ar leith. i ndáil le rannpháirtíocht na foirne, ar bhonn rialta. Tá na príomhghníomhartha a d’eascair as an suirbhé seo á gcur i bhfeidhm faoi láthair. Gheall an Gailearaí an suirbhé rannpháirtíochta seo a dhéanamh in athuair i bhFómhar Beartas Ama agus 2020. Tinrimh In 2019, chuir an Gailearaí an beartas Ama & Tinrimh (T&A) agus nósanna imeachta gaolmhara i bhfeidhm. D'éirigh go TF maith leis ar an iomlán, mar thaifead 100% den fhoireann a D’éirigh leis an Rannóg TF gach uimhir theileafóin sa gcuid uaireanta oibre trí chlogáil isteach agus amach. Bhain Ghailearaí a aistriú chuig seirbhís guthaithe-IP (VoIP), ag an fhoireann leas freisin as fleisc-am, i.e., 50.5 lá in 2019. Is tabhairt solúbthachta breise don fhoireann chun déileáil buntáiste é seo don fhoireann ar mian leo cothromaíocht le ceisteanna ón bpobal agus ag an am céanna ag laghdú oibre is saoil a bhaint amach. Ina theannta sin, rinne AD caiteachais bhliantúla fáilteachais agus teileafónaíochta. athbhreithniú inmheánach ar bheartas agus nósanna imeachta uile AD lena chinntiú go raibh siad ag teacht leis Tugadh isteach printéirí ilfheidhme nua (MFPs) atá an reachtaíocht fostaíochta. cumraithe chun scanadh agus aisghabháil doiciméad a dhéanamh ar bhealach sábháilte i ngach oifig sa Ghailearaí mar chuid de chuspóirí coinneála agus slándála na sonraí Transition 2020 sa Rannóg TF. D'oibrigh an Gailearaí i gcomhpháirtíocht le SIPTU chun teacht ar aontú maidir le caidreamh comhchoiteann inmheánach a nuachóiriú. I gcomhthéacs caidreamh Oibríochtaí forásach le fostaithe, is í aidhm na bpáirtithe ná dul i ngleic I ndiaidh idirbheartaíocht fhada le SIPTU, shínigh le saincheisteanna agus réimsí leasa comhchoiteann bainistíocht GNÉ an comhaontú Transition 2020 i mí trí bheartas forásach AD a chur i bhfeidhm a léiríonn Feabhra 2019. uaillmhian an Ghailearaí agus na bhfostaithe go mbeadh an eagraíocht mar roghfhostóir san Earnáil Phoiblí. Síníodh an Ar an 23 Bealtaine thit feistiú solais ar an urlár i Sciathán doiciméad Transition 2020 i mí Bealtaine 2019. Uachtarach Bhaile an Mhuilinn. Toisc nach raibh a fhios láithreach cén chaoi ar tharla sé seo, dúnadh na sciatháin stairiúla don phobal fad a bhí imscrúduithe ar siúl. Chuir monaróir an chórais soilsithe modhnú ar fáil do gach feistiú Oiliúint agus Forbairt solais mar bheart sábháilteachta. Athosclaíodh na sciatháin Tá an-bhéim curtha ag an nGailearaí ar oiliúint agus ar stairiúla don phobal tar éis seiceálacha sábháilteachta ar an fhorbairt foirne le blianta beaga anuas. Léirítear sin leis an 10 Meán Fómhair 2019. méadú ar an mbuiséad maoinithe oiliúna agus forbartha, méadú ó €55,000 in 2018 go €103,000 in 2019 (méadú Ar an 30 Iúil, thit 22mm báistí i gceantar Bhaile Átha de 87%). Tá creat seanbhunaithe trí shraith Oiliúna agus Cliath thar thréimhse cúig uair an chloig mar thoradh ar Forbartha i bhfeidhm. Freastalaíonn sé ar riachtanais theagmhas suntasach aimsire. Mar thoradh air seo, bhí dhá oiliúna na mball foirne ar leith agus ar riachtanais oiliúna sheomra cóiríochta oibríochta in íoslach Sciathán Dargan chomhchoiteann na rannóg ar fad. Eagraíodh cúrsaí oiliúna faoi uisce. Bhí an seomra cóiríochta in úsáid arís mar is grúpa chun díriú ar réimsí a bhain le Dínit ag an Obair, gnáth laistigh de choicís. Eispéireas Cuairteoirí agus Oiliúint maidir le Scileanna Agallóra. D’fhreastail baill foirne le freagracht um bhainistiú I mí na Nollag rinneadh uasghrádú ar an mbealach isteach daoine ar cheardlanna bainistíochta líne agus caidrimh i Sciathán na Mílaoise, feistíodh córas dorais sleamhnáin fostaithe. Ba í aidhm na gceardlann seo a chinntiú go a chuir feabhas mór ar rialú inrochtaineachta agus bhfuil an t-eolas agus na scileanna riachtanacha ag gach timpeallachta. bainisteoir líne chun a bhfoireann a bhainistiú. Tuarascáil Bhliantúil 2019 37
treoir agus comhairle do na haíonna agus d’ealaíontóirí nua Soláthar agus iad ag cruthú a leaganacha féin de shaothar ealaíne ó Tá cur chuige straitéiseach i leith soláthair, mar atá bhailiúchán an Ghailearaí. Bhí an ócáid lán go doras gach mínithe i bPlean Soláthair Corparáideach an Ghailearaí tráthnóna. D'éascaíomar ár gcéad tráthnóna príobháideach 2019–2021 i bhfeidhm i nGNÉ. Tá dea-chleachtas soláthair Tipple with Art d’imeacht neartú foirne in Uimh. 5 Sráid ríthábhachtach do GNÉ d’fhonn luach a sholáthar don Laighean Theas. airgead poiblí a chaitear, agus cinntíonn sé go soláthraíonn gach príomhsholáthraí na hearraí agus na seirbhísí riachtanacha ar an gcaighdeán agus ar an gcáilíocht a Aonach Bainise comhaontaíodh. B'ionann caiteachas lánroghnach in 2019, Reachtáil an rannán Imeachtaí an chéad aonach bainise agus thart ar €4.74m. Ba chostais a bhain le foirgnimh, sa Ghailearaí ar an 14 Feabhra. Taispeánadh na seomraí táillí gairmiúla, slándáil, costais taispeántais, TF, priontáil, galánta in Uimh. 5 do lánúin a fuair geallta le déanaí, agus soláthairtí oifige, margaíocht & cumarsáid, costais thug sé deis dóibh labhairt le soláthraithe sa tionscail earcaíochta agus oiliúna, a bhí i gceist anseo. bainise.
Cuireann an fheidhm Soláthair Chorparáidigh tacaíocht agus treoir inmheánach ar fáil maidir le gach soláthar SIOPA AN GHAILEARAÍ agus tairiscint de chuid an Ghailearaí, agus cinntíonn sí go Tháinig 368,860 cuairteoir chuig siopa an Ghailearaí in 2019, gcloítear le rialacha náisiúnta agus rialacha de chuid an AE agus thug 51.9% de na cuairteoirí uile chuig an nGailearaí, maidir le Soláthar Poiblí agus leis an gCód Cleachtais chun cuairt ar an siopa. Comhlachtaí Stáit a Rialú. Ar na comórtais tairisceana a tugadh chun críche in 2019, bhí: Inspioráid ón mBailiúchan – Ceannaire feachtais caipitil In 2019, dhírigh an siopa ar réimse earraí a fhorbairt chun – Bailiúcháin cartlainne a dhigitiú saothair ealaíne i mbailiúchán an Ghailearaí a cheiliúradh agus aird a tharraingt orthu. Ar dtús, roghnaíodh ceithre – Scanóir leabhar shaothar ealaíne agus forbraíodh agus cruthaíodh táirgí saincheaptha bunaithe orthu sin. Reáchtáladh taispeántais – Seirbhísí comhairleacha soláthair bunaithe ar na táirgí seo, ag úsáid earraí a bhí ag teacht le pailéad dathanna gach pictiúr ar leith. Ní raibh na táirgí – CRM saincheaptha seo le fáil ach amháin i Siopa an Ghailearaí agus ina measc, bhí priontaí gléasta, leabhair nótaí, cúisíní, – Tacaíocht do chásanna gnó faoin gCód Caiteachais éadach lionsa, leabharmharcanna maighnéadacha, cásanna Phoiblí spéaclaí, cártaí, málaí gualainne agus málaí cosmaidí. Ba iad na ceithre shaothar a roghnaíodh don chéad chéim ná: – Seirbhís Iompair do na mín-ealaíne – A Convent Garden, Brittany, c.1913, William John Leech – Dearadh agus priontáil (1881–1968)
– Argenteuil Basin with a Single Sailboat, 1874, Claude Monet Cúrsaí Tráchtála (1840–1926) – A Composition, 1930idí, Mainie Jellett (1897–1944) IMEACHTAÍ Cé nach ionad imeachta saincheaptha é an Gailearaí, – Hellelil and Hildebrand, the Meeting on the Turret Stairs, d’éascaigh Foireann Imeachtaí an Ghailearaí 162 imeacht 1864, Frederic William Burton (1816-1900). i rith na bliana. Ina measc, bhí oscailt taispeántas agus ceolchoirmeacha, dinnéir fleáchais agus fáiltithe príobháideacha. Athchóiriú an tSiopa Leanadh le hathchóiriú an tsiopa i rith na bliana. Athraíodh leagan amach an troscáin agus na dtáirgí chun é a Buaicphointí dhéanamh níos éasca do chustaiméirí bogadh timpeall an tsiopa. Cuireadh córas scuaine nua i bhfeidhm, Seoladh Tipple with Art d’fhonn bainistiú níos fearr a dhéanamh ar shluaite, le linn tréimhsí gnóthacha. Is féidir stoc a stóráil sa chóras Bhí sé mar aidhm ag an tionscnamh seo taithí nua a chur scuaine. Dearadh comharthaíocht nua ag teacht le brandáil ar fáil do chuairteoirí agus tráthnóna deas spraoíúil a an Ghailearaí agus cuireadh in airde iad ag deireadh na thairiscint. Sa tionscnamh, ‘Tipple with Art’, thug ealaíontóir bliana. Bhí an chomharthaíocht ar na ballaí taobh amuigh, 38 Tuarascáil Bhliantúil 2019
fuinneoga agus doirse an tsiopa. Cuireadh eolas ar fáil do na custaiméirí, ar nós, amanna oscailte an tsiopa, an chaoi a dtacaíonn gach ceannachán leis an nGailearaí, agus tarraingíodh aird ar ár raon táirgí de dhearadh Éireannach.
Táirgí Taispeántais Forbraíodh réimse earraí bunaithe ar roinnt taispeántas sa Ghailearaí. Táirgeadh réimse saincheaptha breise le haghaidh dhá thaispeántas.
Maidir le Shaping Ireland: Landscapes in Irish Art, bunaíodh an réimse earraí ar cheithre shaothar. Táirgeadh earraí ar nós boscaí seodra, cártaí poist, leabharmharcanna maighnéadacha agus priontaí póstaer. Fuarthas earraí eile ar nós fallaingeacha móihéar, stocaí le tírdhreacha na hÉireann orthu agus scairfeanna merino, ó sholáthraithe Éireannacha.
Bhí an-tóir ar an taispeántas, Joaquín Sorolla: Master of Light agus d’éirigh go han-mhaith leis na hearraí a bhí bunaithe air. Díoladh os cionn 22,000 earra le linn an taispeántais sin. Roghnaíodh ceithre phríomhíomhá agus táirgeadh earraí bunaithe orthu. Fuarthas earraí freisin ón siopa i Museo Sorolla agus ón siopa i nGailearaí Náisiúnta Londain. Bhí réimse earraí ar fáil ag teacht leis an taispeántas, ina measc, gallúnacha traidisiúnta na Spáinne, scairfeanna éadroma, scaoilte, agus ciseáin trá. Ba é Gailearaí Náisiúnta Londain a chuir an leabhar a bhí leis an taispeántas ar fáil agus díoladh gach ceann de na 1,200 cóip a bhí ar fáil
Foilseacháin – Siopa an Ghailearaí Féilire 2020 Ghailearaí Náisiúnta na hÉireann Foilsíodh é le tacaíocht fhial ón Northern Trust. ISBN 9781904288770
Dialann 2020 Ghailearaí Náisiúnta na hÉireann Comhfhoilsiú le Gill Books ISBN 9780717184378
Féilire pleanála 2020 Ghailearaí Náisiúnta na hÉireann Comhfhoilsiú le Teapot Press ISBN 9781906013011
CAIFÉ – Tháinig 225,805 cuairteoir chuig Caifé an Ghailearaí in 2019 Ráitis Airgeadais don bhliain dar chríoch 31 Nollaig 2019 40 Tuarascáil Bhliantúil 2019
Clár
Ráiteas maidir le Rialú 41
Ráiteas maidir le rialú Inmheánach 49
An tArd-Reachtaire Cuntas agus Ciste: Tuarascáil le cur faoi bhráid Thithe an Oireachtais 51
Ráiteas maidir le Gníomhaíochtaí Airgeadais 53
Ráiteas maidir le hIoncam Cuimsitheach 54
Ráiteas maidir le Staid Airgeadais 55
Ráiteas maidir le hAthruithe sna Cúlchistí agus sa Chuntas Caipitil 56
Ráiteas maidir le Sreabhadh Airgid 57
Nótaí leis na Ráitis Airgeadais 58 Tuarascáil Bhliantúil 2019 41
Ráiteas Rialachais agus Tuairisc Chomhaltaí an Bhoird
– faomhadh na bpleananna straitéiseacha, an phlean oibríochta Rialachas bliantúil agus an bhuiséid bhliantúil Comhlacht reachtúil corparáideach is ea Gailearaí Náisiúnta na – faomhadh cheapachán, luach saothair, mheasúnú hÉireann (an Gailearaí) a bunaíodh faoi Acht Ghailearaí Náisiúnta feidhmíochta agus pleanáil do chomharbas an Stiúrthóra na hÉireann, 1854 (Acht 1854). Feidhmíonn an Gailearaí de réir fhorálacha Achtanna Ghailearaí Náisiúnta na hÉireann 1854 go – ceapachán Chathaoirleach an Bhoird agus faomhadh 1963 agus Acht um Fhorais Chultúir Náisiúnta, 1997 (le chéile, na Théarmaí Tagartha na gCoistí Boird go léir hAchtanna) agus faoi choimirce na Roinne Turasóireachta, Cultúir, – leasú nó uasdátú na bhfodhlíthe Ealaíon, Gaeltachta, Spóirt agus na Meán. – faomhadh téarmaí conarthaí móra, tionscadail infheistíochta Is é Bord neamhfheidhmiúcháin Gobharnóirí & Caomhnóirí (an agus chaipitil, saothar faighte suntasach, diúscairtí, ceadúnas Bord) a bhainistíonn gnó agus gnóthaí thar ceann an Ghailearaí. easpórtála (de bhun údarás tarmligthe ón Aire Turasoireachta, Tá príomhfheidhmeanna an Bhoird leagtha amach sna hAchtanna Cultúir, Ealaíon, Gaeltachta, Spóirt agus na Meán faoin Acht agus ina Fhodhlíthe. Tá an Bord freagrach as dea-rialachas um Fhorais Chultúir Náisiúnta, 1997) agus sócmhainní a scor a chinntiú agus déanann sé an tasc seo trí chuspóirí agus spriocanna straitéiseacha a leagan síos agus cinntí straitéiseacha – cothú córas fónta de rialuithe inmheánacha, ina measc a dhéanamh maidir le gach príomhcheist ghnó. rialuithe airgeadais, oibriúcháin agus comhlíonta agus próisis bhainistíochta riosca Is é an Stiúrthóir atá freagrach as bainistíocht, rialú agus stiúradh an Ghailearaí ó lá go lá, le cúnamh ón bhfoireann – faomhadh pholasaí bainistíochta riosca, monatóireacht ar ardbhainistíochta. Caithfidh an Stiúrthóir agus an fhoireann phróisis agus ar chórais bhainistíochta riosca an Ghailearaí ardbhainistíochta an treoir leathan straitéiseach atá leagtha chun aithint, monatóireacht agus rialú éifeachtach rioscaí síos ag an mBord a leanúint, agus ní mór dóibh a chinntiú seachtracha agus aithint deiseanna a chinntiú, chun tacú le go bhfuil tuiscint shoiléir ag gach ball den Bhord ar na cuspóirí reachtúla an Ghailearaí (tarmligthe chuig an gCoiste príomhghníomhaíochtaí agus na cinntí a bhaineann leis an Iniúchóireachta, Riosca & Airgeadais, a thuairiscíonn chuig an eintiteas, agus ar aon rioscaí suntasacha a d’fhéadfadh teacht mBord go rialta) chun cinn. Feidhmíonn an Stiúrthóir mar idirghabhálaí díreach – faomhadh na straitéise tiomsaithe airgid agus polasaí idir an Bord agus an bhainistíocht. cistíochta In 2017, ba é an Gailearaí an chéad eagraíocht ar bronnadh – údarú chun cuntais bhainc a oscailt agus áiseanna iasachta a creidiúnú uirthi faoi chaighdeán SWiFT 3000 de chuid Údarás um fhaomhadh Chaighdeán Náisiunta na hÉireann (NSAI) faoin gCód Cleachtais nua um Rialachas Comhlachtaí Stáit mar a d’fhoilsigh an Roinn – athbhreithniú foirmiúil ar a fheidhmíocht féin, ar fheidhmíocht Caiteachais Phoiblí agus Athchóirithe i mí Lúnasa 2016 (an Cód). na gcoistí éagsúla agus ar fheidhmíocht comhaltaí aonair an Is caighdeán é SWiFT 3000 a bhaineann le Cód Cleachtais do Bhoird. mheasúnú Rialachais Chorparáidigh in Éirinn. Is é an cuspóir I MEASC NA MBUANÁBHAR A MHEAS AN BORD, BHÍ: atá leis creat rialachais chorparáidigh in eagraíochtaí a mheas agus, go sonrach, leibhéal comhlíonta na n-eagraíochtaí le – dearbhú leasa cóid rialachais agus dea-chleachtas. Léiríonn an creidiúnú tiomantas an Ghailearaí oibriú de réir na gcaighdeán rialachais – tuarascálacha ó choistí an Bhoird agus ón Stiúrthóir chorparáidigh is fearr. Choinnigh an Gailearaí an creidiúnú seo in – airgeadas agus riosca, ina measc, tuarascálacha airgeadais 2019, agus bhain sé scór 3.92/4 amach san iomlán. agus cuntais bhainistíochta
– tuarascálacha feidhmíochta
Freagrachtaí an Bhoird – rialachas corparáideach Tá príomhobair agus freagrachtaí an Bhoird leagtha amach – iasachtaí & saothair ealaíne faighte sna Fodhlíthe. Ghlac an Bord le sceideal foirmiúil d’ábhair, a fhorchoimeádtar go sonrach le haghaidh chinneadh an Bhoird. – ábhair fhorchoimeádta.
I measc na bpríomhábhair a fhorchoimeádtar don Bhord, tá: Ceanglaítear ar an mBord Gobharnóirí agus Caomhnóirí le hAlt – faomhadh saothar faighte, tabhartas, iasachtaí agus 35 den Acht um Fhorais Chultúir Náisiúnta, 1997, cuntais a ullmhú taispeántas saothar ealaíne do gach bliain airgeadais i gcibé foirm a fhaomhfaidh an tAire Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus Meán, le – measúnú agus faomhadh na dTuarascála Bliantúla agus na toiliú an Aire Caiteachais Phoiblí agus Athchóirithe. Ráiteas Airgeadais
– comhlíonadh na ndualgas reachtúil agus neamhreachtúil, ina measc, na Fodhlíthe, an Cód agus Ciorcláin Rialtais 42 Tuarascáil Bhliantúil 2019
AGUS NA RÁITIS SEO Á N-ULLMHÚ, TÁ SÉ DE DHUALGAS AR AN MBORD:
– polasaithe oiriúnacha agus stuama a roghnú agus iad a chur i bhfeidhm ar bhealach comhsheasmhach
– breithiúnais agus meastacháin a dhéanamh atá réasúnta agus stuama
– na ráitis airgeadais a ullmhú ar bhonn an ghnóthais leantaigh seachas sa chás go mbeadh sé míchuí glacadh leis go leanfadh sé i mbun gnó
– a lua cibé ar leanadh nó nár leanadh caighdeáin chuntasaíochta is infheidhme, faoi réir aon athrú ábhartha mar a leirítear agus a mhínítear nochtadh sna ráitis airgeadais
Tá an Bord freagrach as taifid chuí chuntasaíochta a choimeád, a nochtann le cruinneas réasúnach ag aon am, staid airgeadais an Ghailearaí agus a chuireann ar a chumas a chinntiú go gcomhlíonann na ráitis airgeadais alt 35 den Acht um Fhorais Chultúir Náisiúnta, 1997. Tá an Bord freagrach as cothabháil agus as sláine na faisnéise airgeadais agus corparáidí ar shuíomh gréasáin an Ghailearaí.
Tá an Bord freagrach as an mbuiséad bliantúil a fhaomhadh. Rinneadh plé ar fheidhmíocht an Ghailearaí, de réir an plean agus an bhuiséid bhliantúil, ag cruinnithe an Bhoird le linn 2019.
Tá an Bord freagrach freisin as a chuid sócmhainní a chosaint, agus mar sin, tá sé freagrach as céimeanna réasúnacha a ghlacadh chun calaois agus mírialtachtaí eile a aimsiú agus a chosc.
Measann an Bord go dtugann ráitis airgeadais an Ghailearaí léargas fíor agus cothrom ar fheidhmíocht airgeadais agus ar staid airgeadais an Ghailearaí amhail ar an 31 Nollaig 2019.
Struchtúr an Bhoird Tá suas le seacht gcomhalta dhéag ar an mBord, ceapann an tAire Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus Meán deichniúr díobh, sealbhóirí ex-officio de na hoifigí liostaithe thíos is ea cúigear díobh agus de bhun na cumhachta a bhronntar air le hAcht 1854, ainmníonn agus ceapann an tAcadamh Ibeirneach Ríoga beirt chomhalta. Cuireann comhaltaí a cheapann an tAire téarma cúig bliana isteach. Cuireann comhaltaí ex-officio téarmaí éagsúla isteach ag brath ar bhunreacht a n-eagraíochta.
COMHALTAÍ EX-OFFICIO:
– An tAcadamh Ibeirneach Ríoga (RHA) | Uachtarán
– Cumann Ríoga Bhaile Átha Cliath (RDS) | Uachtarán agus Leas- Uachtarán
– Acadamh Ríoga na hÉireann (RIA) | Uachtarán
– Oifig na nOibreacha Poiblí (OPW) | Cathaoirleach
Ceapann an Bord a Chathaoirleach agus a Leaschathaoirleach féin de bhun na cumhachta a bronnadh air faoi na hAchtanna. Tuarascáil Bhliantúil 2019 43
Comhaltaí Reatha SA TÁBLA THÍOS TÁ MIONSONRAÍ AR THRÉIMHSE CHEAPACHÁIN NA GCOMHALTAÍ REATHA:
AINMNITHE AG AN AIRE (TRÉIMHSE 5 BLIANA)
AINM CEAPTHA DEIREADH TRÉIMHSE Lynda Carroll 17 Samhain 2016 16 Samhain 2021 Jacqueline Hall 17 Samhain 2016 16 Samhain 2021 Gary Jermyn 17 Samhain 2016 16 Samhain 2021 Ann Prendergast 17 Samhain2016 16 Samhain 2021 Lesley Tully 17 Samhain 2016 16 Samhain 2021 Barney Whelan 17 Samhain 2016 16 Samhain 2021 John O’Doherty 19 Meán Fómhair 2019 18 Meán Fómhair 2024 Mary Keane (Cathaoirleach) 2 Iúil 2014 30 Meitheamh 2024 Dan Flinter 19 Meán Fómhair 2019 18 Meán Fómhair 2024
AINMNITHE AG AN RHA (TRÉIMHSE 3 BLIANA)
AINM CEAPTHA DEIREADH TRÉIMHSE Diana Copperwhite RHA 6 Bealtaine 2020 6 Bealtaine 2023 Una Sealy RHA 1 Eanáir 2019 31 Nollaig 2021
COMHALTAÍ EX-OFFICIO
AINM CEAPTHA DEIREADH TRÉIMHSE Maurice Buckley (Cathaoirleach OPW) 12 Nollaig 2016 Ag leanacht Abigail O’Brien (Uachtarán RHA) 9 Deireadh Fómhair 2018 Ag leanacht Mary Canning (Uachtarán RIA) 16 Márta 2020 15 Márta 2023 Owen Lewis (Uachtarán RDS) 1 Nollaig 2016 1 Nollaig 2022 John Dardis (Leas – Uachtarán RDS) 5 Nollaig 2019 5 Nollaig 2025
Rinne athbhreithniú seachtrach feidhmíochta ar an mBord agus ar a choistí in 2017 agus tá athbhreithniú feidhmíochta seachtrach beartaithe in 2021, de réir riachtanais an Chóid.
Bhí sé seo in ainm tarlú i 2020 ach cuireadh moill air de bharr COVID-19.
Níor thug an Bord faoina Athbhreithniú inmheánach féin ar Éifeachtacht agus ar Mheastóireacht Boird in 2019, mar chuid dá ndualgas faoin gCód. Áfach, tosaíodh an cleachtas seo in athuair in 2020.
Athruithe ar an mBord Tháinig deireadh le téarma Vivienne Roche ar an mBord i mí Eanáir 2019 agus ceapadh Una Sealy ina háit.
Tháinig deireadh le téarma Suzanne Macdougald ar an mBord i mí an Mheithimh 2019 agus ceapadh John O’Doherty ina háit.
Tháinig deireadh le téarma Margaret Glynn ar an mBord i mí Iúil 2019 agus ceapadh Dan Flinter ina háit.
Tháinig deireadh le téarma Mary Keane ar an mBord i mí Iúil 2019 ach athcheapadh í don dara téarma.
Tháinig deireadh le téarma Bernie Brennan ar an mBord i mí na Nollag 2019 agus ceapadh John Dardis ina háit. 44 Tuarascáil Bhliantúil 2019
Coistí an Bhoird
BHÍ CÚIG CHOISTE BOIRD I MBUN OIBRE I 2019, MAR A LEANAS:
An Coiste um Shaothair An Coiste Oideachais & Fhaighte agus Taispeántais Rannpháirtíochta Poiblí Is é ról an Choiste, comhairle a thabhairt agus teacht ar Is é ról an Choiste maoirseacht a dhéanamh ar na cúrsaí go léir a chomhaontú maidir le: saothar atá beartaithe a fháil, tabhartais, bhaineann le hoideachas, cláreagrú poiblí agus rannpháirtíocht bronntanais agus ceannach saothar ealaíne agus comhaontú phoiblí. Tuairiscíonn an Coiste don Bhord i scríbhinn tar éis gach agus comhairle maidir leis gclár taispeántas. Tuairiscíonn an cruinniú, agus ar bhonn bliantúil freisin. Bíonn cúigear comhaltaí Coiste don Bhord i scríbhinn tar éis gach cruinniú, agus ar bhonn ar an gCoiste, Cathaoirleach an Bhoird ar dhuine díobh agus bliantúil freisin. Bíonn cúigear comhaltaí ar an gCoiste agus beirt chomhaltaí seachtracha. Freastalaíonn an Stiúrthóir agus bíonn Cathaoirleach an Bhoird ar dhuine díobh. Freastalaíonn an Ceannasaí na Rannpháirtíochta Poiblí ar na cruinnithe go léir. Bhí Stiúrthóir agus Ceannasaí na mBailiúchán agus an Taighde ar na ceithre chruinniú Coiste ann in 2019. cruinnithe go léir. Bhí seacht gcruinniú den Choiste ann, in 2019. Baill an Choiste 2019: Michael Cush, Jacqueline Hall Baill an Choiste 2019: Michael Cush, James English (Cathaoirleach an Choiste), James Hanley (comhalta seachtrach), (Cathaoirleach an Choiste), Abigail O’Brien, Mary Keane, Lesley Una Sealy, Martina Byrne (comhalta seachtrach) agus Barney Tully. Whelan.
An Coiste Iniúchóireachta, An Coiste Rialachais & Riosca & Airgeadais Straitéise Is é ról an Choiste tacú leis an mBord le cinntiú go gcomhlíonfar Is é ról an Choiste tacú leis an mBord maidir le hábhair a a chuid feidhmeanna ábhartha reachtúla agus comhairle bhaineann le rialachas agus le heagrúchán, monatóireacht a a thabhairt don Bhord ar stóinseacht agus ar éifeachtacht dhéanamh ar phlean straitéiseach an Ghailearaí, ar chúrsaí an rialachais chorparáidigh, na bainistíochta airgeadais, na seachtracha reachtacha agus straitéiseacha agus comhairle a bainistíochta riosca agus na hiniúchóireachta inmheánaí. thabhairt ina dtaobh. Tuairiscíonn an Coiste don Bhord i scríbhinn Tuairiscíonn an Coiste don Bhord i scríbhinn tar éis gach cruinniú, tar éis gach cruinniú, agus ar bhonn bliantúil freisin. Bíonn agus ar bhonn bliantúil freisin. Bíonn cúigear comhaltaí Boird ar ceathrar comhaltaí Boird ar an gCoiste seo agus Cathaoirleach an an gCoiste, Cathaoirleach an Bhoird ar dhuine amháin díobh agus Bhoird ar dhuine díobh. Bhí cúig chruinniú Coiste ann in 2019. beirt chomhaltaí sheachtracha. Freastalaíonn an Stiúrthóir agus Baill an Choiste 2019: Michael Cush, Mary Keane (Cathaoirleach Stiúrthóir na Seirbhísí Corparáideacha ar na cruinnithe go léir. an Choiste), Barney Whelan, Peter Kennedy agus Ann D’fhreastail Iniúchóirí Inmheánacha an Ghailearaí ar chruinnithe Prendergast. ábhartha le linn na bliana. Bhí cúig chruinniú Coiste ann in 2019.
Baill an Choiste 2019: Michael Cush, Bernie Brennan, Maurice Buckley, Lynda Carroll (Cathaoirleach an Choiste), Jean Philippe Grigy (ball seachtrach) agus Kieran Wallace (ball seachtrach).
An Coiste Forbartha Is é ról an Choiste ar gach gné d’fhorbairt an Ghailearaí a chur chun cinn agus a éascú. Tuairiscíonn an Coiste don Bhord i scríbhinn tar éis gach cruinniú, agus ar bhonn bliantúil freisin. Tá seachtar comhaltaí ar an gCoiste faoi láthair, Cathaoirleach an Bhoird duine díobh. Freastalaíonn an Stiúrthóir agus Ceannasaí na Rannóige Forbartha ar na cruinnithe go léir. Bhí cúig chruinniú Coiste ann in 2019.
Baill an Choiste 2019: Lynda Carroll, Michael Cush, Gary Jermyn (Cathaoirleach an Choiste), Suzanne Macdougald (seachtrach), Michael Maughan (comhalta seachtrach), Vivienne Roche (seachtrach ) agus Lesley Tully. Tuarascáil Bhliantúil 2019 45
Cruinnithe agus Costais an Bhoird Tagann an Bord le chéile, sé huaire ar a laghad sa bhliain, agus in 2019, bhí seacht gcruinniú acu. Is mír rialta ar chlár gach cruinniú Boird seisiún nach mbeadh an Feidhmeannas i láthair lena aghaidh.
COMHALTA BOIRD CRUINNITHE AR FREASTALAÍODH ORTHU/ COSTAIS ÍOCTHA CRUINNITHE A BHFÉADFAÍ FREASTAL ORTHU Michael Cush (Chairman) 7/7 - Bernie Brennan 6/6 - Maurice Buckley 5/7 - Lynda Carroll 7/7 - John Dardis 0/1 - James English 7/7 - Dan Flinter 1/2 - Margaret Glynn 3/3 - Jacqueline Hall 7/7 - Gary Jermyn 7/7 - Mary Keane 7/7 483 Michael Peter Kennedy 4/7 - Owen Lewis 5/7 - Suzanne Macdougald 3/3 669 Abigail O'Brien 6/7 - John O’Doherty 2/2 - Ann Prendergast 6/7 - Una Sealy 6/7 Lesley Tully 6/7 - Barney Whelan 7/7 1,442 TOTAL €2,594
Níl aon táille Boird iníoctha le comhaltaí an Bhoird 46 Tuarascáil Bhliantúil 2019
Tuarastal an Stiúrthóra FÉACH NÓTA 9 (D) LEIS NA RÁITIS AIRGEADAIS.
Sceideal tinrimh ag Cruinnithe Coiste in 2019
SAOTHAIR FHAIGHTE INIÚCHÓIREACHT, FORBAIRT OIDEACHAS & RIALACHAS & & TAISPEÁNTAIS RIOSCA & RANNPHÁIRTÍOCHT STRAITÉIS AIRGEADAS PHOIBLÍ LÍON CRUINNITHE 7 5 5 4 5
Michael Cush (Cathaoirleach) 3/7 3/5 4/5 4/4 5/5 Bernie Brennan 1/5 Maurice Buckley 5/5 Lynda Carroll 5/5 4/5 James English 7/7 Margaret Glynn 3/4 1/2 Jean-Philippe Grigy (seachtrach) 4/5 Jacqueline Hall 4/4 James Hanley 3/4 Gary Jermyn 5/5 Mary Keane 2/2 5/5 Peter Kennedy 4/4 Owen Lewis Suzanne Macdougald 4/4 5/5 Michael Maughan (seachtrach) 1/5 Abigail O'Brien 3/6 Ann Prendergast 5/5 Vivienne Roche 4/5 Lesley Tully 1/2 2/5 Kieran Wallace (seachtrach) 1/5 Barney Whelan 3/4 4/5 Martina Byrne (seachtrach) 2/3 Una Sealy 4/4
Nochtuithe atá riachtanach Miondealú ar Shochair de réir an Chóid Cleachtais Ghearrthéarmacha Fostaithe chun Comhlachtaí Stáit a Féach ar Nóta 9 (a) leis na Ráitis Airgeadais. Rialú (2016) Tá an Bord freagrach as a chinntiú gur chomhlíon Gailearaí Costais Chomhairleoireachta Náisiúnta na hÉireann riachtanais an Chóid. Éilíonn an Cód Áirítear sna costais sainchomhairleoireachta, costas na nochtuithe seo a leanas: na comhairle seachtraí don lucht bainistíochta agus níl feidhmeanna seachfhoinsithe “gnó mar is gnách” san áireamh. Tuarascáil Bhliantúil 2019 47
Costais Chomhairleoireachta
2019 2018 € € Táillí Dlí 61,045 30,655 Eacnamaíoch/MDP 7,220 2,768 Airgeadais 57,240 5,874 Acmhainní Daonna 33,954 17,480 Oibriúcháin 30,622 40,229 IOMLÁN 190,081 97,006
Caiteachas Taistil agus Cothaithe
2019 2018 € € INTÍRE Bord 2,594 7,583 Fostaithe 5,253 14,270 Neamhfhoirne 1 2,073 1,762
IDIRNÁISIÚNTA Bord - - Fostaithe 59,789 57,752 Neamhfhoirne 1 578 762 Cairde Ghailearaí Náisiúnta na hÉireann 1,397 778 IOMLÁN 71,684 82,907 1 Baineann caiteachas Taistil & Cothaithe neamhfhoirne le haoichainteoirí, taisteal intéirneach agus costais sainchomhairleoirí
2019 2018 € € Táillí Taistil agus Cothaithe i gCuntas Ioncaim agus 65,763 74,359 Caiteachais Táillí Taistil agus Cothaithe don Bhord san áireamh i Nóta 2,594 7,583 10 (Costais eile) Táillí Taistil agus Cothaithe, Siopa Leabhair san áireamh i 1,930 187 Nóta 7 (Costais Oibriúcháin) Táillí Taistil agus Cothaithe, Cairde san áireamh i Nóta 6 1,397 778 (Costais Oibriúcháin) IOMLÁN 71,684 82,907 48 Tuarascáil Bhliantúil 2019
Caiteachas Fáilteachais SAN ÁIREAMH SA RÁITEAS IONCAIM AGUS CAITEACHAIS, TÁ AN CAITEACHAS FÁILTEACHAIS SEO A LEANAS::
2019 2018 € € Fáilteachas Foirne 8,230 4,301 Fáilteachas Cliant 11,015 15,345 IOMLÁN 19,245 19,646
Ráiteas um Chomhlíonadh Ghlac an Bord leis an gCód Cleachtais chun Comhlachtaí Stáit a Rialú (2016) agus tá nósanna imeachta curtha i bhfeidhm aige chun comhlíonadh an Chóid a chinntiú. Chomhlíon an Gailearaí an Cód ina iomláine, seachas nach ndearnadh athbhreithniú ar Éifeachtacht agus Meastóireacht inmheánach an Bhoird i 2019. Tosaíodh an cleachtas seo in athuair in 2020.
THAR CEANN GHOBHARNÓIRÍ AGUS CHAOMHNÓIRÍ GHAILEARAÍ NÁISIÚNTA NA HÉIREANN:
MARY KEANE, LYNDA CARROLL, CATHAOIRLEACH COMHALTA BOIRD 10 NOLLAG 2020 10 NOLLAG 2020 Tuarascáil Bhliantúil 2019 49 Ráiteas ar Rialú Inmheánach Scóip na Freagrachta
Thar ceann Bhord Gobharnóirí agus Caomhnóirí Ghailearaí Náisiúnta na hÉireann (an Bord), admhaím ár ndualgas a chinntiú go bhfuil córas éifeachtach rialaithe inmheánaigh á chothú agus á oibriú. Cuimsítear sa fhreagracht sin ceanglais an Chóid Chleachtais chun Comhlachtaí Stáit a Rialú (2016).
Tá polasaí bainistíochta riosca forbartha ag an gCoiste, ina Cuspóir an Chórais um Rialú leagtar amach an inghlacthacht riosca, an próiseas bainistíochta Inmheánach riosca atá i bhfeidhm agus sonraítear róil agus freagrachtaí na mball foirne maidir le riosca. Tugadh cóip den pholasaí do gach Tá an córas um rialú inmheánach deartha chun riosca a bhainistiú ball foirne, agus táthar ag súil go n-oibreoidh siad laistigh dá ag leibhéal inghlactha, seachas é a chur as an áireamh go huile. théarmaí, go gcuirfidh siad an lucht bainistíochta ar an eolas Dá bhrí sin, ní féidir leis an gcóras um rialú inmheánach ach maidir le rioscaí a thiocfadh chun cinn, go ndéanfaidh siad laigí deimhniú réasúnach, nach deimhniú foriomlán é, a thabhairt a rialú agus go nglacfaidh siad freagracht as rioscaí agus as go bhfuil sócmhainní á gcosaint, idirbhearta á n-údarú agus rialuithe ina réimsí féin. á dtaifead i gceart agus go ndéantar earráidí nó mírialtachtaí ábhartha a chosc nó go ndéanfaí iad a bhrath go pras. Próiseas leanúnach is ea an córas um rialuithe inmheánacha agus bíonn Creat Riosca agus Rialaithe an córas agus a éifeachtacht faoi athbhreithniú leanúnach. Tá an córas um rialú inmheánach, atá de réir treoirlínte arna n-eisiúint Tá córas bainistíochta riosca curtha i bhfeidhm ag an nGailearaí ag an Roinn Caiteachais Phoiblí agus Athchóirithe, i bhfeidhm i a aithníonn agus a thuairiscíonn príomhrioscaí agus na bearta nGailearaí Náisiúnta na hÉireann (an Gailearaí) don bhliain dar bainistíochta a ghlactar chun aghaidh a thabhairt ar na rioscaí sin chríoch an 31 Nollaig 2019 agus suas go dáta faofa na ráiteas agus chun iad a mhaolú, an méid agus is féidir. airgeadais. Tá clár rioscaí i bhfeidhm a aithníonn na príomhrioscaí a gcaithfidh an Gailearaí dul i ngleic leo agus rinneadh na rioscaí siúd a aithint, a mheas agus a ghrádú de réir a dtábhachta. Cumas Riosca a láimhseáil Aithníonn an clár rioscaí cineálacha éagsúla riosca, ina measc, Tá Coiste Iniúchóireachta, Riosca & Airgeadais (ARF) ag an mBord, rioscaí straitéise, oibriúcháin, airgeadais agus cáile atá ann ar a bhfuil cúigear ball, le taithí airgeadais agus iniúchóireachta don eagraíocht agus na rialuithe reatha agus na bearta breise agus duine díobh sin is ea Cathaoirleach an Bhoird. Tháinig an atá de dhíth chun an tionchar ar an eagraíocht a íoslaghdú sa coiste le chéile cúig uaire in 2019. Cuireann an ARF tuarascáil chás go dtarlódh riosca. Déanann an Fhoireann Bhainistíochta bhliantúil faoina ghníomhaíochtaí ar fáil, a scaiptear ar Bhaill an Feidhmiúcháin an clár a athbhreithniú agus a nuashonrú ar Bhoird. bhonn leanúnach. Úsáidtear torthaí na measúnuithe sin chun pleanáil a dhéanamh agus chun acmhainní a leithdháileadh le Tá an obair bainteach le feidhm iniúchóireachta inmheánaí curtha cinntiú go ndéanfar rioscaí a bhainistiú ag leibhéal inghlactha. amach ar chonradh chuig Deloitte. Tá dóthain acmhainní ar fáil Leagtar amach sa chlár rioscaí na rialuithe agus na bearta atá don fheidhm iniúchóireachta inmheánaí agus reáchtálann sé de dhíth chun rioscaí a mhaolú agus sonraítear na baill foirne a clár oibre a aontaíodh leis an gCoiste ARF. Ullmhaítear an clár bhfuil freagrachtaí orthu maidir le oibriú na rialuithe ar leith. oibre bunaithe; ar thorthaí na n-athbhreithnithe iniúchóireachta inmheánaí a rinneadh roimhe seo; ar rioscaí an tionscail; ar chlár Cuireann Deloitte tuarascálacha iniúchta inmheánacha rioscaí; agus déantar é a plé agus a chomhaontú leis an gCoiste cuimsitheacha ar fáil maidir le réimsí a mbaineann riosca níos ansin. mó leo, tá sé mar chuspóir foriomlán acu rialuithe a mheas i ngach ceann de phríomhréimsí gníomhaíochta an Ghailearaí thar
thréimhse trí bliana. Déantar an plean iniúchta inmheánaigh i dtréimhsí trí bliana agus rinneadh gach iniúchadh sceidealta do 50 Tuarascáil Bhliantúil 2019
2019. Rinneadh athbhreithniú ar an Rialú Inmheánach Airgeadais – Cuireadh breis rialuithe i bhfeidhm tar éis athbhreithnithe in 2019. Ullmhaítear tuairiscí de réir chur chuige iniúchta ar an bpróiseas maidir le híocaíochtaí chun rialú a neartú inmheánaigh Deloitte, a thagann leis na caighdeáin atá leagtha sa réimse seo. Tionscnaíodh an t-athbhreithniú seo tar éis síos ag Institiúid Chairte na nIniúchóirí Inmheánacha. Bunaíodh calaoise a díríodh ar an nGailearaí, agus mar thoradh air clár riosca uasdátaithe agus Plean Oibre Iniúchta Inmheánaigh sin rinneadh íocaíocht de € 28,214 in 2019, agus aisíocadh € 2019 ar fhíorais a sainaithníodh le linn iniúchta inmheánaigh agus 25,644 de sin. Leanadh nósanna imeachta calaoise, ina measc, sheachtraigh. tuairisciú ar an eachtra don Gharda Síochána.
Tá creat de nósanna imeachta riaracháin agus tuairisciú rialta bainistíochta i bhfeidhm freisin lena n-áirítear deighilt dualgas Soláthar agus córas tarmligin agus cuntasachta. Go sonrach: Deimhním go bhfuil nósanna imeachta ag an nGailearaí chun – Tá córas buiséadaithe cuí ann le buiséad bliantúil ceadaithe a monatóireacht a dhéanamh ar éifeachtacht a nósanna imeachta choinníonn an bhainistíocht shinsearach faoi athbhreithniú. rialaithe agus bainistíochta riosca, maraon le plean corpráideach – Déanann an bhainistíocht shinsearach athbhreithnithe rialta soláthair agus plean oibriúcháin soláthar agus gur chomhlíon an ar thuarascálacha airgeadais tréimhsiúla agus bliantúla Gailearaí na cleachtais seo in 2019, seachas i gcás dhá chonradh a léiríonn an fheidhmíocht airgeadais i gcomparáid le do sheirbhísí deartha arbh fhiú €88,214 iad. réamhaisnéisí. – Cuirtear coimriú den chlár riosca ar fáil don ARF ar bhonn Athbhreithniú ar tréimhsiúil agus déanann an ARF athbhreithniú iomlán air gach bliain. éifeachtacht
– Tá córais ann atá dírithe ar shlándáil na gcóras TFC a chinntiú. Deimhním go bhfuil nósanna imeachta ag an nGailearaí chun monatóireacht a dhéanamh ar éifeachtacht a nósanna imeachta – Tá treoirlínte cuí ann maidir le rialú infheistíochta caipitil agus rialaithe agus bainistíochta riosca. Bunaítear monatóireacht disciplíní foirmiúla bainistíochta tionscadail. agus athbhreithniú an Ghailearaí ar éifeachtacht an chórais – Déantar athbhreithniú go rialta ar na nósanna imeachta rialaithe inmheánaigh ar obair na n-iniúchóiri inmheánacha agus slándála chun an bailiúchán a choinneáil slán. seachtracha, an Choiste ARF a mhaoirsíonn a gcuid oibre agus an lucht ardbhainistíochta laistigh den Ghailearaí, atá freagrach as – Cinntíonn an Gailearaí go gcuirtear an bhéim chuí ar dhea- an gcreat rialaithe inmheánaigh a fhorbairt agus a chothú. chleachtas ceannacháin agus go bhfuil nósanna imeachta i bhfeidhm chun comhlíonadh na dtreoirlínte ábhartha go léir a Deimhním go ndearna an Bord athbhreithniú bliantúil ar chinntiú. éifeachtacht na rialuithe inmheánacha do 2019. Trí na próisis atá léirithe thuas, deimhníonn an Coiste ARF go bhfuil an Bord sásta le héifeachtacht na rialuithe inmheánacha Monatóireacht agus atá i bhfeidhm maidir leis an mbliain dar chríoch an 31 Nollaig Athbhreithniú Leanúnach 2019, bunaithe ar athbhreithniú a rinne Deloitte i mí na Samhna 2019. Tá nósanna imeachta foirmeálta curtha ar bun chun monatóireacht a dhéanamh ar phróisis rialaithe agus cuirtear easnaimh rialaithe in iúl go pras dóibh siúd atá freagrach as THAR CEANN GHOBHARNÓIRÍ AGUS CHAOMHNÓIRÍ beart ceartaitheach a dhéanamh agus don Bhord agus don lucht GHAILEARAÍ NÁISIÚNTA NA HÉIREANN: bainistíochta, nuair is cuí.
Deimhním go bhfuil na córais leanúnacha mhonatóireachta seo a leanas i bhfeidhm:
– Admhaítear príomhrioscaí agus rialuithe bainteacha agus tá próisis curtha i bhfeidhm chun monatóireacht a dhéanamh ar MARY KEANE, oibriú na bpríomhrialuithe sin agus aon easnaimh a aimsítear CATHAOIRLEACH a thuairisciú, 10 NOLLAG 2020
– Tá socruithe tuairiscithe curtha ar bun ag gach leibhéal ina bhfuil freagracht as bainistíocht airgeadais sannta, agus
– Déanann an ardbhainistíocht athbhreithnithe rialta ar fheidhmíocht thréimhsiúil agus bhliantúil agus ar thuarascálacha airgeadais a léiríonn feidhmiú i gcomparáid leis na buiséid/réamhaisnéisí. Tuarascáil Bhliantúil 2019 51 52 Tuarascáil Bhliantúil 2019 Tuarascáil Bhliantúil 2019 53
Ráiteas maidir le Gníomhaíochtaí Airgeadais
Don bhliain dar chríoch 31 Nollaig 2019
NÓTA CISTÍ CISTÍ 2019 CISTÍ CISTÍ 2018 NEAMHSHRIANTA SRIANTA IOMLÁN NEAMHSHRIANTA SRIANTA IOMLÁN IONCAM € € € € € € Deontas ón Oireachtas 2 9,688,000 859,000 10,547,000 9,143,000 894,763 10,037,763 Deontas ón Oireachtas - Eile 2a 120,340 - 120,340 15,129 - 15,129 Ioncam Tabhartas 144,261 - 144,261 304,540 4,999 309,539 Ioncam Caifé/Imeachtaí 301,412 - 301,412 316,029 - 316,029 Ioncam ó Thaispeántais 615,739 - 615,739 434,806 - 434,806 Ioncam Oideachais 3 85,754 - 85,754 98,124 - 98,124 Ríchíosanna 154,638 - 154,638 161,296 - 161,296 Ioncam Urraíochta/Taighde 4 278,900 87,959 366,859 491,114 371,878 862,992 Ioncam Ilghnéitheach 5 (20,342) 6,715 (13,627) 405,679 20,299 425,978 Tabhartas Sócmhainní Oidhreachta - 1,330,116 1,330,116 - 555,185 555,185 Glanioncam ó Chairde Ghailearaí 6 - 92,421 92,421 - 49,627 49,627 Náisiúnta na hÉireann Glanioncam ón Siopa 7 292,188 - 292,188 366,001 - 366,001 IONCAM IOMLÁN 11,660,890 2,376,211 14,037,101 11,735,718 1,896,751 13,632,469
CAITEACHAS Gníomhaíochtaí Carthanachta Bailiúchán agus Taighde 8C 8,677,153 107,226 8,784,379 8,481,457 191,630 8,673,087 Rannpháirtíocht Phoiblí 8C 1,703,034 - 1,703,034 1,917,897 - 1,917,897 Oideachas 8C 1,203,736 7,711 1,211,447 1,222,196 257 1,222,453 Forbairt 8C 708,239 3,967 712,206 275,063 1,757 276,820 Caiteachas iomlán 8B&C 12,292,162 118,904 12,411,066 11,896,613 193,644 12,090,257
BARRACHAS DON BHLIAIN (631,272) 2,257,307 1,626,035 (160,895) 1,703,107 1,542,212 ROIMH LEITHREASAÍ Aistriú (go dtí an)/ón gCuntas 11 42,572 - 42,572 3,617 - 3,617 Caipitil Aistriú (go) Cúlchiste Sócmhainne 12 (28,218) (2,235,501) (2,263,719) (20,000) (1,751,579) (1,771,579) Oidhreachta Gnóthachan/(caillteanas) 14 586,258 175,816 762,074 (195,675) (66,553) (262,228) athluachála neamhréadaithe ar infheistíochta Gnóthachan ar dhiúscairtí 14 37,560 16,464 54,024 127,749 1,454 129,203 infheistíochta Costais choimisiúnaithe MPF - - - - (2,708) (2,708) BARRACHAS/(CAILLTEANAS) 6,900 214,086 220,986 (245,204) (116,279) (361,483) DON BHLIAIN I NDIAIDH LEITHREASAÍ
Tá na ráitis ar shreabhadh airgid agus na Nótaí 1 go dtí 28 mar chuid de na Raitis Airgid seo.
THAR CEANN GHOBHARNÓIRÍ AGUS CHAOMHNÓIRÍ GHAILEARAÍ NÁISIÚNTA NA HÉIREANN:
MARY KEANE, LYNDA CARROLL, CATHAOIRLEACH COMHALTA BOIRD 10 NOLLAG 2020 10 NOLLAG 2020 54 Tuarascáil Bhliantúil 2019
Ráiteas ar Ioncam Cuimsitheach
Don Bhliain dar Chríoch an 31 Nollaig 2019
NÓTA CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN
€ € € € BARRACHAS/(CAILLTEANAS) DON BHLIAIN 6,900 214,086 220,986 (361,483) I NDIAIDH LEITHREASAÍ
Athluacháil Réadmhaoine 13 45,000 55,000 100,000 70,000 Ioncam Cuimsitheach eile don bhliain 45,000 55,000 100,000 70,000
CUIMSITHEACH IOMLÁN DON BHLIAIN 51,900 269,086 320,986 (291,483)
Tá na ráitis ar shreabhadh airgid agus na Nótaí 1 go dtí 28 mar chuid de na Raitis Airgid seo.
THAR CEANN GHOBHARNÓIRÍ AGUS CHAOMHNÓIRÍ GHAILEARAÍ NÁISIÚNTA NA HÉIREANN:
MARY KEANE, LYNDA CARROLL, CATHAOIRLEACH COMHALTA BOIRD 10 NOLLAG 2020 10 NOLLAG 2020 Tuarascáil Bhliantúil 2019 55
Ráiteas ar an Staid Airgeadais
Don Bhliain dar Chríoch an 31 Nollaig 2019
NÓTA 2019 2018 SÓCMHAINNÍ SEASTA € € Sócmhainní Oidhreachta1 11/12 41,709,857 39,446,138 Réadmhaoin, Gléasra & Trealamh 13 7,189,126 7,142,992 Sócmhainní Airgeadais 14 6,146,369 5,239,831 IOMLÁN NA SÓCMHAINNÍ SEASTA 55,045,352 51,828,961
SÓCMHAINNÍ REATHA Fardal 15 361,697 386,257 Infháltais 17 310,643 1,103,931 Airgead Tirim agus Coibhéisí Airgid Tirim 16 1,383,758 1,027,328 IOMLÁN NA SÓCMHAINNÍ REATHA 2,056,098 2,517,516
DLITEANAS REATHA (SUIMEANNA DLITE LAISTIGH DE BHLIAIN AMHÁIN) Suimeanna iníoctha 18 1,097,753 1,062,640 Ioncam iarchurtha - Deontas Rialtais 20 52,997 56,896 Ioncam Iarchurtha - Eile 21 2,339,070 2,157,444 IOMLÁN NA NDLITEANAS REATHA 3,489,820 3,276,980
GLANDLITEANAIS REATHA (1,433,722) (759,464)
IOMLÁN NA NGLANSÓCMHAINNÍ 53,611,630 51,069,497
AG LÉIRIÚ Cuntas Caipitil 11 872,202 914,774 Cúlchistí Neamhshrianta 22 6,857,005 6,805,105 Cúlchistí Srianta 22 4,172,566 3,903,480 Cuntas Caipitil - Sócmhainní Oidhreachta 12/22 41,709,857 39,446,138 IOMLÁN NA GCÚLCHISTÍ 53,611,630 51,069,497 1 Tá na Sócmhainní Oidhreachta go léir a fuarthas ón 1 Eanáir 2007 san áireamh sa Ráiteas ar an Staid Airgeadais ag an gcostas nó ag an luach a bhí orthu ag dáta an tabhartais.
Tá na ráitis ar shreabhadh airgid agus na Nótaí 1 go dtí 28 mar chuid de na Raitis Airgid seo.
THAR CEANN GHOBHARNÓIRÍ AGUS CHAOMHNÓIRÍ GHAILEARAÍ NÁISIÚNTA NA HÉIREANN:
MARY KEANE, LYNDA CARROLL, CATHAOIRLEACH COMHALTA BOIRD 10 NOLLAG 2020 10 NOLLAG 2020 56 Tuarascáil Bhliantúil 2019
Ráiteas ar Athruithe sna Cúlchistí agus sa Chuntas Caipitil
Don Bhliain dar Chríoch an 31 Nollaig 2019
CISTÍ NEAMHSHRIANTA CISTÍ SRIANTA
NÓTA CUNTAS CÚLCHISTÍ CUNTAS CÚLCHISTÍ IOMLÁN CAIPITIL CAIPITIL- SRIANTA EILE SÓCMHAINNÍ OIDHREACHTA € € € € € IARMHÉID AR AN 1 EANÁIR 2018 918,391 7,015,309 37,674,559 3,984,759 49,593,018 Barrachas/(caillteanas) don bhliain i ndiaidh - (245,204) - (116,279) (361,483) leithreasaí Ioncam Cuimsitheach Eile - 35,000 - 35,000 70,000 Sócmhainní Oidhreachta a ceannaíodh 11/12 - - 1,216,394 - 1,216,394 Sócmhainní Oidhreachta ag an luacháil 11/12 - - 555,185 - 555,185 Íocaíochtaí chun Sócmhainní Seasta a fháil 11 252,256 - - - 252,256 Amúchadh Sócmhainní Seasta 11 (255,873) - - - (255,873) IARMHÉID AR 31 NOLLAIG 2018 914,774 6,805,105 39,446,138 3,903,480 51,069,497
IARMHÉID AR AN 1 EANÁIR 2019 914,774 6,805,105 39,446,138 3,903,480 51,069,497
Barrachas don bhliain i ndiaidh leithreasaí - 6,900 - 214,086 220,986 Ioncam Cuimsitheach Eile - 45,000 - 55,000 100,000 Sócmhainní Oidhreachta a ceannaíodh 11/12 - - 933,603 - 933,603 Sócmhainní Oidhreachta ag an luacháil 11/12 - - 1,330,116 - 1,330,116 Íocaíochtaí chun Sócmhainní Seasta a fháil 11 201,968 - - - 201,968 Amúchadh Sócmhainní Seasta 11 (244,540) - - - (244,540) IARMHÉID AR 31 NOLLAIG 2019 872,202 6,857,005 41,709,857 4,172,566 53,611,630
SAN ÁIREAMH SNA HIARMHÉIDEANNA AR 31 NOLLAIG 2019: LUACH AR ATHLUACHÁLACHA RÉADMHAOINE: Cistí Neamhshrianta 2,730,000 Cistí Srianta 3,040,000 Tuarascáil Bhliantúil 2019 57
Ráiteas ar Shreabhadh Airgid
Don Bhliain dar Chríoch an 31 Nollaig 2019
2019 2018 € € GLANSREAFAÍ AIRGID Ó GHNÍOMHAÍOCHTAÍ OIBRIÚCHÁIN Barrachas Ioncaim thar Chaiteachas 220,986 (361,483) Dímheas agus lagú sócmhainní seasta 359,712 365,825 Laghdú/(Méadú) i bhFardal 24,560 7,780 (Méadú)/Laghdú in Infháltais 793,288 (532,093) (Laghdú)/Méadú i Suimeanna Iníoctha 35,113 (87,828) Ús Bainc faighte (42) (2,679) Díbhinní faighte (33,135) (36,265) Laghdú i nDeontas Rialtais Iarchurtha (3,899) (34,763) Méadú/ (Laghdú) in Ioncam Iarchurtha - Eile 181,626 (182,468) Gluaiseacht ar Chuntas Caipitil (42,572) (3,617) GLAN-INSREABHADH AIRGID Ó GHNÍOMHAÍOCHTAÍ 1,535,637 (867,591) OIBRIÚCHÁIN
SREAFAÍ AIRGID Ó GHNÍOMHAÍOCHTAÍ INFHEISTÍOCHTA Íocaíochtaí chun réadmhaoin, gléasra agus trealamh a fháil (305,846) (622,931) Diúscairtí réadmhaoine, gléasra agus trealaimh - 13,636 Íocaíochtaí chun infheistíochtaí luaite a fháil (942,943) (1,132,459) Fáltais ó dhiúscairtí infheistíochtaí luaite 863,250 1,138,697 Gluaiseacht iarmhéideanna airgid infheistíochta (10,747) 63,600 Caillteanas athluachála neamhréadaithe ar infheistíochtaí (762,074) 262,228 Gnóthachan ar dhiúscairtí infheistíochta (54,024) (129,203) GLANSREAFAÍ AIRGID Ó GHNÍOMHAÍOCHTAÍ (1,212,384) (406,432) INFHEISTÍOCHTA
SREAFAÍ AIRGID Ó GHNÍOMHAÍOCHTAÍ MAOINIÚCHÁIN Ús bainc faighte 42 2,679 Díbhinní faighte 33,135 36,265 GLANSREAFAÍ AIRGID Ó GHNÍOMHAÍOCHTAÍ 33,177 38,944 MAOINIÚCHÁIN
GLANMHÉADÚ/(GLANLAGHDÚ) IN AIRGEAD TIRIM 356,430 (1,235,079) AGUS I GCOIBHÉISÍ AIRGID THIRIM Airgead Tirim agus Coibhéisí Airgid Thirim ar an 1 Eanáir 1,027,328 2,262,407 AIRGEAD TIRIM AGUS COIBHÉISÍ AIRGID THIRIM AR AN 1,383,758 1,027,328 31 NOLLAIG 58 Tuarascáil Bhliantúil 2019 Nótaí leis na Ráitis Airgeadais 1. Polasaithe Cuntasaíochta
Tá an bunús cuntasaíochta agus na polasaithe suntasacha cuntasaíochta arna nglacadh ag Gailearaí Náisiúnta na hÉireann leagtha amach thíos. Cuireadh i bhfeidhm go comhsheasmhach iad le linn na bliana agus le linn na bliana roimhe sin.
a) Eolas Ginearálta c) Bunús an Ullmhúcháin Bunaíodh Gailearaí Náisiúnta na hÉireann trí Acht Parlaiminte Tá na ráitis airgeadais ullmhaithe faoin gcoinbhinsiún costais sa bhliain 1854 agus osclaíodh don phobal é sa bhliain 1864 i stairiúil ach amháin roinnt sócmhainní agus dliteanas a gCearnóg Mhuirfean, Baile Átha Cliath 2 thomhaistear ag luachanna córa mar atá mínithe sna polasaithe cuntasaíochta thíos. Tá na ráitis airgeadais san fhoirm atá faofa Is iad seo a leanas príomhchuspóirí Ghailearaí Náisiúnta na ag an Aire Turasóireachta, Cultúir, Ealaíon, Gaeltachta Spóirt agus hÉireann mar atá leagtha amach i gCuid VI den Acht um Fhorais na Meán le comhthoiliú an Aire Airgeadais faoin Acht um Fhorais Chultúir Náisiúnta, 1997: Chultúir Náisiúnta, 1997. Tá Comhaontú Seachadta Feidhmíochta 60. — 1) BEIDH SÉ MAR FHEIDHM AG NA GOBHARNÓIRÍ agus Comhaontú Maoirseachta idir an Gailearaí Náisiúnta agus an AGUS AG NA CAOMHNÓIRÍ – Roinn Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus na Meán i bhfeidhm anois. Cuireadh na polasaithe cuntasaíochta seo (a) eolas ar na hamharc-ealaíona a mhéadú agus a a leanas i bhfeidhm go seasta le linn a bheith ag plé le míreanna a scaipeadh taobh istigh nó taobh amuigh den Stát trí mheastar a bheith ábhartha maidir leis na ráitis airgeadais. cibé modh a mheasann siad a bheith oiriúnach,
(b) talamh nó leas i dtalamh a dhiúscairt faoi réir thoiliú an Aire agus aon mhaoin eile a dhiúscairt (seachas d) Formáid na Ráiteas réada cultúrtha i mbailiúchán Ghailearaí Náisiúnta na Airgeadais hÉireann), agus Tá formáid na ráiteas airgeadais seo faofa ag an Aire (c) a bheith rannpháirteach ina leithéid de Turasóireachta, Cultúir, Ealaíon, Gaeltachta Spóirt agus na Meán ghníomhaíochtaí chun críche cistí a chruinniú don agus mar chuid díobh tá Ráiteas Ioncaim agus Caiteachais, Ráiteas Ghailearaí Náisiúnta de réir mar a mheasann siad a ar Ioncam Cuimsitheach, Ráiteas ar an Staid Airgeadais, Ráiteas bheith cuí. ar Athruithe ar Chúlchistí agus ar an gCuntas Caipitil, Ráiteas Sreafaí Airgid agus nótaí bainteacha. Is comhdhlúthú de na (2) T Á NA FEIDHMEANNA THUASLUAITE SA BHREIS AR AON FHEIDHMEANNA ARNA gníomhaíochtaí go léir de chuid Ghailearaí Náisiúnta na hÉireann MBRONNADH AR NA GOBHARNÓIRÍ AGUS AR (an Gailearaí) iad na ráitis airgeadais agus mar chuid díobh tá: - NA CAOMHNÓIRÍ LEIS NA HACHTANNA UM DHÁNLANN NÁISIÚNTA NA HÉIREANN 1854 GO 1963, AGUS NÍ INA N-IONAD
Eintiteas Leasa Phoiblí is ea Gailearaí Náisiúnta na hÉireann.
b) Ráiteas um Chomhlíonadh Ullmhaítear ráitis airgeadais Ghailearaí Náisiúnta na hÉireann de réir FRS 102, an Caighdeán Tuairiscithe Airgeadais infheidhmithe sa Ríocht Aontaithe agus in Éirinn, arna eisiúint ag an gComhairle Tuairiscithe Airgeadais (FRC), mar a fhógraíonn Cuntasóirí Cairte na hÉireann. Tuarascáil Bhliantúil 2019 59
CUNTAIS IONCAIM IARCHURTHA (NÓTA 20 &21) CISTE SCOLÁIREACHTA Bunaíodh an ciste seo in 1988 chun Scoláireacht a chur ar fáil maidir le taighde oideachais a chur chun JOHN BARRY/ cinn agus a spreagadh. PETRONELLA BROWN COMHAIRLE DARGAN Bunaíodh Comhairle, The Dargan Council, in 2005 chun maoiniú a bhailiú le mórshaothair ealaíne a rachadh chun sochair do Bhailiúchán an Ghailearaí, a cheannach . CISTE COMHALTACHTA Cuireadh an ciste seo ar bun trí ghníomhas in 1986 (agus arna leasú in 2005) chun ioncam a ghineadh chun Comhaltachtaí a chur ar fáil i réimsí taighde, caomhnaithe, péintéireachta, dealbhóireachta agus do chuspóirí acadúla eile. CISTE LANE Bunaíodh an ciste seo in 1918 nuair a d’fhág Sir Hugh Lane cuid dá eastát ag Gailearaí Náisiúnta na hÉireann, go sonrach chun pictiúir Éireannacha a cheannach. CISTE SCIATHÁN NA Bunaíodh an ciste seo chun tabhartais ó bhronntóirí príobháideacha le cabhrú le Sciathán Mílaoise an MÍLAOISE Ghailearaí a thógáil agus an caiteachas a bhain leis, a thaifeadadh.
CUNTAS CÚLCHISTE (NÓTA 22) CISTE SHAW Bunaíodh an ciste seo in 1950 ar bhás George Bernard Shaw a d’fhág ina uacht aon trian d’ioncam iarmharach a eastáit ag Gailearaí Náisiúnta na hÉireann le húsáid faoi lánrogha an Bhoird Gobharnóirí agus Caomhnóirí (An Bord). SIOPA AN GHAILEARAÍ Bunaíodh an siopa ar dtús faoi Iontaobhas Magawley Banon chun macasamhlacha agus catalóga do NÁISIÚNTA shaothair ealaíne sa bhailiúchán a mhaoiniú. CUNTAS Déanann an cuntas seo na hidirbhearta go léir a thaifeadadh maidir le hairgead a tugadh don Ghailearaí FÉINACMHAINNÍ agus ioncam tráchtála, ina measc, urraíocht, gníomhaíochtaí oideachais, ioncam ó cheadúnas bialainne agus fruiliú áiseanna an Ghailearaí. Déantar taifead sa chuntas seo freisin ar ioncam agus ar chaiteachas a bhaineann le Taispeántais.
EINTITIS DHLÍTHIÚLA IS EA IAD SEO A LEANAS, NACH MBAINEANN LEIS AN NGAILEARAÍ, ATÁ FAOI THEORAINN RÁTHAÍOCHTA (NÓTA 6): CAIRDE GHAILEARAÍ Bunaíodh an chuideachta seo, atá faoi theorainn ráthaíochta, i 1986 chun tacú le gníomhaíochtaí an NÁISIÚNTA NA Ghailearaí trí bhallraíocht a earcú chun léirthuiscint péintéireachta, dealbhóireachta agus ailtireachta a HÉIREANN spreagadh. CAIRDE NA Is carthanas cláraithe sa Ríocht Aontaithe an chuideachta seo atá faoi theorainn ráthaíochta agus a BREATAINE bunaíodh chun cistí a chruinniú chun Sciathán na Mílaoise a thógáil agus tá cistí tugtha aige freisin chun GHAILEARAÍ pictiúir de bhunús agus de ré áirithe a fháil. NÁISIÚNTA NA HÉIREANN e) Formáid do Charthanais g) Ioncam Carthanas cláraithe is ea Gailearaí Náisiúnta na hÉireann I measc an ioncaim a dtugtar cuntas air ar bhunús fáltais airgid (CHY2345). De réir an chleachtais mholta do charthanais, tá thirim: anailís déanta ar ioncam agus ar chaiteachas an Ghailearaí chun a DEONTAIS OIREACHTAIS n-infhaighteacht don Bhord Gobharnóirí agus Caomhnóirí a léiriú mar seo a leanas: IONCAM URRAÍOCHTA Cistí Srianta: Ní féidir leis an nGailearaí na cistí seo a chaitheamh ach do na cúiseanna ar leith ar ar tugadh iad. IONCAM DÍBHINNE
Cistí Neamhshrianta: Tá na cistí seo ar fáil don Ghailearaí le IONCAM Ó DHEONTAIS RIALTAIS/ URRAÍOCHT/ feidhmiú chun críocha ginearálta an Ghailearaí mar atá leagtha TAIGHDE/OIDEACHAS amach sa reachtaíocht faoinar bunaíodh é. Aithnítear Deontais Rialtais agus ioncam urraíochta a fuarthas do chuspóirí ar leith sa Ráiteas Ioncaim agus Caiteachais chun go f) Cuntas Caipitil dtiocfaidís leis an gcaiteachais lena bhfuil siad deonaithe. Áirítear méideanna neamhchaite ag dáta an chláir chomhardaithe in Aistrítear deontais Stáit chun sócmhainní seasta a cheannach Ioncam Iarchurtha sa Ráiteas ar an Staid Airgeadais. Aithnítear chuig an gCuntas Caipitil sa bhliain ina ndéantar an caiteachas ioncam urraíochta a fuarthas chun críocha neamhshonracha sa agus léirítear iad sa Ráiteas Ioncaim agus Caiteachais thar shaolré Ráiteas Ioncaim agus Caiteachais ar bhonn fáltais airgid thirim. úsáideach na sócmhainní bainteacha. Léiríonn an Cuntas Caipitil na cistí gan amúchadh a úsáideadh chun sócmhainní seasta a cheannach. 60 Tuarascáil Bhliantúil 2019
Aithnítear ioncam eile ar bhonn fabhruithe, ina meas: TÚSAITHEANTAS
IONCAM AN CHAIFÉ/IMEACHTAÍ Déantar taifead ar rudaí a ceannaíodh ag a gcostas sna Ráitis Airgeadais. Déantar taifead ar earraí a tugadh don Ghailearaí ag IONCAM TAISPEÁNTAIS luacháil reatha atá deimhnithe ag coimeádaithe an Ghailearaí trí thagairt, más féidir, do mhargaí tráchtála ag úsáid faisnéis RÍCHÍOSANNA idirbhirt le déanaí ó cheantanna. Déantar taifead ar thabhartais, sa chás go mbaineann Gailearaí Náisiúnta na hÉireann leas as Alt IONCAM EILE 1003 den Acht Comhdhlúite Cánacha, 1997, ar bhunús luacháil GLANIONCAM Ó CHAIRDE GNÉ Oifig na gCoimisinéirí Ioncaim. Aithnítear tabhartais mar ioncam le haistriú comhfhreagrach chuig an gcuntas caipitil Sócmhainní GLANIONCAM ÓN SIOPA Seasta Oidhreachta.
LUACHÁIL IONCAM ÚIS Tá Bord Gobharnóirí agus Caomhnóirí Ghailearaí Náisiúnta na Aithnítear ioncam úis ar bhonn fabhruithe ar bhunús ghlanráta hÉireann den tuairim go bhfuil an bailiúchán neamhghnách úis. mar shócmhainn ar a lán slite. Tá sé uathúil, leochaileach, an- TABHARTAS SOCMHAINNÍ OIDHREACHTA luachmhar go deo agus ní féidir a chomhshamhail a sholáthar. Maidir leis sin, is sócmhainn é atá deacair a luacháil i slí a Deimhníonn coimeádaithe an Ghailearaí, ar saineolaithe dtuigfeadh léitheoirí ráitis airgeadais é. aitheanta iad ina réimse oibre, luacháil ar phictiúir a fhaightear trí thiomnacht, bhronntanas nó ar shlí ar bith eile seachas é a Measann an Bord nárbh fhiú an costas a bhainfeadh le luacháil cheannach. Is é atá i gceist leis an bphríomh-mhodh luachála den chineál sin a dhéanamh de bhrí nach mbeadh aon tairbhe ná anailís a dhéanamh ar luachanna margaidh oibreacha ann do léitheoir na ráiteas airgeadais as cuid den bhailiúchán a inchomparáide, mar aon le measúnú teicniúil mionsonraithe ar chur san áireamh sa Ráiteas ar an Staid Airgeadais, fiú dá mbeifí riocht fisiceach an phictiúir chun luacháil réasúnta a dhéanamh. in ann luachálacha a fháil ar roinnt de na saothair ealaíne sa Mar sin féin, táthar teoranta go bunúsach maidir le luacháil a bhailiúchán. Mar thoradh air sin, níl aon luach curtha san áireamh dhéanamh ar shaothair a fhaigheann an Gailearaí, mar gheall ar sa Ráiteas ar an Staid Airgeadais do shócmhainní oidhreachta a gur saothair uathúla ealaíne iad, de ghnáth, agus gur ar éigean a fuarthas roimh 2007, an pointe ama ag a ndearnadh saothair a bhíonn aon mhargadh inchomparáide ann dá leithéid. cuireadh leis an mbailiúchán a chaipitliú ar dtús. Déantar caipitliú páirteach ar shócmhainní oidhreachta ar bhunús an dáta éadála mar thoradh ar an gcaoi a bhfuil sé h) Infháltais riachtanach plé leis na sócmhainní sin de réir FRS 102, alt 34. Aithnítear infháltais ar phraghas an idirbhirt lúide foráil LAGÚ d’fhiachas amhrasach. Aithnítear na gluaiseachtaí go léir san fhoráil d’fhiachas amhrasach sa Ráiteas Ioncaim agus Caiteachais. Ní dhéantar sócmhainní oidhreachta a dhímheas. Má tá fianaise oibiachtúil ann ar lagú ar luach sócmhainne oidhreachta, aithnítear caillteanas lagaithe sa Ráiteas Ioncaim agus Caiteachais i) Aithint Caiteachais agus sna Cúltacaí Ioncaim Iarchurtha sa bhliain. D’fhéadfadh Aithnítear an caiteachas go léir sa tréimhse lena mbaineann sócmhainn oidhreachta a bheith lagaithe, mar shampla, sa chás sé agus áirítear aon chaiteachas dá leithéid a tabhaíodh ach go mbeadh meath fisiciúil uirthi, go mbeadh sí briste nó go atá neamhíoctha ag dáta an chláir chomhardaithe i Suimeanna dtiocfadh amhras chun cinn maidir lena barántúlacht. Iníoctha. COSTAIS CHAOMHNAITHE
Aithnítear caiteachas atá ag teastáil chun míreanna aonair j) Sócmhainní Oidhreachta bailiúcháin a chaomhnú nó chun níos mó meatha orthu a chosc, Is éard atá i mbailiúchán Ghailearaí Náisiúnta na hÉireann chomh maith leis na costais a bhaineann leis an mbailiúchán a pictiúir, dealbha, saothair ar pháipéar, mionsamhlacha, leabhair, bhainistiú, sa Ráiteas Ioncaim agus Caiteachais nuair a thabhaítear cartlanna agus ealaín fheidhmeach, go príomha, gnéithe iad. airgid, gloine dhaite agus troscán, agus pléitear leo siúd mar Is féidir breis faisnéise ar nádúr agus scála bhailiúchán an shócmhainní oidhreachta. Ghailearaí a fháil i Nóta 12. De réir FRS 102, déantar saothair ealaíne a fuair an Gailearaí nó a bronnadh ar an nGailearaí a chaipitliú agus a aithint sa Ráiteas ar an Staid Airgeadais ag a gcostas nó ag a luach ar an dáta a fuarthas iad, sa chás go bhfuil costas nó luach den sórt sin ar fáil go réasúnach.
Cuirtear saothair leis an mbailiúchán trí cheannach, tiomnacht, bronntanas na sócmhainne agus/nó trí shócmhainn a cheannach, arna mhaoiniú le tabhartas. Tuarascáil Bhliantúil 2019 61
(seachas tríú páirtithe gaolmhara) faoi bhun thairseach €150,000, k) Réadmhaoin, Gléasra agus gan cheant nó próiseas iomaíoch tuairiscithe, a thuairisciú go Trealamh foirmeálta don Bhord gach bliain, agus an praghas a íocadh agus ainm an cheannaitheora a chur san áireamh. Seachas mar atá thíos, tá réadmhaoin, gléasra agus trealamh luaite ag a gcostas nó ag a luacháil, lúide dímheas carntha. Tá Ní dhímheasann an Gailearaí a chuid foirgneamh mar tá polasaí an muirear dímheasa ríofa chun an bunchostas nó an luacháil cothabhála agus deisithe rialta aige agus mar sin, coimeádtar na a dhíscríobh, lúide an luach measta iarmharach, thar an saolré foirgnimh ag an gcaighdeán feidhmíochta a measúnú roimhe sin. ionchasach úsáideach mar seo a leanas: l) Sócmhainní Airgeadais TALAMH & FOIRGNIMH NIL Tá roinnt cistí ag an nGailearaí a bhaineann le méideanna a TROSCÁN & FEISTIS 10% LÍNE DHÍREACH fágadh le huachtanna agus a bronnadh ar an nGailearaí chun TREALAMH & 20% LÍNE DHÍREACH críocha ar leith. Bainistíonn bainisteoirí seachtracha ciste na cistí MÓTARFHEITHICLÍ seo agus áirítear iad sa Ráiteas ar an Staid Airgeadais ag luach an Cuirtear dímheas de bhliain iomlán i bhfeidhm i mbliain na mhargaidh. Déantar na cistí a luacháil ag deireadh gach tréimhse héadála agus ní chuirtear dímheas i bhfeidhm i mbliain na tuairiscithe agus aithnítear na hathruithe i luach na gcistí diúscartha nó ar Shócmhainní faoi Fhorbairt. Ní dhéantar bainistithe de bharr athruithe ar luach an mhargaidh sa Ráiteas sócmhainní faoi luach €1,000 a chaipitliú agus déantar iad a Ioncaim agus Caiteachais mar ghnóthachain neamhréadaithe nó mhuirearú ar an Ráiteas Ioncaim agus Caiteachais. Tá formhór na caillteanais. Aithnítear aon ghnóthachain nó caillteanais agus bhfoirgneamh atá á n-úsáid ag Gailearaí Náisiúnta na hÉireann infheistíochtaí á ndiúscairt sa Ráiteas Ioncaim agus Caiteachais. i seilbh agus faoi chothabháil ag Oifig na nOibreacha Poiblí agus dá réir sin, aithnítear na foirgnimh sin i ráitis airgeadais Oifig na nOibreacha Poiblí. m) Fardal San fhardal, tá earraí le hathdhíol i Siopa an Ghailearaí agus Tá dhá réadmhaoin faoi úinéireacht Ghailearaí Náisiúnta déantar iad a luacháil ag an gcostas nó ag an nglanluach na hÉireann – Uimh. 90 Cearnóg Mhuirfean agus Uimh. 5 inréadaithe, cibé acu is lú. Tá foráil iomlán déanta do rudaí atá as Sráid Laighean Theas. Aithnítear na réadmhaoine sin sna feidhm agus rudaí mallghluaiseachta. ráitis airgeadais ag úsáid na samhla athluachála. Déantar athluachálacha ar bhonn bliantúil chun a chinntiú nach mbíonn difear suntasach idir an tsuim ghlanluacha agus an tsuim n) Airgeadraí Eachtracha a chinnfí ag úsáid luach cothrom ag deireadh na tréimhse tuairiscithe. Aistrítear sócmhainní agus dliteanais airgid ainmnithe in airgeadraí eachtracha ag na rátaí malairte ag dáta an Ráitis ar Má mhéadaítear méid glanluacha na sócmhainne mar thoradh an Staid Airgeadais. Aithnítear na difríochtaí aistrithe atá mar ar athluacháil, aithnítear an méadú sa Ráiteas ar Ioncam thoradh air sin sa Ráiteas Ioncaim agus Caiteachais. Aistrítear Cuimsitheach. Má laghdaítear an méid glanluacha mar thoradh idirbhearta le linn na bliana a ainmnítear in airgeadraí Eachtracha ar athluacháil, aithnítear é sa Ráiteas ar Ioncam Cuimsitheach sa ag na rátaí malairte ag dáta an idirbhirt. Tá cuntas ar na mhéid go malartaíonn sé méadú athluachála na sócmhainne difríochtaí malairte atá mar thoradh air sin sa Ráiteas Ioncaim céanna roimhe sin agus aithnítear aon iarmhéid sa Ráiteas agus Caiteachais. Ioncaim agus Caiteachais.
Tá cosc ar an mBord Gobharnóirí agus Caomhnóirí aon Sócmhainní Oidhreachta a dhiúscairt. Sa rannóg seo, ní o) Sochair Fostaithe thagraíonn diúscairt sócmhainní seasta ach do Shócmhainní SOCHAIR GHEARRTHÉARMACHA Neamhoidhreachta. Áirítear le diúscairtí díolachán, iasachtaí fadtéarmacha, tabhartas in aisce, traipisiú agus tabhartas Aithnítear sochair ghearrthéarmacha ar nós pá laethanta saoire d’eagraíocht charthanach. D’fhéadfadh go sonródh an Bord mar chostas sa bhliain agus áirítear sochair atá fabhraithe ag go mbeadh ar an mBord aon diúscairt thar theorainn fhaofa deireadh na bliana i bhfigiúr na Suimeanna Iníoctha sa Ráiteas ar a mholadh go foirmeálta agus go bhféadfadh an Bord srianta an Staid Airgeadais. sonracha a chur i bhfeidhm ar aon diúscairt den chineál sin. SOCHAIR SCOIR An polasaí atá ann ná cloígh leis an gCód Cleachtais chun Comhlachtaí Stáit a Rialú agus sócmhainní á ndiúscairt i gcás go Oibríonn Gailearaí Náisiúnta na hÉireann na scéimeanna pinsin mbeadh na sócmhainní sin sa bhreis ar riachtanais ghinearálta. seo a leanas: Ba cheart go ndéanfaí na sócmhainní a dhiúscairt ar ceant nó le próiseas iomaíoch tairisceana, seachas i gcás imthosca An pinsean le sochair sainithe iníoctha le státseirbhísigh eisceachtúla (amhail díolachán le comhlacht carthanach). Ba bhunaithe agus le fostaithe stáit neamhbhunaithe sa Ghailearaí, cheart go mbeadh an modh a d’úsáidfí trédhearcach agus agus an dliteanas glactha ag an Aire Caiteachais Phoiblí agus ba cheart gur dócha go mbainfeadh sé praghas cothrom a Athchóirithe. Cuirtear na ranníocaíochtaí pinsin a asbhaintear bhaineann leis an margadh amach. Ba cheart luach cúlchiste na ó fhostaithe chuig an ‘Roinn Turasóireachta, Cultúir, Ealaíon, sócmhainne atáthar a dhiúscairt a chinneadh, más gá agus más Gaeltachta, Spóirt agus na Meán’. indéanta, bunaithe ar luacháil ghairmiúil. Ba cheart sonraí gach Scéim Pinsin na Seirbhísí Poiblí Aonair (‘Scéim Aonair’), diúscartha nó gach ceadaithe ar rochtain ar réadmhaoin nó ar scéim le sochair shainithe do na seirbhísigh phoiblí inphinsin bhonneagar chun críocha socruithe tráchtála le tríú páirtithe 62 Tuarascáil Bhliantúil 2019
arna gceapadh ar an 1 Eanáir 2013 nó ina dhiaidh. Íoctar ranníocaíochtaí bhaill na Scéime Aonair leis an Roinn Caiteachais Phoiblí agus Athchóirithe (RCPA).
Cuntais Choigilte Scoir Phearsanta (PRSA), arna n-oibriú trí sholáthraí údaraithe PRSA. Déanann Gailearaí Náisiúnta na hÉireann ranníocaíocht suas le 7% leis an scéim agus cuirtear an dá ranníocaíocht go díreach chuig soláthraí an PRSA ar bhonn míosúil.
p) Breithiúnais agus Meastacháin Cuntasaíochta Criticiúla Le hullmhú na ráiteas airgeadais, éilítear ar an lucht bainistíochta breithiúnais, meastacháin agus boinn tuisceana a dhéanamh a bhfuil éifeacht acu ar na méideanna a thuairiscítear do shócmhainní agus dliteanais amhail ar dháta an Ráitis ar an Staid Airgeadais agus ar na méideanna a thuairiscítear d’ioncam agus caiteachas le linn na bliana. Mar sin féin, ciallaíonn nádúr an mheastacháin go bhféadfadh na torthaí iarbhíre a bheith difriúil ó na meastacháin sin. Níl aon bhreithiúnais déanta ag Gailearaí Náisiúnta na hÉireann a bhfuil éifeacht shuntasach acu ar mhéideanna a aithnítear sna ráitis airgeadais.
DÍMHEAS AGUS LUACHANNA IARMHARACHA
Tá athbhreithniú déanta ar shaolréanna na sócmhainní agus ar luachanna iarmharacha bainteach leis na haicmí sócmhainní seasta go léir, go háirithe saolré úsáideach eacnamaíoch agus luachanna iarmharacha daingneán agus feisteas. Thángthas ar an gconclúid go bhfuil saolréanna na sócmhainní agus na luachanna iarmharacha cuí.
GNÓTHAS LEANTACH
Dhún an Gailearaí ar feadh tréimhsí suntasacha in 2020 de bharr ráig Covid-19 agus thit líon na gcuairteoirí dá réir. Bhí tionchar suntasach aige seo ar fhoinsí ioncaim criticiúla mar iontrálacha taispeántais le ticéid, caifé, siopa agus boscaí síntiús. Bhí tionchar freisin ar an tacaíocht chorparáideach i bhfoirm ballraíochta agus imeachtaí mar gheall ar an gcúlú eacnamaíochta. Chuir an Gaeilearaí bearta i gcrích chun dul i ngleic leis seo ar mhaithe le sruthanna ioncaim nua a aimsiú agus chun gníomhaíochtaí agus tionscadail, clár taispeántais ina measc, a laghdú agus a athphleanáil chun a chinntiú go bhfuil dóthain airgid aige chun íoc as a chlár athbhreithnithe . Fuair sé seo cúnamh breise ó thacaíochtaí oibríochta breise rialtais agus bearta d’Fhorais Chultúir Náisiúnta in 2020 chun timpeallacht shábháilte a sholáthar do chuairteoirí agus don fhoireann nuair a athosclaíodh gailearaithe. Cinnteoidh sé seo uilig go mbainfidh an Gailearaí amach cóimheá airgid le haghaidh 2020. Cuireadh in iúl don Ghailearaí go bhfuil méadú tagtha ar leithdháileadh an Státchiste do 2021. Mar gheall air seo, tá an Bord sásta gur féidir leis an nGailearaí leanúint ag feidhmiú mar ghnóthas leantach. Tuarascáil Bhliantúil 2019 63
2. Deontas Oireachtais 1
FAIGHTE ÓN ROINN TURASÓIREACHTA, CULTÚIR, EALAÍON , GAELTACHTA, SPÓIRT AGUS NA MEÁN
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Reatha - Ranníocaíocht le Costas Riaracháin 9,688,000 - 9,688,000 9,143,000 Capiteal - Ranníocaíocht le hAthchóiriú, Caomhnú agus Leabharlann - 858,000 858,000 858,000 Reatha - Ranníocaíocht le Comhbhráithreachas Íosagánaigh - 1,000 1,000 1,000 Scaoileadh deontais iarchurtha le haghaidh Caomhnaithe, Leabharlainne - - - 35,763 & Comhbhráithreachas Íosagánaigh 9,688,000 859,000 10,547,000 10,037,763
1 Deontas Oireachtais (Vóta 33 Fo-cheannteideal A.13) is ea deontas bliantúil an Ghailearaí do chaiteachas reatha agus caipitil. Baineann caiteachas reatha le pá, costais oibriúcháin agus caiteachas cláir. Baineann costais chaipitil leis an gcaiteachas ar an tionscadal athchóirithe, ar chaomhnú agus ar leabhair leabharlainne.
2(a) DEONTAS OIREACHTAIS – FAIGHTE ÓN ROINN TURASÓIREACHTA, CULTÚIR, EALAÍON, GAELTACHTA, SPÓIRT AGUS NA MEÁN
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN Seiminéar CNCI 1,204 - 1,204 1,093 Lá Liníochta 2,848 - 2,848 2,814 Scéim Mhaoinithe um Bhailiúchán Digiteach 116,288 - 116,288 11,222
120,340 - 120,340 15,129 3. Ioncam Oideachais
Tagann an t-ioncam seo ó ranganna teagaisc agus turais oideachais threoraithe a chuirtear ar fáil. 64 Tuarascáil Bhliantúil 2019
4. Ioncam Urraíochta/Taighde
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN
€ € € € Urraíocht Taispeántais 15,000 - 15,000 320,657 Urraíocht Oideachais - 25,000 25,000 - Oifig Forbartha 215,776 - 215,776 2,500 Caomhnú/Coimeád - 242,959 242,959 - Urraíocht Chorparáideach - 49,750 49,750 108,000 230,776 317,709 548,485 431,157
IOMLÁN AISTRITHE Ó IONCAM IARCHURTHA 48,124 (229,750) (181,626) 431,835 278,900 87,959 366,859 862,992 5. Ioncam Ilchineálach
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Aisíoc CBL - - - 340,230 Ús Bainc 42 - 42 2,679 Díbhinní 26,420 6,715 33,135 36,265 Ioncam Eile (46,804) - (46,804) 46,804 (20,342) 6,715 (13,627) 425,978 6. Cairde Ghailearaí Náisiúnta na hÉireann
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Ioncam - 385,624 385,624 269,778 Costais Oibriúcháin - 293,203 293,203 220,151 BARRACHAS - 92,421 92,421 49,627 Tuarascáil Bhliantúil 2019 65
7. Siopa
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN
€ € € € Díolachán/Ioncam Eile 1,442,433 - 1,442,433 1,466,870 Costas Díolacháin 683,592 - 683,592 669,387 758,841 - 758,841 797,483 Costais Oibriúcháin 1 466,653 - 466,653 431,482 GLANBHRABÚS 292,188 - 292,188 366,001 1 San áireamh i gCostais Oibriúcháin, tá €9,625 maidir le Táille Iniúchóireachta C & AG (2018: €8,000) agus €0 i gCostais Sainchomhairleoireachta (2018: 13,738). 8. (a) Anailís ar an gCaiteachas Iomlán
BAILIÚCHÁN & RANNPHÁIRTÍOCHT OIDEACHAS FORBAIRT IOMLÁN TAIGHDE PHOIBLÍ 2019 € € € € € Tuarastail & Costais Pá eile 2,079,461 367,856 298,320 163,422 2,909,059 Costais na gCúram Bailiúcháin & Taispeántais 616,540 84,934 - - 701,474 Fógraíocht, Poiblíocht 260,543 156,200 33,163 12,654 462,560 Léachtanna agus Turais 5,641 - 113,615 529 119,785 Táillí Comhairleoireachta/ Gairmiúla - - - 50,535 50,535 Costais Oifige agus Riarachán 168,308 43,243 8,112 18,243 237,906 3,130,493 652,233 453,210 245,383 4,481,319
Costais Thacaíochta 5,653,886 1,050,801 758,237 466,823 7,929,747
8,784,379 1,703,034 1,211,447 712,206 12,411,066
2018 Tuarastail & Costais Pá eile 1,962,864 401,197 271,424 59,573 2,695,058 Costais na gCúram Bailiúcháin & Taispeántais 598,802 15,227 5,725 - 619,754 Fógraíocht, Poiblíocht 257,835 161,461 16,683 (3,336) 432,643 Léachtanna agus Turais 80,043 1,064 91,950 - 173,057 Táillí Comhairleoireachta/ Gairmiúla - 47,726 - 16,796 64,522 Costais Oifige agus Riarachán 125,796 78,085 15,941 23,651 243,473 3,025,340 704,760 401,723 96,684 4,228,507
Costais Thacaíochta 5,647,747 1,213,137 820,730 180,136 7,861,750
8,673,087 1,917,897 1,222,453 276,820 12,090,257 66 Tuarascáil Bhliantúil 2019
8. (b) Caiteachas ar Chuspóirí Carthanachta
BAILIÚCHÁN & RANNPHÁIRTÍOCHT OIDEACHAS FORBAIRT IOMLÁN Srianta TAIGHDE PHOIBLÍ 2019 € € € € €
Tuarastail & Costais Pá eile 80,306 - 26,355 - 106,661 Costais na gCúram Bailiúcháin & Taispeántais 29,102 - - - 29,102 Fógraíocht, Poiblíocht 587 - - - 587 Táillí Comhairleoireachta/ Gairmiúla - - - 3,967 3,967 Costais Oifige agus Riarachán 54,040 - - - 54,040 164,035 - 26,355 3,967 194,357
Costais Tacaíochta 4,221 1,386 - 5,607 Cistí a aistríodh ó Mhaoiniú Iarchurtha (61,030) (20,030) - (81,060)
107,226 - 7,711 3,967 118,904
2018 Tuarastail & Costais Pá eile 111,941 - - - 111,941 Costais na gCúram Bailiúcháin & Taispeántais 20,226 - - - 20,226 Fógraíocht, Poiblíocht 4,984 - 257 (1,668) 3,573 Táillí Comhairleoireachta/ Gairmiúla - - - 3,425 3,425 Costais Oifige agus Riarachán 3540 - - 3,540 140,691 - 257 1,757 142,705
Costais Thacaíochta 50,939 - - - 50,939
191,630 - 257 1,757 193,644 Tuarascáil Bhliantúil 2019 67
8. (c) Caiteachas ar Chuspóirí Carthanachta
BAILIÚCHÁN RANNPHÁIRTÍOCHT OIDEACHAS FORBAIRT IOMLÁN Neamhshrianta AGUS TAIGHDE PHOIBLÍ 2019 € € € € €
Tuarastail & Costais Pá eile 1,999,155 367,856 271,965 163,422 2,802,398 Costais na gCúram Bailiúcháin & Taispeántais 587,438 84,934 - - 672,372 Fógraíocht, Poiblíocht 259,956 156,200 33,163 12,654 461,973 Léachtanna agus Turais 5,641 - 113,615 529 119,785 Táillí Comhairleoireachta/ Gairmiúla - - - 46,568 46,568 Costais Oifige agus Riarachán 114,268 43,243 8,112 18,243 183,866 2,966,458 652,233 426,855 241,416 4,286,962
Costais Thacaíochta 5,710,695 1,050,801 776,881 466,823 8,005,200
8,677,153 1,703,034 1,203,736 708,239 12,292,162
2018 Tuarastail & Costais Pá eile 1,850,923 401,197 271,424 59,573 2,583,117 Costais na gCúram Bailiúcháin & Taispeántais 578,576 15,227 5,725 - 599,528 Fógraíocht, Poiblíocht 252,851 161,461 16,426 (1,668) 429,070 Léachtanna agus Turais 80,043 1,064 91,950 - 173,057 Táillí Comhairleoireachta/ Gairmiúla - 47,726 - 13,371 61,097 Costais Oifige agus Riarachán 122,256 78,085 15,941 23,651 239,933 2,884,649 704,760 401,466 94,927 4,085,802
Costais Tacaíochta 5,596,808 1,213,137 820,730 180,136 7,810,811
8,481,457 1,917,897 1,222,196 275,063 11,896,613 68 Tuarascáil Bhliantúil 2019
2019 2018 € € GNÍOMHAÍOCHTAÍ SAN ÁIREAMH SNA COSTAIS THACAÍOCHTA
Tuarastail & Costais Pá eile 5,055,561 4,974,597 Fógraíocht, Poiblíocht 284 20,175 Táillí Comhairleoireachta/ Gairmiúla 398,921 290,551 Earcaíocht, Oiliúint & Oideachas 137,542 217,450 Taisteal agus Cothabháil 22,160 31,352 Costais Shlándála 404,847 409,570 Árachas 28,654 25,880 Postas & Teileachumarsáid 30,235 64,123 Costais TF 368,178 233,065 Priontáil, Stáiseanóireacht & Soláthairtí 38,095 100,029 Costais Áitreabh 963,180 886,520 Táillí Iniúchóireachta 28,875 27,000 Dímheas 345,396 352,257 Costais Oifige agus Riarachán 107,819 229,181
7,929,747 7,861,750
Leithdháiltear costais thacaíochta ar bhonn na gCostas Luach Saothair agus Costais Pá Eile atá tiomnaithe chun tacú le gníomhaíochtaí carthanachta agus gníomhaíochtaí ginte airgid na heagraíochta mar seo a leanas:
2019 2018 € € Bailiúchán & Taighde 5,653,886 5,647,747 Rannpháirtíocht Phoiblí 1,050,801 1,213,137 Oideachas 758,237 820,730 Forbairt 466,823 180,136
7,929,747 7,861,750 Tuarascáil Bhliantúil 2019 69
9. (a) Luach saothair & costais Pá eile
BAINEANN NA COSTAIS FOIRNE LE:
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Pá agus Tuarastal 6,849,486 96,344 6,945,830 6,173,409 ÁSPC an Fhostaitheora 698,011 10,316 708,327 634,100 Foireann Gníomhaireachta 310,463 - 310,463 862,146 7,857,960 106,660 7,964,620 7,669,655
COMHIOMLÁN SOCHAR FOSTAITHE
2019 2018 € € Sochair ghearrthéarmacha foirne 7,256,293 7,035,555 Sochair foirceanta - - Costais sochair scoir - - Ranníocaíocht an fhostóra le leas sóisialach 708,327 634,100 7,964,620 7,669,655
SOCHAIR GHEARRTHÉARMACHA FOIRNE
2019 2018 € € Bunphá 7,611,330 6,753,459 Ragobair 36,989 48,211 Liúntais 5,838 5,839 Gníomhaireacht 310,463 862,146 7,964,620 7,669,655
COSTAIS FOIRNE RANGAITHE IN ÁITEANNA EILE (FÉACH AR NÓTAÍ 6 &7)
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Siopa 305,287 - 305,287 268,073 Cairde Ghailearaí Náisiúnta na hÉireann - 146,011 146,011 109,218 Costais Phárolla - - - 39,564 Costais Phinsean - - - 3,016 Foireann Gníomhaireachta - 32,972 32,972 42,052 305,287 178,983 484,270 461,923 LUACH SAOTHAIR IOMLÁN 8,163,247 285,643 8,448,890 8,131,578 2 Níor íocadh aon sochar foirceanta in 2019. 70 Tuarascáil Bhliantúil 2019
(b) Líon na bhFostaithe LÍON NA NDAOINE FOSTAITHE (STIÚRTHÓIRÍ FEIDHMIÚCHÁIN SAN ÁIREAMH) AR AN 31 NOLLAIG:
2019 2018 COIBHÉIS COIBHÉIS LÁNAIMSEARTHA LÁNAIMSEARTHA Foireann oifige 97 90 Freastalaithe 85 88 182 178
(c) Priomhphearsanra Bainistíochta Ar príomhphearsanra bainistíochta Ghailearaí Náisiúnta na hÉireann, tá comhaltaí an Bhoird, an Stiúrthóir, Stiúrthóir na Seirbhisí Corparáideacha, Ceannasaí na mBailiúchán & an Taighde agus an Bainisteoir Sinsearach um Rannpháirtíocht Phoiblí. Tá luach iomlán sochar fostaithe do phríomhphearsanra bainistíochta leagtha amach thíos.
2019 2018 € € Tuarastal 334,945 331,399 Liúntais - - Sochair forceanta - - Árachas Sláinte - - 334,945 331,399
Ní áirítear leis seo sochair scoir a tuilleadh sa tréimhse. Is Baill de scéim pinsin an Ghailearaí iad an príomhphearsanra bainistíochta agus ní ghabhann a gcuid teidlíochtaí maidir leis sin thar théarmaí Scéim eiseamláireach Phinseann na Seirbhíse Poiblí.
(d) Luach Saothair an Stiúrthóra In 2019, íocadh tuarastal de €109,346 le Stiúrthóir an Ghailearaí (2018: €104,180). Is ionann teidlíochtaí aoisliúntais an Stiúrthóra agus teidlíochtaí caighdeánacha scéim aoisliúntais le sochar sainithe na rannóige poiblí. In 2019, thabhaigh Stiúrthóir an Ghailearaí costais de €2,484 (2017: €3,896 ).
(e) Miondealú ar shochair fostaithe LÍON NA BHFOSTAITHE 2019 LÍON NA BHFOSTAITHE 2018
RÉIMSE SOCHAR IOMLÁIN FOSTAITHE Ó GO €60,000 €69,999 12 15 €70,000 €79,999 4 5 €80,000 €89,999 0 0 €90,000 €99,999 1 1 €100,000 €109,999 1 1 Tuarascáil Bhliantúil 2019 71
10. Costais eile
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN € € € € Ilchostais 132,325 (80,336) 51,989 209,323 Imeachtaí Gailearaí 38,436 - 38,436 32,529 Éide 26,363 - 26,363 15,070 Síntiúis 26,956 - 26,956 41,226 (Gnóthachan)/Caillteanas Airgeadra 26,822 (1,412) 25,410 24,636 Duais Portráide 22,188 - 22,188 20,000 Cúiréir & Tacsaithe 11,092 - 11,092 9,115 Costais an Bhoird 2,594 - 2,594 7,583 Costais um an Inrochtaineacht - - - 5,381 286,776 (81,748) 205,028 364,863 11. Cuntas Capitil
2019 2018 € € IARMHÉID 1 EANÁIR 914,774 918,391 AISTRITHE ÓN GCUNTAS IONCAIM AGUS CAITEACHAIS: Réadmhaoin, Gléasra agus Trealamh Faighte 201,968 252,256 Dímheas Sócmhainní (244,540) (255,873) Gluaiseacht iomlán sa bhliain (42,572) (3,617) IARMHÉID DEIRIDH 31 NOLLAIG 872,202 914,774
SÓCMHAINNÍ OIDHREACHTA IARMHÉID 1 EANÁIR 39,446,138 37,674,559 Sócmhainní arna gCeannach le linn na Bliana 933,603 1,216,394 Sócmhainní arna dTabhairt Faoi Alt 1003 den Acht Comhdhlúite Cánacha, 1997 - - Tabhartais Eile Sócmhainní 1,330,116 555,185 Gluaiseacht iomlán sa bhliain 2,263,719 1,771,579 IARMHÉID DEIRIDH 31 NOLLAIG 41,709,857 39,446,138
72 Tuarascáil Bhliantúil 2019
12. Sócmhainní Oidhreachta
Is é Gailearaí Náisiúnta na hÉireann mórfhoras cultúir náisiúnta agus ealaín fheidhmeach á choimeád. Ealaín Eorpach ó 1300 na hÉireann atá tiomanta do bhailiú agus cúram saothar go 1930 is mó atá sa bhailiúchán. Tá bailiúcháin shuntasacha ó mínealaíne, ina bhfuil thart ar 16,840 pictiúir, líníocht, pictiúir sheanré na Breataine, na hÍsiltíre agus na hIodáile ann, le dlús uiscedhatha, miondealbh, prionta, dealbha agus objets d’art agus éagsúil cáilíochta agus doimhneachta. Tá an bailiúchán náisiúnta breis agus 100,000 imleabhar sa Leabharlann Mínealaíne. Áirítear d’ealaín Éireannach, ó dheireadh an tseachtú haois déag go sárshaothar le cuid de na healaíontóirí is cáiliúla i stair ealaíne dtí timpeall 1970, agus an bailiúchán náisiúnta portráidíochta Iarthar na hEorpa i mbailiúchán forleathan an fhorais. Chomh an lá inniu i leith, i seilbh an Ghailearaí freisin. Tá bailiúchán maith leis sin, is sa Ghailearaí atá an bailiúchán is ionadaíche ar suntasach leabharlainne, lena n-áirítear leabhair uathúla, agus Ealaín stairiúil na hÉireann. Arna mhaoiniú ag an Stát, cuireann an roinnt bailiúchán tábhachtach cartlainne a bhaineann le healaín Gailearaí rochtain saor in aisce ar fáil don phobal 361 lá sa bhliain. Éireannach agus le sainréimsí eile sna bailiúcháin, ina measc, go príomha, an Lárionad um Staidéar ar Ealaín Éireannach, Cartlann Faomhann Bord Gobharnóirí agus Caomhnóirí an Ghailearaí Yeats agus páipéir Sir Denis Mahon. Ar an iomlán, tá bailiúchán an na saothair ealaíne go léir a fhaightear, ach amháin earraí Ghailearaí an-suntasach agus tá sé chomh maith leis na músaeim Leabharlainne agus Cartlainne mar is féidir leis an Stiúrthóir nó is cáiliúla san Eoraip. an Leabharlannaí iad a fhaomhadh. Déantar athbhreithniú ar pholasaí an Ghailearaí um Shaothair Fhaighte go tréimhsiúil. Tá Tá an Gailearaí tiomanta do bhainistiú agus caomhnú ceart timpeall 588 saothar ealaíne ar taispeáint go poiblí sa Ghailearaí agus freagrach a bhailiúcháin. Chun é sin a bhaint amach, faoi láthair agus tá 449 ar iasacht in áiteanna eile. Tá saothair ar cloíonn an Gailearaí go dlúth leis na prionsabail maidir le pháipéar ar fáil le hamharc orthu ar iarratas. caomhnú coisctheach, agus déantar sin go príomha trí rialú na timpeallachta agus an tsolais agus trí chóireálacha caomhnaithe Tá cosc ar an mBord Gobharnóirí agus Caomhnóirí aon nuair is gá. Úsáideann an Gailearaí córas bainistíochta bailiúchán Sócmhainní Oidhreachta a dhiúscairt. Is i nGailearaí Náisiúnta (CBB) freisin chun an bailiúchán a chatalógú agus saothair na hÉireann atá bailiúchán náisiúnta na hÉireann de phictiúir, fhaighte, taifid suímh, taispeántais agus iasachtaí a bhainistiú. dealbha, saothair ar pháipéar, miondealbha, leabhair, cartlanna
LÉIRÍTEAR SÓCMHAINNÍ OIDHREACHTA ARNA GCAIPITLIÚ SA RÁITEAS MAIDIR LEIS AN STAID AIRGEADAIS THÍOS:
COSTAS LUACHÁIL IOMLÁN
€ € € Mar a bhí ar 1 Eanáir 2018 11,773,437 25,901,122 37,674,559 Breiseanna 2018 1,216,394 555,185 1,771,579 Mar a bhí ar 1 Eanáir 2019 12,989,831 26,456,307 39,446,138 Breiseanna 2019 933,603 1,330,116 2,263,719 Mar a bhí ar 31 Nollaig 2019 13,923,434 27,786,423 41,709,857
Tá na Sócmhainní Oidhreachta go léir a fuarthas ón 1 ina réimsí féin iad luachálacha orthu. Is é an príomh- Eanáir 2007 san áireamh sa Ráiteas ar an Staid Airgeadais mhodh luachála chun teacht ar luacháil réasúnach, ag a gcostas nó a luach ag an data a bhfuarthas iad . I ná anailís a dhéanamh ar luachanna margaidh reatha gcás go bhfuarthas Sócmhainní Oidhreachta faoi Alt 1003 saothar inchomparáide, in éineacht le measúnú teicniúil den Acht Comhdhlúite Cánacha, 1997, cuireann luachálaí mionsonraithe ar bhail fhisiciúil an phictiúir. Mar sin féin, gairmiúil seachtrach arna cheapadh ag na Coimisinéirí tá teorainn bhunúsach ar luacháil a dhéanamh ar saothar Ioncaim luachálacha ar fáil. I gcás go bhfuil pictiúir a fhaigheann an Gailearaí, toisc gur saothair uathúla bronnta ar an nGailearaí, fágtha aige le huacht nó faighte ealaíne iad ó nádúr de ghnáth, agus is ar éigean a bhíonn ar bhealach seachas ar an margadh oscailte, déanann margadh inchomparáide ann dóibh. coimeádaithe an Ghailearaí, ar saineolaithe aitheanta Tuarascáil Bhliantúil 2019 73
Achoimre cúig bliana ar shaothair fhaighte
2019 2018 2017 2016 2015 € € € € € Costas iomlán na 933,603 1,216,394 659,400 392,791 81,840 saothar faighte Luach iomlán na 1,330,116 555,185 81,400 3,854,977 3,251,174 saothar faighte IOMLÁN 2,263,719 1,771,579 740,800 4,247,768 3,333,014
Sócmhainní Oidhreachta nach bhfuil caipitlithe ar an Ráiteas ar an Staid Airgeadais TÁ AN CHUID SIN DEN BHAILIÚCHÁN NACH BHFUIL CAIPITLITHE SA RÁITEAS MAIDIR LE STAID AIRGEADAIS LEAGTHA AMACH THÍOS:
LÍON IOMLÁN NA LÍON % LÍON NACH BHFUIL % NACH BHFUIL BPÍOSAÍ CAIPITLITHE CAPITLITHE CAIPITLITHE CAIPITLITHE Saothair Ealaíne 16,840 1,558 9.25% 15,282 90.75%
Níl an chuid is mó de bhailiúchán Ghailearaí Náisiúnta na hÉireann caipitlithe. Is féidir amharc ar nádúr agus ar scála an bhailiúcháin ar shuíomh gréasáin an Ghailearaí (https://www.nationalgallery.ie/). 13. Réadmhaoin, Gléasra & Trealamh
TALAMH & TREALAMH OIFIGE TROSCÁN SÓCMHAINNÍ FAOI IOMLÁN FOIRGNIMH & MÓTAR-FHEITHICLÍ & FEISTIS FHORBAIRT € € € € € COSTAS AR 1 EANÁIR 2019 5,670,000 1,151,455 1,650,672 13,776 8,485,903 Breiseanna - 102,536 24,459 178,851 305,846 Diúscairtí - - - - - Athluacháil 1 100,000 - - - 100,000 AR 31 NOLLAIG 2019 5,770,000 1,253,991 1,675,131 192,627 8,891,749
DÍMHEAS AR 1 EANÁIR2019 - 562,457 780,454 - 1,342,911 Diúscairtí - - - - - Muirear don bhliain - 214,294 145,418 - 359,712 AR 31 NOLLAIG 2019 - 776,751 925,872 - 1,702,623
GLANLUACH DE RÉIR NA LEABHAR AR 31 NOLLAIG 2019 5,770,000 477,240 749,259 192,627 7,189,126 AR 31 NOLLAIG2018 5,670,000 588,998 870,218 13,776 7,142,992 1 Rinne Suirbhéirí Cairte cáilithe de chuid luachálaithe neamhspleácha Lambert Smith Hampton athluacháil ar an talamh agus na foirgnimh. Athluacháladh na Sócmhainní astu féin ar an 31 Nollaig 2019 ag luach cothrom comhiomlán de €5,770,000. Tá siad bunaithe ar shainmhíniú ar Luach an Mhargaidh mar atá sainmhínithe i Lámhleabhar Shuirbhéirí Cairte na hInstitiúide Ríoga um Chaighdeáin Bhreithmheasa agus Luachála ar bhunús Úsáide Reatha. Rinneadh an luacháil ar an 31 Eanáir 2019. Tá na foirgnimh dá dtagraítear thuas faoi úinéireacht Ghailearaí Náisiúnta na hÉireann. Tá na hoifigí agus na foirgnimh eile atá in úsáid ag an nGailearaí faoi úinéireacht agus á gcothabháil ag Oifig na nOibreacha Poiblí. 74 Tuarascáil Bhliantúil 2019
CISTÍ CISTÍ 2019 2018 NEAMHSHRIANTA SRIANTA IOMLÁN IOMLÁN
€ € € € MUIREAR DÍMHEASA Muirear arna ghearradh ar an gCuntas 345,396 - 345,396 352,257 Ioncaim & Caiteachais
MUIREAR ARNA GHEARRADH IN ÁIT EILE: Siopa 13,831 - 13,831 18,537 Cairde Ghailearaí Náisiúnta na hÉireann - 485 485 485 IOMLÁN 359,227 485 359,712 371,279 14. Sócmhainní Airgeadais
2019 IOMLÁN 2018 IOMLÁN € € LUACH AN MHARGAIDH AR 1 EANÁIR 4,745,482 4,884,745 Breiseanna ag costas 942,943 1,132,459 Diúscairtí ag luach an mhargaidh (863,250) (1,138,697) Gnóthachan Réadaithe ar dhiúscairt 54,024 129,203 Gnóthachan/(Caillteanas) Neamhréadaithe ar athluacháil 762,074 (262,228) Luach infheistíochtaí luaite ag 31 Nollaig 5,641,273 4,745,482
Airgead tirim arna shealbhú mar chuid den Phunann Infheistíochta 505,096 494,349 AR 31 NOLLAIG 6,146,369 5,239,831
Déanann Davy Stockbrokers Cistí an Ghailearaí a bhainistiú. Tá Polasaí Infheistíochta an Ghailearaí faofa ag an mBord Gobharnóirí agus Caomhnóirí agus déantar athbhreithniú air go rialta le linn na bliana. 15. Fardal
2019 IOMLÁN 2018 IOMLÁN € € STOC TRÁDÁLA 361,697 386,257
Oibríonn Gailearaí Náisiúnta na hÉireann siopa ina fhoirgneamh. Is éard is fardal ann ná earraí le hathdhíol sna hoibríochtaí sin. Gearradh fardal dar luach €682,179 (2018: €669,387) ar chostais na ndíolachán. 16. Airgead Tirim & Coibhéisí Airgid Thirim
2019 2018 € € Cuntais Reatha 1,072,264 745,551 Cuntais Taisce 313,129 283,086 Cártaí Creidmheasa (5,787) (4,994) Mionairgead 742 509 Eile 3,410 3,176 IOMLÁN 1,383,758 1,027,328 Tuarascáil Bhliantúil 2019 75
17. Infháltais
2019 2018 € € Feichiúnaithe trádála 91,045 160,585 Feichiúnaithe eile 44,161 133,854 Réamhíocaíochtaí agus ioncam fabhraithe 175,437 809,492 310,643 1,103,931 18. Suimeanna iníoctha
2019 2018 € € Creidiúnaithe trádála 362,717 325,689 CBL, PSWT & IMAT/ASPC 243,704 313,890 Feichiúnaithe eile 34,100 17,747 Fabhraithe agus ioncam iarchurtha 457,232 405,314 1,097,753 1,062,640 19. Nochtuithe Páirtithe Gaolmhara
Is iad príomhphearsanra bainistíochta Ghailearaí Náisiúnta na Bhoird. I ngnáthchúrsaí gnó, féadfaidh an Gailearaí Náisiúnta hÉireann ná an Stiúrthóir agus comhaltaí an Bhoird Gobharnóirí dul i mbun socruithe conartha le heintitis ina bhfuil a chomhaltaí agus Caomhnóirí Ghailearaí Náisiúnta na hÉireann. Tá sonraí Boird fostaithe nó ina bhfuil leas acu iontu ar shlí eile. I ar thuarastal agus ar chaiteachas an Phríomhphearsanra gcásanna coimhlinte féideartha leasa, ní fhaigheann comhaltaí Bainistíochta san áireamh i Nóta 9(d). De réir chinneadh an Aire Boird doiciméadacht ná ní ghlacann siad páirt ar shlí eile ná Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus na Meán, ní fhreastalaíonn siad ar phlé maidir leis na hidirbhearta sin. níl táillí Boird iníoctha tar éis an 28 Feabhra 2014. Coimeádtar clár de theagmhais den sórt sin go léir agus tá sé ar fáil ar iarratas. Glacann Gailearaí Náisiúnta na hÉireann nósanna imeachta de réir na dtreoirlínte arna n-eisiúint ag an Roinn Caiteachais Phoiblí agus Athchóirithe, maidir le leasanna pearsanta chomhaltaí an
20. Ioncam Iarchurtha – Deontas Rialtais
2019 2018 € € IARMHÉID TOSAIGH AR 1 EANÁIR 56,896 91,659 Scaoileadh deontais iarchurtha le haghaidh Caomhnaithe, Leabharlainne (3,899) (34,763) agus Comhbhráithreachas Íosánaigh IARMHÉID DEIRIDH AR 31 NOLLAIG 52,997 56,896 San iarmhéid de €52,997 , thuas, áirítear €52,997 i ndáil le Comhbhráithreachas na Íosánach. 76 Tuarascáil Bhliantúil 2019
21. Ioncam Iarcurtha – Eile IARMHÉID IONCAM CAITEACHAS IARMHÉID 1 EANÁIR 2019 GLUAISEACHTA GLUAISEACHTA 31 NOLLAIG 2019
€ € € € Ciste Sciathán na Mílaoise 837,282 - (51,060) 786,222 Ciste Chomhairle Dargan 97,110 - - 97,110 Ciste na Breataine 15,237 4,538 (3,184) 16,591 Ciste Comhaltachta 321,487 - (25,367) 296,120 Cairde Ghailearaí Náisiúnta na hÉireann 150,232 381,086 (289,235) 242,083 Ciste Scoláireachta John Barry/Petronella Brown 216,287 - - 216,287 Ciste Lane 75,541 - (30,000) 45,541 Ciste Caomhnaithe Bank of America Merrill 110,035 - (25,334) 84,701 Lynch Ciste Cartlainne Sir Denis Mahon 50,813 - (18,596) 32,217 Ciste Taighde Leabharlainne AE Decipher 87,815 - - 87,815 Ciste Oideachais LEM 2,358 - - 2,358 Ciste Oideachais MOP 351 - - 351 Ciste Thionscadail Vermeer 384 - - 384 Tionscadal Leabharlainne Wilson 46,265 - (21,360) 24,905 Ciste Taighde O'Neill 7,543 - - 7,543 Ciste Getty um Chaomhnú Canbháis - 183,000 (3,442) 179,558 Caomhnú Murillo - 59,959 (9,793) 50,166 Tionscadal Caomhnaithe Monet 1,288 - - 1,288 Ag Cruthú Staire 1,729 - - 1,729 Ciste Oideachais um Aosú Cruthaitheach 2,304 - - 2,304 Tionscadal Caomhnaithe Chath na Bóinne 291 - - 291 Apollo - 25,000 - 25,000 Iontaobhas Séadchomharthaí 4,593 - (1,507) 3,086 Lárionad Staidéir ar Ealaín Éireannach 128,499 50,000 (43,079) 135,420 IOMLÁN 2,157,444 703,583 (521,957) 2,339,070 Tuarascáil Bhliantúil 2019 77
22. Cúlchistí
CISTÍ CISTÍ IOMLÁN IOMLÁN NEAMHSHRIANTA SRIANTA 2019 2018 ATHLUAITE
€ € € € Sócmhainní Oidhreachta 1 - 41,709,857 41,709,857 39,446,138 Cuntas Caipitil 872,202 - 872,202 914,774 Státchiste (952,962) 1,132,566 179,604 85,078 Féinacmhainní 2 478,322 - 478,322 1,127,832 Ciste Shaw 7,331,645 - 7,331,645 6,510,675 Ciste Sciathán na Mílaoise - 3,040,000 3,040,000 2,985,000
IARMHÉID AR 31 NOLLAIG 7,729,207 45,882,423 53,611,630 51,069,497 1 Tá Sócmhainní Oidhreachta a fuarthas ón 1 Eanáir 2007 caipitlithe ar aon dul le FRS102, Alt 34. 2 Tá Tabhartais, Taispeántais agus an Siopa Leabhar san áireamh. 23. Máistirphlean Forbartha
Tosaíodh ar thionscadal chun dhá sciathán níos sine den Ghailearaí a athchóiriú in Eanáir 2014 agus críochnaíodh é i mí na Nollag 2016. Thug an Gailearaí €12.1 milliún ar an iomlán i dtreo chostas an tionscadail. An Roinn Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus na Meán agus Oifig na nOibreacha Poiblí (OPW) a mhaoinigh na costais a bhí fágtha. Tá Oifig na nOibreacha Poiblí freagrach as an tionscadal a bhainistiú agus tá siad i mbun an chuntais dheiridh a réiteach. Tá na híocaíochtaí go léir maidir lena ranníocaíocht féin don tionscadal déanta ag an nGailearaí. Tá luach na sócmhainne taifeadta i ráitis airgeadais Oifig na nOibreacha Poiblí. Osclaíodh sciatháin athchóirithe an Ghailearaí ar an 15 Meitheamh 2017. In Aibreán 2018, gheall an Roinn Turasóireachta, Cultúir, Ealaíon, Gaeltachta, Spóirt agus na Meán €54 milliún chun tacú le Céim 4, an chéim dheiridh de Mháistirphlean Forbartha an Ghailearaí, ina ndoiciméad dar teideal Tionscadal Éireann: Infheistíocht a Dhéanamh inár gCultúr, inár dTeanga & inár nOidhreacht 2018-2027. 78 Tuarascáil Bhliantúil 2019
24. Dliteanais 26. Eachtraí tar Theagmhasacha éis dáta an chláir Tá baint ag an nGailearaí le roinnt agóidí dlíthiúla a bhféadfadh comhardaithe dliteanais airgeadais a bheith mar thoradh orthu, ag brath ar a dtorthaí. Ní féidir méid iomlán ná uainiú na ndliteanas D’fhógair an Taoiseach bearta chun srian a chur le scaipeadh teagmhasach sin a mheas le cinnteacht faoi láthair, ach ní dócha COVID-19 ar an 12 Márta 2020. I measc na mbearta seo bhí treoir go mbeidh siad níos mó ná €200,000. maidir le hinstitiúidí cultúrtha an stáit a dhúnadh, Gailearaí Náisiúnta na hÉireann, ina measc. Tá staid ghéarchéime COVID-19 ag athrú ó lá go lá. Mar thoradh air sin, ní fios fós cén tionchar iomlán airgeadais agus tionchair eile a bheidh acu ar an 25. Polasaí maidir le nGailearaí agus beidh le feiceáil. Cúlchistí Is é cuspóir an Pholasaí maidir le Cúlchistí cuid de na cúlchistí 27. Bunreacht neamhshrianta a imfhálú ar an mbonn seo a leanas: Bunaíodh an Gailearaí Náisiúnta trí Acht Parlaiminte ar an 10 – méid is comhionann le 6 mhí de chaiteachas buiséadaithe Lúnasa 1854. Tá Stádas Carthanachta aige agus tá sé cláraithe bliantúil neamh-státchiste nach bhfuil aon ráthaíocht ann leis na Coimisinéirí Ioncaim (faoi CHY 2345) agus leis an Údarás maidir le sruth ioncaim meaitseála, agus Rialála Carthanas (Uimh. Chláraithe. 20003029). – méid atá coibhéiseach le haon easnamh aitheanta i maoiniú conarthach le haghaidh caiteachais ar conradh má tá amhras suntasach fúthu maidir leis an easnamh atá á leigheas ag an bpáirtí maoinithe conarthach. 28. Faomhadh na Ina theannta sin, moltar an Bord a chur ar an eolas láithreach faoi aon athrú ar staid airgeadais leanúnach agus réamh-mheasta Ráiteas Airgeadais GNÉ a d’fhéadfadh drochthionchar ábhartha a bheith aige ar a D’fhaomh an Bord na ráitis airgeadais ar an 10 NOLLAG 2020. chumas maidir le haon ghealltanais caiteachais a chomhlíonadh. I gcúinsí mar sin, féadfaidh an Bord a mheas go bhfuil sé cuí an cúlchiste “imfhálaithe” a mhéadú chun a chinntiú go mbeidh na cistí urraithe chun gealltanais chaiteachais a chomhlíonadh de réir mar a bheidh siad dlite.
Cúlchistí atá á gcoinneáil i bhfoirm sho-inréadaithe Ní mór cuid de na cúlchistí a choinneáil i bhfoirm sho-inréadaithe. D’fhéadfadh sé seo a bheith i bhfoirm airgid nó sócmhainne eile ar féidir a thiontú ina airgead tirim go héasca. Tá sócmhainn is féidir a thiontú go héasca ina hairgead tirim cosúil le hairgead tirim toisc gur féidir an tsócmhainn a dhíol gan mórán tionchair ar a luach. Ciallóidh sé seo go gcaithfidh an tsócmhainn a bheith i margadh seanbhunaithe, le líon mór ceannaitheoirí leasmhara agus go mbeifí ábalta úinéireacht a aistriú go héasca. Aguisíní 80 Tuarascáil Bhliantúil 2019 Saothair Faighte 2019
Richard King, RICHARD KING, 1900–1974 AOIFE LAYTON, B.1979 Holy Family with Flight into Egypt, c.1950 Focus, 2017/2018 1900–1974 Cartún ghloine dhaite Eitseáil agus colláis St Brendan the Navigator, c.1935 Graifít/gualach ar pháipéar Gan fráma: 60 × 80 cm Cartún ghloine dhaite Gan fráma: 46 × 40.5 cm Ceannaithe, 2019 Graifít, gualach, crián agus dúch ar Bronnta, 2019 NGI.2019.8 pháipéar NGI.2019.5.1 Gan fráma: 146 × 42 cm Bronnta, 2019 RICHARD KING, 1900–1974 Eimearjean NGI.2019.1 Virgin Mary, c.1950 McCormack, b.1980 RICHARD KING, 1900–1974 Cartún ghloine dhaite Untitled, 2017/2018 Graifít/gualach ar pháipéar Stained ‑Glass Cartoon of a Monk/Scribe for Prionta Cianghorm Boston College, Massachusetts, USA, c.1950 Gan fráma: 46 × 40.5 cm Gan fráma: 70 × 50 cm Cartún ghloine dhaite Bronnta, 2019 Ceannaithe, 2019 Dúch, uiscedhath, graifítí agus dath NGI.2019.5.2 NGI.2019.9 teimhneach ar pháipéar RICHARD KING, 1900–1974 Gan fráma: 135.9 × 33 cm Miriam Hurley, Bronnta, 2019 Child of Prague, c.1950 b.1965 NGI.2019.2 Cartún ghloine dhaite Faoin Uisce, 2017/2018 Graifít/gualach ar pháipéar RICHARD KING, 1900–1974 Fóta-eitseáil Gan fráma: 46 × 40.5 cm Gan fráma: 70 × 50 cm Lugh Conquering Balor of the Evil Eye, c.1950 Bronnta, 2019 Ceannaithe, 2019 Cartún ghloine dhaite NGI.2019.5.3 Uiscedhath, dúch, graifít, crián agus dath NGI.2019.10 teimhneach ar pháipéar RICHARD KING, 1900–1974 Gan fráma: 156.8 × 52.1 cm St Anne and the Young Virgin, c.1950 Johnny Bugler, Bronnta, 2019 Cartún ghloine dhaite NGI.2019.3 Graifít/gualach ar pháipéar b.1975 The Last Wave, 2017/2018 RICHARD KING, 1900–1974 Gan fráma: 46 × 40.5 cm Bronnta, 2019 Fóta-eitseáil Design for a Two‑Light Window, c.1950 NGI.2019.5.4 Gan fráma: 69.5 × 80.5 cm Cartún ghloine dhaite Ceannaithe, 2019 Uiscedhath agus dúch ar chlár NGI.2019.11 Gan fráma: 49.5 × 33 cm Fiona Kelly, b.1985 Bronnta, 2019 Future Forests, 2017/2018 NGI.2019.4 Eitseáil agus uiscimir Debbie Godsell, Gan fráma: 80 × 60 cm RICHARD KING, 1900–1974 b.1973 Ceannaithe, 2019 Untitled, 2017/2018 Four Designs Mounted Together for NGI.2019.6 Stained ‑Glass Window in St Columba’s Scagphrionta Church, South Perth, Western Australia, Gan fráma: 76 × 70 cm c.1950 Ceannaithe, 2019 Cartún ghloine dhaite Aoife Layton, NGI.2019.12 Graifít, uiscedhath, dúch, gualach agus b.1979 dath teimhneach ar pháipéar Clash, 2017/2018 Gan fráma: 46 × 40.5 cm Meisitint Shane O’Driscoll Bronnta, 2019 Gan fráma: 70 × 50 cm Dizzy, Dizzy, We All Fall Down, 2017/2018 NGI.2019.5 Ceannaithe, 2019 Scagphrionta NGI.2019.7 Gan fráma: 70 × 50 cm Ceannaithe, 2019 NGI.2019.13 Kim Roberts, Tuarascáil Bhliantúil 2019 81 b.1960 NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911 – 1999 Children on Cart, 1952–53 Fractured, 2017/2018 Men on Bench, 1952–53 Prionta le ton seiléiniam Collagraf Prionta le ton seiléiniam I bhfráma: 34.5 × 27 cm Gan fráma: 80 × 60 cm I bhfráma: 34.5 × 27 cm Íomhá: 25.5 × 18 cm Ceannaithe, 2019 Íomhá: 25.5 × 18 cm Ceannaithe, 2019 NGI.2019.14 Ceannaithe, 2019 NGI.2019.20 NGI.2019.27 Sylvia Taylor NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911 – 1999 The Waiting Room, 2017/2018 Doorway and Hall, 1952–53 Pearse Street, 1952–53 Prionta rilífe Prionta le ton seiléiniam Prionta le ton seiléiniam Gan fráma: 80 × 60 cm I bhfráma: 34.5 × 27 cm I bhfráma: 34.5 × 27 cm Ceannaithe, 2019 Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm NGI.2019.15 Ceannaithe, 2019 Ceannaithe, 2019 NGI.2019.21 NGI.2019.28
Dominic Fee NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911–1999 Plan N, 2017/2018 Liteagraf Elderly Women on the Quays, 1952–53 Man at Window II, 1952–53 Gan fráma: 99 × 66 cm Prionta le ton seiléiniam Prionta le ton seiléiniam Ceannaithe, 2019 I bhfráma : 34.5 × 27 cm I bhfráma: 34.5 × 27 cm NGI.2019.16 Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm Ceannaithe, 2019 Ceannaithe, 2019 David Lilburn, NGI.2019.22 NGI.2019.29 b.1950 NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911–1999 Family outside Tenement Door 1, 1952–53 Man in a Field, 1952–53 The Kings are out..., 2017/2018 Prionta le ton seiléiniam Prionta le ton seiléiniam Turbhior agus uiscedhath I bhfráma: 34.5 × 27 cm I bhfráma: 34.5 × 27 cm Gan fráma: 49.5 × 71 cm Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm Ceannaithe, 2019 Ceannaithe, 2019 Ceannaithe, 2019 NGI.2019.17= NGI.2019.23 NGI.2019.30 Nevill Johnson, NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999 1911–1999 Family outside Tenement Door 2, 1952–53 Meat Hooks, 1952–53 Prionta le ton seiléiniam Prionta le ton seiléiniam Butcher, 1952–53 I bhfráma: 34.5 × 27 cm I bhfráma: 34.5 × 27 cm Prionta le ton seiléiniam Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm I bhfráma: 34.5 × 27 cm Ceannaithe, 2019 Ceannaithe, 2019 Íomhá: 25.5 × 18 cm NGI.2019.24 NGI.2019.31 Ceannaithe, 2019 NGI.2019.18 NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999
NEVILL JOHNSON, 1911–1999 Foreign Press, 1952–53 Men and Steam Machine, 1952–53 Prionta le ton seiléiniam Prionta le ton seiléiniam Children and Washing, 1952–53 I bhfáma: 34.5 × 27 cm I bhfráma: 34.5 × 27 cm Prionta le ton seiléiniam Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm I bhfráma: 34.5 × 27 cm Ceannaithe, 2019 Ceannaithe, 2019 Íomhá: 25.5 × 18 cm NGI.2019.25 NGI.2019.32 Ceannaithe, 2019 NGI.2019.19 NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999 Man at Window, 1952–53 Men at Bookstall, 1952–53 Prionta le ton seiléinam Prionta le ton seiléiniam I bhfráma: 34.5 × 27 cm I bhfráma: 34.5 × 27 cm Íomhá: 25.5 × 18 cm Íomhá: 25.5 × 18 cm Ceannaithe, 2019 Ceannaithe, 2019 NGI.2019.26 NGI.2019.33 82 Tuarascáil Bhliantúil 2019
NEVILL JOHNSON, 1911–1999 Mary Lohan, Donald Teskey, Street Ornament, 1952–53 Prionta le ton seiléiniam b.1954 b.1956 Sea, 2016 Still Water, 2017 I bhfráma: 34.5 × 27 cm Eitseáil Ola ar chanbhás Íomhá: 25.5 × 18 cm Leathán: 45.8 × 37.6 cm Gan fráma: 80 × 100 cm Ceannaithe, 2019 Pláta: 21.1 cm Ceannaithe, 2019 NGI.2019.34 Ceannaithe, 2019 NGI.2019.42 NEVILL JOHNSON, 1911–1999 NGI.2019.39.2 Two Women in Hats, 1952–53 Dorothy Cross, Prionta le ton seiléiniam Tom Phelan, b.1970 b.1956 I bhfráma: 34.5 × 27 cm Shark Heart Submarine, 2011 Pax, 2016 Íomhá: 25.5 × 18 cm Meán mheasctha Prionta rilífe Ceannaithe, 2019 Réad (Seastán ealaíne): 520 × 80 cm; Réad Leathán: 45.9 × 37.6 cm NGI.2019.35 (Fomhuireán): 91 cm; Réad (Próca le Croí Pláta: 25.2 × 20.2 cm ann): 6 cm NEVILL JOHNSON, 1911–1999 Ceannaithe, 2019 Ceannaithe, 2019 Woman at a Street Corner, 1952–53 NGI.2019.39.3 NGI.2019.43 Prionta le ton seiléiniam DOROTHY CROSS, B.1956 I bhfráma: 34.5 × 27 cm Grainne Cuffe, Glassilaun Snow Peak, 2014 Íomhá: 25.5 × 18 cm b.1957 Prionta lí cartlainne Ceannaithe, 2019 Tulipa Pax, 2016 Gan fráma: 88.4 × 124 cm NGI.2019.36 Eitseáil Ceannaithe, 2019 Leathán: 46.3 × 37.5 cm NEVILL JOHNSON, 1911–1999 NGI.2019.44 Pláta: 24.5 × 22.6 cm Woman in Scarf, 1952–53 Ceannaithe, 2019 DOROTHY CROSS, B.1956 Prionta le ton seiléiniam NGI.2019.39.4 Darkness and Light (2 prints), 2017 I bhfráma: 34.5 × 27 cm Prionta lonrach Íomhá: 25.5 × 18 cm I bhfráma: 74.8 × 58.7 cm Ceannaithe, 2019 Sharon Lee, b.1978 Ceannaithe, 2019 NGI.2019.37 Projection Scape [Pru‑jek‑shuhn‑skeyp], 2016 Liteagraf NGI.2019.45 Leathán: 46 × 38.1 cm DOROTHY CROSS, B.1956 William Evans of Pláta: 19 × 17 cm Darkness and Light/Print 1, 2017 Ceannaithe, 2019 Eton, 1798–1877 Prionta lonrach NGI.2019.39.5 Renvyle, Connemara, c.1838 I bhfráma: 74.8 × 58.7 cm Uiscedhath ar pháipéar Ceannaithe, 2019 Leathán: 22.8 × 43.2 cm Margaret Clarke, NGI.2019.45.1 Bronnta ag Dr Andrew Mulcahy, i gcuimhne ar a uncail, an tUas. John 1884–1961 DOROTHY CROSS, B.1956 Mulcahy, 2019 Girl Praying, c.1925 Darkness and Light/Print 2, 2017 NGI.2019.38 Ola ar chanbhás Prionta lonrach Gan fráma: 45.5 × 40.5 × 1.3 cm I bhfráma: 74.8 × 58.7 cm Various Artists Bronnta, An tUas. Leo Donnelly, i Ceannaithe, 2019 gcuimhne ar Kathleen O’Brien agus a Graphic Studio Dublin Sponsors’ Portfolio hiníon, Mary Donnelly, 2019 NGI.2019.45.2 2016, 2016 NGI.2019.40 Ceannaithe, 2019 DOROTHY CROSS, B.1956 NGI.2019.39 Ghost Ship (ii), 2011 Cian McLoughlin, Prionta lonrach Paula Meehan, b.1977 Pláta: 37 × 45 cm Leathán: 47.5 × 55 cm Self ‑Portrait, 2018 b.1955 Ceannaithe, 2019 Ola ar chlár Pax, 2016 NGI.2019.46 Gan fráma: 61 × 46 cm Litirphreas Ceannaithe, 2019 Gan fráma: 46 × 37.5 cm NGI.2019.41 Ceannaithe, 2019 NGI.2019.39.1 Tuarascáil Bhliantúil 2019 83
DOROTHY CROSS, B.1956 Patrick Scott, Seán O’Sullivan, Ghost Ship (i), 2011 Prionta lonrach 1921–2014 1906–1964 Meditations (Box set of 7 prints), 2007 Portrait of Patrick Tuohy Pláta: 37 × 45 cm Eitseail ar pháipéar Gualach ar pháipéar Leathán: 47.5 × 55 cm Gan fráma: 73 × 71 cm Gan fráma: 27 × 19 cm Ceannaithe, 2019 Ceannaithe, 2019 Fágtha le huacht, 2019 NGI.2019.47 NGI.2019.54 NGI.2019.60 Rita Duffy, b.1956 Hilda Roberts, At Sixes and Sevens (Set of 8 prints), 2011 Rita Duffy, b.1956 Prionta lonrach & Paul Muldoon, 1901–1982 Pláta: 37 × 45 cm b. 1951 Portrait of Patrick Tuohy Leathán: 47.5 × 55 cm Ola ar chanbhás Ceannaithe, 2019 Clódóir: Stoney Fágtha le huacht, 2019 NGI.2019.48.1-8 Road Press NGI.2019.61 ‘At Sixes and Sevens’, 2013 Blaise Drummond, Leabhar le hocht eitseáil Christopher Réad: 33.2 × 25.5 × 1.8 cm b.1967 Bronnta, 2019 Campbell, 1908– Lake Eden, 2016 NGI.2019.55 1972 Intaglio agus colláis fhorchurtha Self ‑Portrait, Nude Study Gan fráma: 105 × 88 cm Patrick Joseph Graifit ar pháipéar Ceannaithe, 2019 Gan fráma: 51 × 36 cm NGI.2019.49 Tuohy, 1894–1930 Fágtha le huacht, 2019 BLAISE DRUMMOND, B.1967 The Artist with Two Women NGI.2019.62 Ola ar chanbhás Muuratsalo, 2014 Gan fráma: 90 × 105 cm Intaglio agus colláis Fágtha le huacht, 2019 William Conor, Gan fráma: 66 × 82 cm NGI.2019.56 1881–1968 Ceannaithe, 2019 Bangor, 1910 NGI.2019.50 PATRICK JOSEPH TUOHY, 1894–1930 Dúch, graifít agus crián céarach ar BLAISE DRUMMOND, B.1967 Standing Nude pháipear Ola ar chanbhás Gan fráma: 19 × 22 cm Music School, 2014 Gan fráma: 100 × 74 cm I bhfráma: 34 × 40.4 cm Intaglio agus fuáil laimhe Fágtha le huacht, 2019 Bronnta, i gcuimhne ar Mary Gan fráma: 66 × 82 cm NGI.2019.57 Olive Scott, 2019 Ceannaithe, 2019 NGI.2019.63 NGI.2019.51 PATRICK JOSEPH TUOHY, 1894–1930 BLAISE DRUMMOND, B.1967 Girl in Blue Patrick Joseph Uiscedhath ar pháipéar Seven Leaves for James [ in memory of James O’Nolan], 2018 Gan fráma: 44 × 29 cm Tuohy, 1894–1930 Woman in a Large Hat (Possibly May Power, Eitseáil Fágtha le huacht, 2019 Daughter of Albert Power) Leathán: 80 × 93.5 cm NGI.2019.58 Ola ar chanbhás Ceannaithe, 2019 PATRICK JOSEPH TUOHY, 1894–1930 Fágtha le huacht, 2019 NGI.2019.52 Dominick Bowe NGI.2019.64 Ola ar chanbhás Eilis O’Connell, Gan fráma: (approx.) 70 × 50 cm Percy Francis b.1953 Fágtha le huacht, 2019 NGI.2019.59 Gethin, 1874–1916 MRI Diffusion, 2017 Gerona Intaglio Eitseáil ar pháipéar Gan fráma: 45 × 45 cm Leathán: 17.4 × 30 cm Ceannaithe, 2019 Ceannaithe, 2019 NGI.2019.53 NGI.2019.65 84 Tuarascáil Bhliantúil 2019
PERCY FRANCIS GETHIN, 1874–1916 BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Study of a Standing Female Nude Seen from Auxerre Study of a Seated Male the Back Eitseáil ar pháipéar Graifít ar rianpháipéar Graifít ar pháipéar Leathán: 10.2 × 17.4 cm Leathán: 25.5 × 19 cm Leathán: 56 × 38 cm Ceannaithe, 2019 Bronnta ag Teaghlach an Ealaíontóra, 2019 Bronnta ag Teaghlach an Ealaíontóra, 2019 NGI.2019.66 NGI.2019.73 NGI.2019.80 BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Joyce Gunn Cairns, Study of a Seated Male Seen from the Back The Life Drawing Class, 1933 Graifít ar rianpháipéar b.1948 Graifít ar pháipéar Leathán: 25.3 × 19.5 cm Portrait of Colm Tóibín (b.1955), 2017 Leathán: 38 × 56 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 Graifít agus pionsail daite ar pháipéar Bronnta ag Teaghlach an Ealaíontóra, 2019 NGI.2019.74 Gan fráma: 114.2 × 75.3 cm NGI.2019.81 Ceannaithe, Joyce Gunn Cairns, 2019 BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 NGI.2019.67 Study of a Seated Woman with Hand on Studies of a Male Figure Lying Down with Knee; Study of a Seated Female Nude with Hand behind Head, 1933 Arm Outstretched (on verso) Graifít ar pháipéar Bea Orpen, 1913– Graifít ar pháipéar Leathán: 56 × 38 cm 1980 Leathán: 27.5 × 21.3 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Seated Female Nude Seen from Bronnta ag Teaghlach an Ealaíontóra, 2019 the Back NGI.2019.82 NGI.2019.75 Graifít ar rianpháipéar BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Leathán: 25.5 × 19 cm Study of a Seated Female Nude with Arm Studies of a Black Man Standing with Arms Bronnta ag Teaghlach an Ealaíontóra, 2019 Outstretched, Holding a Pole, 1934 Folded, 1937 NGI.2019.68 Graifít ar pháipéar Graifít ar pháipéar BEA ORPEN, 1913–1980 Leathán: 56 × 38 cm Leathán: 38 × 28 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Seated Female Nude Leaning Bronnta ag Teaghlach an Ealaíontóra, 2019 Forward NGI.2019.83 NGI.2019.76 Graifít ar rianpháipéar BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Leathán: 19 × 25.5 cm Study of a Reclining Nude, 1933 Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of Hands and a Woman Drawing, 1933 Graifit ar pháipéar NGI.2019.69 Graifit ar pháipéar Leathán: 38 × 56 cm Leathán: 38 × 56 cm BEA ORPEN, 1913–1980 Bronnta ag Teaghlach an Ealaíontóra, 2019 Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Seated Female Nude with Raised NGI.2019.84 NGI.2019.77 Knee BEA ORPEN, 1913–1980 Graifít ar rianpháipéar BEA ORPEN, 1913–1980 Study of a Male Seen from the Back, Holding Leathán: 25.5 × 19 cm Study of a Standing Female Nude with Knee Knee Bronnta ag Teaghlach an Ealaíontóra, 2019 Raised, 1934 Graifít ar pháipéar NGI.2019.70 Graifít ar pháipéar Leathán: 38 × 56 cm Leathán: 44.5 × 25.3 cm BEA ORPEN, 1913–1980 Bronnta ag Teaghlach an Ealaíontóra, 2019 Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Seated Female Nude Lying Down NGI.2019.85 NGI.2019.78 Graifít ar rianpháipéar BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Leathán: 14.8 × 25.5 cm Ventry Bay, 1939 Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Seated Female Nude with Knee Raised, 1934 Gouache ar pháipéar béasa NGI.2019.71 Graifít ar pháipéar Leathán: 28.1 × 38 cm BEA ORPEN, 1913–1980 Leathán: 44.5 × 29 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 Study of a Standing Female Nude with Hands Bronnta ag Teaghlach an Ealaíontóra, 2019 NGI.2019.86 Placed on Head NGI.2019.79 BEA ORPEN, 1913–1980 Graifít ar rianpháipéar Leathán: 25.5 × 19 cm Sketchbook with 18 Pages, 1969 Bronnta ag Teaghlach an Ealaíontóra, 2019 Marcóir dubh agus graifít NGI.2019.72 Leabhar: 16.8 × 23 cm Bronnta ag Teaghlach an Ealaíontóra, 2019 NGI.2019.87 Tuarascáil Bhliantúil 2019 85
BEA ORPEN, 1913–1980 Pentti Father Francis Sketchbook with 3 Sheets, 1973 Badhró dubh agus uiscedhath Sammallahti, Browne, 1880–1960 Handball against Castle Wall, Wexford, 1930, Leabhar: 30 × 21 cm b.1950 2019 Bronnta ag Teaghlach an Ealaíontóra, 2019 Croagh Patrick, Ireland, 1978 Prionta Platanam NGI.2019.88 Prionta gelitín airgid Gan fráma: 28 × 35.5 cm Gan fráma: 15 × 20 cm Ceannaithe, 2019 Diana Bronnta, 2019 NGI.2019.101 NGI.2019.94 Copperwhite, b. FATHER FRANCIS BROWNE, 1880– 1969 PENTTI SAMMALLAHTI, B.1950 1960 Croagh Patrick, Ireland, 1978 Newsboy Reading Mail, 1930, 2019 Shapeshifter, 2016 Prionta gelitín airgid Prionta platanam Ola ar chanbhás Gan fráma: 15 × 20 cm Gan fráma: 28 × 35.5 cm Gan fráma: 175 × 235 cm Bronnta, 2019 Ceannaithe, 2019 Ceannaithe, páirtbhronntanas ón ealaíontóir, 2019 NGI.2019.95 NGI.2019.102 NGI.2019.89 PENTTI SAMMALLAHTI, B.1950 FATHER FRANCIS BROWNE, 1880– 1960 Dingle, Co. Kerry, Ireland, 1978 Stuart Pearson Prionta gelitín airgid Hanging up the Mail Bag T.P.O., 1930, 2019 Wright, b. 1975 Gan fráma: 15 × 20 cm Prionta platanam Bronnta, 2019 Gan fráma: 28 × 35.5 cm Portrait of Sir Michael Gambon, 2006 NGI.2019.96 Ceannaithe, 2019 Pionsail daite agus peann luaidhe ar NGI.2019.103 pháipéar PENTTI SAMMALLAHTI, B.1950 Gan fráma: 56 × 44 cm FATHER FRANCIS BROWNE, 1880– Croagh Patrick, Ireland, 1978 Ceannaithe, 2019 1960 Prionta gelitín airgid NGI.2019.90 Traffic on the Quays, 1930, 2019 Gan fráma: 15 × 20 cm Prionta platanam Bronnta, 2019 Gan fráma: 28 × 35.5 cm Martin Parr, b.1952 NGI.2019.97 Ceannaithe, 2019 Belmullet Fair, County Mayo from the series ‘A Fair Day’, 1983, 2019 PENTTI SAMMALLAHTI, B.1950 NGI.2019.104
Prionta gelitín airgid Dunquin, Co. Kerry, Ireland, 1978 FATHER FRANCIS BROWNE, 1880– Íomhá: 30.5 × 40.6 cm Prionta gelitín airgid 1960
Ceannaithe, 2019 Gan fráma: 15 × 20 cm The Apple House, Emo Court, Laois, 1931, NGI.2019.91 Bronnta, 2019 2019 Prionta platanam MARTIN PARR, B.1952 NGI.2019.98 Gan fráma: 28 × 35.5 cm Glenbeigh Races, County Kerry from the PENTTI SAMMALLAHTI, B.1950 Ceannaithe, 2019 series ‘A Fair Day’, 1983, 2019 Mayo, Ireland, 1978 NGI.2019.105 Prionta gelitín airgid Prionta gelitín airgid Íomhá: 30.5 × 40.6 cm FATHER FRANCIS BROWNE, 1880– Gan fráma: 15 × 20 cm Ceannaithe, 2019 1960 Bronnta, 2019 NGI.2019.92 Man Seated on Fallen Signpost, NGI.2019.99 Portarlington, Laois, 1927, 2019 MARTIN PARR, B.1952 PENTTI SAMMALLAHTI, B.1950 Prionta platanam Manorhamilton Sheep Fair, County Leitrim Gan fráma: 28 × 35.5 cm from the series ‘A Fair Day’, 1983, 2019 Cathleen Ni Houlihan Portfolio, 1979 Ceannaithe, 2019 Prionta gelitín airgid Portfóilió NGI.2019.106 Íomhá: 30.5 × 40.6 cm Réad: 32 × 30 × 2 cm Ceannaithe, 2019 Bronnta, 2019 FATHER FRANCIS BROWNE, 1880– 1960 NGI.2019.93 NGI.2019.100.1-30 Interior of Gleeson’s Post Office, Reading Irish Independent, 1935, 2019 Prionta platanam Gan fráma: 28 × 35.5 cm Ceannaithe, 2019 NGI.2019.107 86 Tuarascáil Bhliantúil 2019
FATHER FRANCIS BROWNE, 1880– PENTTI SAMMALLAHTI, B.1950 1960 Mary Farl Powers, Ireland (Couple), 1978 QUAINT DOOR LATCH AT MOUNT SAINT 1948–1992 Prionta geilitín airgid June, 1991 ANNE’S MOUNT HENRY, LAOIS, 1936, Gan fráma: 15 × 19 cm 2019 Eitseáil Ceannaithe, 2019 I bhfráma: 100.5 × 83.2 cm Prionta platanam NGI.2019.119 Ceannaithe, 2019 Gan fráma: 28 × 35.5 cm NGI.2019.113 PENTTI SAMMALLAHTI, B.1950 Ceannaithe, 2019 NGI.2019.108 MARY FARL POWERS, 1948–1992 Co. Kerry, Ireland, 1978 Prionta geilitín airgid FATHER FRANCIS BROWNE, 1880– December, 1989 Gan fráma: 24 × 30 cm 1960 Eitseáil Ceannaithe, 2019 Through Window Screen, Flooded Town, I bhfráma: 99.5 × 82.3 cm NGI.2019.120 1933, 2019 Ceannaithe, 2019 Prionta platanam NGI.2019.114 PENTTI SAMMALLAHTI, B.1950 Gan fráma: 28 × 35.5 cm Outer Hebrides, 2008 Ceannaithe, 2019 Prionta geilitín airgid NGI.2019.109 Sean Scully, b. Gan fráma: 20.5 × 25 cm FATHER FRANCIS BROWNE, 1880– 1945 Ceannaithe, 2019 1960 Landline Red Run, 2018 NGI.2019.121 Ola ar alúmanam Self-Portrait, Merseyside, England, 1930, PENTTI SAMMALLAHTI, B.1950 2019 Gan fráma: 215.9 × 190.5 cm Prionta platanam Bronnta, Sean Scully, 2019 Seoul, Korea, 2016 Gan fráma: 28 × 35.5 cm NGI.2019.115 Prionta geilitín airgid Ceannaithe, 2019 Gan fráma: 20 × 25 cm NGI.2019.110 Pentti Ceannaithe, 2019 NGI.2019.122 Sammallahti, Estella Frances b.1950 Inge Morath, 1923– Solomons, 1882– Croagh Patrick, Mayo, Ireland (Pilgrims), 1968 1978 2002 Prionta geilitín airgid Ireland. Killorglin, County Kerry. Puck Fair, McDaid’s Pub, Dublin, c.1910 1954 Gan fráma: 11.8 × 26.5 cm Eitseáil ar pháipéar Prionta geilitín airgid seanré Ceannaithe, 2019 Leathán: 26.2 × 32.5 cm Gan fráma: 25.4 × 16.8 cm NGI.2019.116 Bronnta, 2019 Ceannaithe, 2019 NGI.2019.111 PENTTI SAMMALLAHTI, B.1950 NGI.2019.123
Youghal, Ireland, 1978 INGE MORATH, 1923–2002 Prionta geilitín airgid Edmund Joseph Ireland. Killorglin, County Kerry. Puck Fair. Sullivan, 1869– Gan fráma: 20.5 × 25 cm Find the Lady, 1954 Ceannaithe, 2019 Prionta geilitín airgid seanré 1933 NGI.2019.117 Gan fráma: 34 × 25.4 cm Portrait of George Bernard Shaw Writing at Ceannaithe, 2019 a Desk, 1929 PENTTI SAMMALLAHTI, B.1950 NGI.2019.124 Pláta copair Inch, Co. Kerry, 1978 Pláta: 26.5 × 20.3 cm Prionta geilitín airgid INGE MORATH, 1923–2002 Bronnta, Gordon G. F. Dixon, 2019 Gan fráma: 20.5 × 25 cm Ireland. Killorglin, County Kerry. Puck Fair, NGI.2019.112 Ceannaithe, 2019 1954 NGI.2019.118 Prionta geilitín airgid seanré Gan fráma: 29.8 × 20.2 cm Ceannaithe, 2019 NGI.2019.125 Tuarascáil Bhliantúil 2019 87
INGE MORATH, 1923–2002 TOM WOOD, B.1951 AMELIA STEIN, B.1958 London Road, City Centre, 1993 Killorglin, Gypsies, 1954, 2010 Teacháin a’ Watch from Precipice, 2019 Prionta geilitín airgid seanré Prionta lí cartlainne Prionta lí cartlainne Íomhá: 30.5 × 40.8 cm Íomhá: 23.5 × 35.5 cm Íomhá: 40 × 50 cm Ceannaithe, 2019 Leathán: 33 × 44.5 cm Ceannaithe, 2019 NGI.2019.133 Ceannaithe, 2009 NGI.2019.140 NGI.2019.126 TOM WOOD, B.1951 AMELIA STEIN, B.1958 INGE MORATH, 1923–2002 Out from Town, 1986 Precipice: The Knife Rock, 2015, 2019 Lámhphrionta analógach seanré Ireland, Killorglin, Co. Kerry, Gypsy Family, Prionta lí cartlainne 1954, 2010 Gan fráma: 40.5 × 50.5 cm Íomhá: 40 × 50 cm Prionta lí cartlainne Ceannaithe, 2019 Ceannaithe, 2019 Image: 35.5 × 23.5 cm NGI.2019.134 NGI.2019.141 Leathán: 40.5 × 30.5 cm TOM WOOD, B.1951 AMELIA STEIN, B.1958 Ceannaithe, 2019 Chinatown, 1980 NGI.2019.127 Precipice: The Precipice of the Fox, 2015, Lámhphrionta analógach seanré 2019 INGE MORATH, 1923–2002 Gan fráma: 21 × 29.8 cm Prionta lí cartlainne Ireland, Killorglin, Co. Kerry, 1954, 2010 Ceannaithe, 2019 Íomhá: 40 × 50 cm Prionta lí cartlainne NGI.2019.135 Ceannaithe, 2019 Íomhá: 23.5 × 35.5 cm TOM WOOD, B.1951 NGI.2019.142 Leathán: 30.5 × 40.5 cm AMELIA STEIN, B.1958 London Road, City Centre, 1990 Ceannaithe, 2019 Lámhphrionta analógach seanré White Stable from The Big Sky, 2012, 2019 NGI.2019.128 Gan fráma: 50.5 × 61 cm Prionta geilitín airgid INGE MORATH, 1923–2002 Ceannaithe, 2019 Gan fráma: 36.5 × 46cm Ireland, Killorglin, Co. Kerry, 1954, 2010 NGI.2019.136 I bhfráma: 68 × 58 cm Prionta lí cartlainne Ceannaithe, 2019 Íomhá: 44.5 × 33 cm Amelia Stein, NGI.2019.143 Leathán: 35.5 × 23.5 cm AMELIA STEIN, B.1958 Ceannaithe, 2019 b.1958 White House from The Big Sky, 2012, 2019 NGI.2019.129 Hand Cut Bog, 2011, 2019 Prionta geilitín airgid Prionta geilitín airgid seanré INGE MORATH, 1923–2002 Gan fráma: 37.3 × 37.3 cm Leathán: 40 × 50 cm Ireland, Killorglin, Co. Kerry, 1954, 1954 I bhfráma: 60 × 60 cm Ceannaithe, 2019 Prionta lí cartlainne Ceannaithe, 2019 NGI.2019.144 Íomhá: 35.5 × 23.5 cm NGI.2019.137 AMELIA STEIN, B.1958 Leathán: 40.5 × 30.5 cm AMELIA STEIN, B.1958 Terry’s Old Stable from The Big Sky, Ceannaithe, 2019 2012, 2019 Sheepwire II, 2015–2017, 2019 NGI.2019.130 Prionta geilitín airgid seanré Prionta lí cartlainne Leathán: 40 × 50 cm Íomhá: 80 × 65 cm Ceannaithe, 2019 Tom Wood, b.1951 Ceannaithe, 2019 Stanley Road, Bootle (flower streets), 1989 NGI.2019.145 NGI.2019.138 Lámhphrionta analógach seanré AMELIA STEIN, B.1958 AMELIA STEIN, B.1958 Íomhá: 50.7 × 60.9 cm Sheepwire I, 2015–2017, 2019 Ceannaithe, 2019 Precipice: Diarmaid and Gráinne’s Bed, 2015, 2019 Prionta lí cartlainne NGI.2019.131 Prionta lí cartlainne Íomhá: 80 × 65 cm TOM WOOD, B.1951 Íomhá: 40 × 50 cm Bronnta, i gcuimhne ar Mona Stein, máthair an Ealaíontóra, 2019 King Street, Wallasey, 1978 Ceannaithe, 2019 NGI.2019.146 Prionta geilitín airgid seanré NGI.2019.139 Íomhá: 16.5 × 21.5 cm Ceannaithe, 2019 NGI.2019.132 88 Tuarascáil Bhliantúil 2019
Bill Brandt, DENNIS DINNEEN, 1927–1985 DENNIS DINNEEN, 1927–1985 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 1904–1983 Prionta geilitín airgid Prionta geilitín airgid Francis Bacon on Primrose Hill, 1963, 1975 Íomhá: 25.4 × 25.4 cm Íomhá: 25.4 × 25.4 cm Prionta geilitín airgid Ceannaithe, 2019 Ceannaithe, 2019 Íomhá: 30 × 40 cm NGI.2019.154 NGI.2019.162 Ceannaithe, 2019 NGI.2019.147 DENNIS DINNEEN, 1927–1985 DENNIS DINNEEN, 1927–1985 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 Edward Quinn, Prionta geilitín airgid Prionta geilitín airgid Íomhá: 25.4 × 25.4 cm Íomhá: 25.4 × 25.4 cm 1920–1997 Ceannaithe, 2019 Ceannaithe, 2019 Three Boys, Dublin, 1963 NGI.2019.155 NGI.2019.163 Prionta geilitín airgid seanré DENNIS DINNEEN, 1927–1985 Íomhá: 21.3 × 26.3 cm Ceannaithe, 2019 Untitled, 1950s–1970s, 2019 George Zimbel, NGI.2019.148 Prionta geilitín airgid b.1929 Íomhá: 25.4 × 25.4 cm EDWARD QUINN, 1920–1997 Irish Dance Hall, The Bronx, NY, 1954, 1968 Ceannaithe, 2019 Prionta geilitín airgid Donnelly’s Coal, Dublin, 1963 NGI.2019.156 Íomhá: 20.3 × 29.9 cm Prionta geilitín airgid seanré DENNIS DINNEEN, 1927–1985 Ceannaithe, 2019 Íomhá: 20.6 × 26.2 cm NGI.2019.164 Ceannaithe, 2019 Untitled, 1950s–1970s, 2019 NGI.2019.149 Prionta geilitín airgid Eamonn Doyle, Íomhá: 25.4 × 25.4 cm EDWARD QUINN, 1920–1997 Ceannaithe, 2019 b.1969 Untitled 7, from the series i, 2014 Dublin, 1963 NGI.2019.157 Prionta geilitín airgid seanré Prionta lí cartlainne DENNIS DINNEEN, 1927–1985 Íomhá: 21.4 × 26.5 cm Gan fráma: 80 × 53.3 cm Ceannaithe, 2019 Untitled, 1950s–1970s, 2019 I bhfráma: 81.5 × 54.5 × 5 cm NGI.2019.150 Prionta geilitín airgid Ceannaithe, 2019 Íomhá: 25.4 × 25.4 cm NGI.2019.165 EDWARD QUINN, 1920–1997 Ceannaithe, 2019 EAMONN DOYLE, B.1969 Men Browsing at Bookstore, 1963 NGI.2019.158 Prionta geilitín airgid seanré Untitled 4, from the series i, 2013 DENNIS DINNEEN, 1927–1985 Íomhá: 22.4 × 26.1 cm Prionta lí cartlainne Ceannaithe, 2019 Untitled, 1950s–1970s, 2019 Gan fráma: 80 × 53.5 cm NGI.2019.151 Prionta geilitín airgid I bhfráma: 81.5 × 54.5 × 5 cm Íomhá: 25.4 × 25.4 cm Ceannaithe, 2019 Dennis Dinneen, Ceannaithe, 2019 NGI.2019.166 NGI.2019.159 1927–1985 EAMONN DOYLE, B.1969 DENNIS DINNEEN, 1927–1985 Untitled 28, from the series i, 2013 Untitled, 1950s–1970s, 2019 Prionta lí cartlainne Prionta geilitín airgid Untitled, 1950s–1970s, 2019 Gan fráma: 80 × 53.5 cm Íomhá: 25.4 × 25.4 cm Prionta geilitín airgid I bhfráma: 81.5 × 54.5 × 5 cm Ceannaithe, 2019 Íomhá: 25.4 × 25.4 cm Ceannaithe, 2019 NGI.2019.152 Ceannaithe, 2019 NGI.2019.160 NGI.2019.167 DENNIS DINNEEN, 1927–1985 DENNIS DINNEEN, 1927–1985 EAMONN DOYLE, B.1969 Untitled, 1950s–1970s, 2019 END. Liberty Hall, 2016 Prionta geilitín airgid Untitled, 1950s–1970s, 2019 Prionta lí Hahnemühle ar pháipéar mín- Íomhá: 25.4 × 25.4 cm Prionta geilitín airgid ealaíne Ceannaithe, 2019 Íomhá: 25.4 × 25.4 cm Gan fráma: 67 × 100 cm NGI.2019.153 Ceannaithe, 2019 I bhfráma: 68.5 × 101.5 × 5 cm NGI.2019.161 Ceannaithe, 2019 NGI.2019.168 Tuarascáil Bhliantúil 2019 89
EAMONN DOYLE, B.1969 EVELYN HOFER, 1922–2009 Jane Bown, Evelyn Hofer, Boots Repair, Dublin, 1966, 2002 END. Green, 2016 Prionta geilitín airgid Prionta lí Hahnemühle ar 1925–2014 1922–2009 pháipéar mín-ealaíne Portrait of Samuel Beckett, 1976 Girl with Bicycle, Dublin, 1966, Íomhá: 36 × 28.5 cm 2005 Gan fráma: 67 × 100 cm Prionta geilitín airgid seanré Leathán: 50 × 40 cm Prionta aistrithe ruaime I bhfráma: 68.5 × 101.5 × 5 cm Íomhá: 29.3 × 19.7 cm Bronnta, Eastát Evelyn Hofer, Gan fráma: 41.6 × 33.5 cm 2019 Ceannaithe, 2019 Ceannaithe, 2019 Leathán: 50 × 40 cm NGI.2019.188 NGI.2019.169 NGI.2019.176 Ceannaithe, 2019 JANE BOWN, EAMONN DOYLE, B.1969 NGI.2019.182 1925–2014 André Untitled 2, from the series i EVELYN HOFER, 1922–2009 Francis Bacon in His Studio, 1985 Prionta lí cartlainne Dunoyer de Prionta geilitín airgid seanré Distillery, Dublin, 1966, 2003 Íomhá: 80 × 53.3 cm Segonzac, Íomhá: 37.8 × 19 cm Prionta aistrithe ruaime I bhfráma: 81.5 × 54.5 × 5 cm Ceannaithe, 2019 Íomhá: 33.5 × 40 cm 1884–1974 Ceannaithe, 2019 NGI.2019.177 Leathán: 40 × 50 cm Le Chemin du Golfe, 1960 NGI.2019.170 Ceannaithe, 2019 Dúch agus leachtbhrat ar JANE BOWN, pháipéar 1925–2014 NGI.2019.183 Lutz Dille, Gan fráma: 50 × 74 cm EVELYN HOFER, 1922–2009 Portrait of Sinead O’Connor, Ceannaithe, 2019 1922–2008 1995, 2019 Mountjoy Square, Dublin, 1966, NGI.2019.189 Ireland, West Coast, 1982 Prionta digiteach nua-aoiseach 1977 Prionta geilitín airgid Íomhá: 42 × 59.4 cm Prionta aistrithe ruaime Gan fráma: 25.4 × 38.1 cm Ceannaithe, 2019 Íomhá: 26 × 34 cm Edward Lear, Ceannaithe, 2019 NGI.2019.178 Leathán: 35 × 43 cm 1812–1888 NGI.2019.171 JANE BOWN, Ceannaithe, 2019 The Great and Little Sugarloaf, 1925–2014 1835 LUTZ DILLE, NGI.2019.184 1922–2008 Graifít ar pháipéar Ted Hughes and Children in EVELYN HOFER, 1922–2009 Connemara, 1966, 2019 Gan fráma: 10.8 × 16.5 cm Ireland, 1968, 1969 Prionta digiteach nua-aoiseach Prams, Dublin, 1988, 2008 Ceannaithe, le cabhair ó Prionta geilitín airgid Chairde Bhailiúchán Náisiúnta Íomhá: 42 × 59.4 cm Prionta geilitín airgid Gan fráma: 17.2 × 24.8 cm na hÉireann, 2019 Ceannaithe, 2019 Íomhá: 37.5 × 39.8 cm Ceannaithe, 2019 NGI.2019.190 NGI.2019.179 Leathán: 50 × 40 cm NGI.2019.172 Ceannaithe, 2019 EDWARD LEAR, JANE BOWN, 1812–1888 LUTZ DILLE, NGI.2019.185 1925–2014 1922–2008 The Great and Little Sugarloaf EVELYN HOFER, 1922–2009 Portrait of Peter O’Toole, 1995, from the Scalp, 1835 County Kilkenny, Ireland, Farmer, 2019 1968 Tinker Girl, Dublin, 1966, 2001 Graifít ar pháipéar Prionta digiteach nua-aoiseach Prionta geilitín airgid Prionta geilitín airgid Gan fráma: 10.8 × 16.5 cm Íomhá: 42 × 59.4 cm Gan fráma: 19.7 × 24.8 cm Íomhá: 39.3 × 31 cm Ceannaithe le cabhair ó Ceannaithe, 2019 Leathán: 50 × 40 cm Chairde Bhailiúchán Náisiúnta Ceannaithe, 2019 na hÉireann, 2019 NGI.2019.180 Ceannaithe, 2019 NGI.2019.173 NGI.2019.191 JANE BOWN, NGI.2019.186 LUTZ DILLE, 1925–2014 EDWARD LEAR, 1922–2008 EVELYN HOFER, 1922–2009 1812–1888 Portrait of Elizabeth Bowen, 1964 Dublin, Ireland, 1968, 1995 ‘Mulligan’s’ James Joyce’s Pub, Prionta geilitín airgid seanré Figures beside Scots Pine Trees, Prionta geilitín airgid Dublin, 1966, 1996 ?Powerscourt Demesne, 1835 Íomhá: 25 × 19.5 cm Gan fráma: 19.1 × 24.8 cm Prionta geilitín airgid Graifit ar pháipéar Bronnta, 2019 Ceannaithe, 2019 Íomhá: 39 × 31 cm Gan fráma: 10.8 × 16.5 cm NGI.2019.181 NGI.2019.174 Leathán: 50 × 40 cm Ceannaithe le cabhair ó Ceannaithe, 2019 Chairde Bhailiúchán Náisiúnta LUTZ DILLE, na hÉireann, 2019 NGI.2019.187 1922–2008 NGI.2019.192 Ireland, 1968, 1975 Prionta geilitín airgid Íomhá: 49.5 × 37.8 cm Ceannaithe, 2019 NGI.2019.175 90 Annual Report 2019
MYRA KATHLEEN HUGHES, 1877– Edward Lear, Brian O’Doherty, 1918
1812–1888 b.1928 The Bank of Ireland, College Green, Dublin, Loch Tay Looking North, 1835 Ogham on Broadway, 2003 c.1912 Graifit ar pháipéar Aicrileach ar chanbhás Eitseáil ar pháipéar Gan fráma: 10.8 × 16.5 cm Gan fráma: 183 × 189 × 5 cm Pláta: 19 × 25 cm Ceannaithe le cabhair ó Chairde Ceannaithe, an tEalaíontóir, 2019 Leathán: 24.6 × 30.2 cm Bhailiúchán Náisiúnta na hÉireann, 2019 NGI.2019.199 Ceannaithe, Elizabeth Harvey‑Lee, 2019 NGI.2019.193 NGI.2019.205 BRIAN O’DOHERTY, B.1928 EDWARD LEAR, 1812–1888 Portrait of the Artist as a Naked Young Man, 1953 Dorothea Lange, Bray, with the Little Sugarloaf in the Distance, Ola ar chanbhás 1835 1895–1965 I bhfráma: 75.5 × 64 × 4 cm Graifit ar pháipéar Woman in Black, Ellen Shannon, Ennis, Ceannaithe, an tEalaíontóir, 2019 Ireland, 1954, c.1955 Gan fráma: 10.8 × 16.5 cm NGI.2019.200 Prionta geilitín airgid Ceannaithe le cabhair ó Chairde Bhailiúchán Náisiúnta na hÉireann, 2019 Gan fráma: 23.9 × 19.3 cm NGI.2019.194 Kyffin Williams, Ceannaithe, 2019 NGI.2019.206 EDWARD LEAR, 1918–2006 1812–1888 DOROTHEA LANGE, 1895–1965 Storm over Caernarfon Bay, 1996 Clondalkin Round Tower, Co. Dublin, 1835 Ola ar chanbhás Paddy Reynolds from Kilfenora. Ennistymon Graifit ar pháipéar Fair, County Clare, Ireland, 1954, c.1955 Gan fráma: 61 × 61 cm Gan fráma: 10.8 × 16.5 cm Prionta geilitín airgid Bronnta, Pátrún de chuid Ghailearaí Ceannaithe le cabhair ó Chairde Náisiúnta na hÉireann, 2019 Gan fráma: 16.8 × 24.4 cm Bhailiúchán Náisiúnta na hÉireann, 2019 NGI.2019.201 Ceannaithe, 2019 NGI.2019.195 NGI.2019.207 KYFFIN WILLIAMS, 1918–2006 EDWARD LEAR, DOROTHEA LANGE, 1895–1965 1812–1888 Sheepdog, c.2002 Dúch agus leachtbhrat ar pháipéar Bridget Wylde Tends to her Shop on Market Clondalkin Round Tower, with House with Street, Ennis, 1954, c.1955 Smoking Chimney, 1835 Gan fráma: 23 × 41 cm Prionta geilitín airgid Graifit ar pháipéar I bhfráma: 49.5 × 65.7 cm Gan fráma: 20.1 × 20.2 cm Gan fráma: 10.8 × 16.5 cm Bronnta, Pátrún de chuid Ghailearaí Náisiúnta na hÉireann, 2019 Ceannaithe, 2019 Ceannaithe le cabhair ó Chairde Bhailiúchán Náisiúnta na hÉireann, 2019 NGI.2019.202 NGI.2019.208 NGI.2019.196 DOROTHEA LANGE, 1895–1965
EDWARD LEAR, Eve Arnold, Nora Kenneally at her Fireside, County Clare, 1812–1888 Ireland, 1954, 1955 1912–2012 Prionta geilitín airgid Glendalough Round Tower, Co. Wicklow, 1835 Aran Islands: Carrying a Curragh down to Gan fráma: 23.3 × 30.8 cm Graifit ar pháipéar the Ship that Brings the Community’s Weekly Supplies, 1974, 2019 Bronnta, i gcuimhne ar John Eaglefeather Gan fráma: 10.8 × 16.5 cm Prionta cartlainne Dixon, 2019 Ceannaithe le cabhair ó Chairde NGI.2019.209 Bhailiúchán Náisiúnta na hÉireann, 2019 Gan fráma: 40.6 × 50.8 cm NGI.2019.197 Ceannaithe, 2019 NGI.2019.203 EDWARD LEAR, Thomas James 1812–1888 Mulvany, The Banqueting‑room, Bellevue, with a View Myra Kathleen of Wicklow Head, 1835 1779–1845 Graifit ar pháipéar Hughes, 1877–1918 Menlo Castle, County of Galway, the Seat of Sir Valentine Blake, Bart, 1844 Gan fráma: 10.8 × 16.5 cm Harpur’s Arms (Thavies Inn), Holborn, London, c.1912 Ola ar phainéal Ceannaithe, le cabhair ó Chairde Bhailiúchán Náisiúnta na hÉireann, 2019 Eitseáil ar pháipéar Gan fráma: 36 × 50 cm NGI.2019.198 Pláta: 28 × 18.3 cm I bhfráma: 40.5 × 67 × 2.5 cm Leathán: 37 × 27.5 cm Fágtha le huacht, Dr Stephen Michael Ceannaithe, Elizabeth Harvey‑Lee, 2019 Shea, 2019 NGI.2019.204 NGI.2019.210 Annual Report 2019 91
Mary Swanzy, Paul Henry, 1876– PATRICK HICKEY, 1927–1998 East Coast Forest, 1971 1882–1978 1958 Prionta carbaraim Panoramic Landscape View over a Plain, Sketch ‘Old Age’, c.1910–1919 Leathán: 52.4 × 60.7 cm c.1920 Graifit ar pháipéar Ceannaithe, 2019 Pionsail daite ar pháipéar Gan fráma: 19.4 × 14.3 cm NGI.2019.224 Gan fráma: 19.4 × 25.7 cm Bronnta, 2019 Bronnta, 2019 NGI.2019.218 NGI.2019.211 Man Ray, 1890– MARY SWANZY, 1882–1978 Camille Souter, b. 1976 Farm Buildings with Trees in Foreground, 1929 James Joyce, 1922, c.1932 c.1920 Prionta geilitín airgid Pionsail daite ar pháipéar Study for the Painting ‘The Slaughtered Cow, Ten Minutes Dead’, c.1973 Gan fráma: 12.3 × 9 cm Gan fráma: 19.4 × 25.7 cm Graifit ar pháipéar Ceannaithe, 2019 Bronnta, 2019 Gan fráma: 28.5 × 21 cm NGI.2019.225 NGI.2019.212 Bronnta, 2019 MARY SWANZY, 1882–1978 NGI.2019.219 Peter Beard, 1938– Landscape with Houses and Trees, c.1920 2020 Pionsail daite ar pháipéar Francis Danby, Francis Bacon, 80 Narrow Street, London, Gan fráma: 19.4 × 25.7 cm 1793–1861 1972 Bronnta, 2019 Prionta geilitín airgid seanré A Rocky Landscape NGI.2019.213 Gan fráma: 8 × 7 cm Leachtbhrat Séipia le folíníocht graifíte ar MARY SWANZY, 1882–1978 pháipéar Ceannaithe, 2019 Gan fráma: 16.1 × 19 cm NGI.2019.226 Mountain View, c.1920 Bronnta, 2019 Pionsail daite ar pháipéar NGI.2019.220 Gan fráma: 25.7 × 19.5 cm Madeline Green Bronnta, 2019 Portrait of John McGahern, c.1980s NGI.2019.214 Brian Bourke, Prionta geilitín airgid Gan fráma: 42 × 59.4 cm MARY SWANZY, 1882–1978 b.1936 Bronnta, 2019 Grazing Horse, c.1996 Woman Seated at a Table Outdoors with NGI.2019.227 Bottle, c.1920 Cailc, graifít agus leachtbhrat daite ar Pionsail dubh pháipéar uiscedhatha Erich Hartmann, Gan fráma: 25.7 × 19.5 cm Gan fráma: 33 × 40 cm Bronnta, 2019 Bronnta, 2019 1922–1999 Irish Actress Playing Molly Bloom, 1964 NGI.2019.215 NGI.2019.221 Prionta geilitín airgid seanré MARY SWANZY, 1882–1978 Áine Divine Gan fráma: 15 × 22 cm Portrait of Clare Marsh, Artist, c.1920 Portrait of Mo Mowlam (1949–2005), 2004 Bronnta, 2019 Pionsail daite agus graifít Uiscedhath ar pháipéar NGI.2019.228 Gan fráma: 100 × 70 cm Gan fráma: 25.7 × 19.5 cm ERICH HARTMANN, 1922–1999 Bronnta, 2019 I bhfráma: 100 × 79 cm Returning from Hurling Match, 1964 NGI.2019.216 Ceannaithe, 2019 Prionta geilitín airgid seanré NGI.2019.222 ? Samuel Frederick Gan fráma: 15 × 22 cm Brocas, Bronnta, 2019 Patrick Hickey, NGI.2019.229 c.1792–1847 1927–1998 View of Dublin from Islandbridge, c.1810 Irish Landscape, January, c.1971 Graifít, leachtbhrat liath le gealáin bhána Liteagraf ar pháipéar Leathán: 53 × 34 cm Gan fráma: 10.2 × 16.9 cm Gan fráma: 64.5 × 44.5 cm Bronnta, 2019 Ceannaithe, 2019 NGI.2019.217 NGI.2019.223 92 Tuarascáil Bhliantúil 2019
Fionn McCann, b. Unknown Artist John Comerford, 1973 Portrait of Nuala O’Faolain, c.1970s, 2019 1770–1832 Prionta geilitín airgid Cezanne’s Apple, 2018 John Egan, Esq K.C., c.1809 Gan fráma: 30 × 37.5 cm Grianghraf Graifit ar pháipéar Bronnta, 2019 Gan fráma: 78.6 × 62.2 cm Gan fráma: 17 × 14 cm NGI.2019.236 I bhfráma: 81.2 × 64.8 × 3.4 cm I bhfráma: 44 × 32 cm Bronnta, an tEalaíontóir, 2019 Ceannaithe, 2019 NGI.2019.230 Jane Bown, NGI.2019.242 1925–2014 Kim Haughton Children on Pavement, Dublin, 1963 George Wallace, J.P Donleavy, 2015 Prionta geilitín airgid 1920–2009 Prionta Cartlainne C Gan fráma: 27 × 37 cm Wexford Ledger with Sketches I bhfráma: 100 × 72 cm Bronnta, 2019 Leabhar Ceannaithe, 2019 NGI.2019.237 Dúch ar pháipéar NGI.2019.231 Réad: 37.7 × 25.4 cm Colin Davidson, Bronnta, Eastát Wallace, 2019 Evelyn Hofer, b.1968 NGI.2019.243 1922–2009 The Day I Heard that Mark Hollis had Died (Self ‑Portrait), 2019 Günter Schöllkopf, Portrait of Frank O’Connor, 1966, 2019 Ola ar chanbhás Prionta geilitín airgid nua-aoiseach 1935–1979 Gan fráma: 105 × 97 cm Ulysses Bloom, 1962 Íomhá: 37.6 × 29.4 cm Bronnta, Cairde Ghailearaí Náisiúnta Eitseáil Leathán: 50.8 × 40.4 cm na hÉireann (Pátrúin Chistí Ealaíne na Leathán: 54 × 38.4 cm Bronnta, Eastát Evelyn Hofer, 2019 hÉireann), 2019 Pláta: 39.8 × 29.8 cm NGI.2019.232 NGI.2019.238 Bronnta, Heidrun Schöllkopf Schober, 2019 EVELYN HOFER, 1922–2009 John Comerford, NGI.2019.244 Portrait of Mary Lavin, 1966, 2019 1770–1832 GÜNTER SCHÖLLKOPF, 1935–1979 Prionta geilitín airgid nua-aoiseach The Duke of Leinster, c.1809 Ulysses 12 (Family), 1963 Leathán: 50.8 × 40.4 cm Graifit ar pháipéar Eitseáil Íomhá: 37.6 × 29.5 cm Gan fráma: 17 × 14 cm Leathán: 54 × 37.5 cm Bronnta, Eastát Evelyn Hofer, 2019 I bhfráma: 44 × 32 cm Pláta: 49.5 × 32.7 cm NGI.2019.233 Ceannaithe, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 EVELYN HOFER, 1922–2009 NGI.2019.239 NGI.2019.245 Portrait of Patrick Kavanagh, 1966, 2019 JOHN COMERFORD, 1770–1832 GÜNTER SCHÖLLKOPF, 1935–1979 Prionta geilitín airgid nua-aoiseach Rt Hon. William Cunningham Plunket, c.1809 Bloom, 1977 Leathán: 50.8 × 40.4 cm Graifit ar pháipéar Eitseáil Íomhá: 37.7 × 29.6 cm Gan fráma: 17 × 14 cm Leathán: 53.4 × 37.8 cm Bronnta, Eastát Evelyn Hofer, 2019 I bhfráma: 44 × 32 cm Pláta: 29.9 × 19.5 cm NGI.2019.234 Ceannaithe, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.240 Sean Scully, b.1945 NGI.2019.246 JOHN COMERFORD, 1770–1832 GÜNTER SCHÖLLKOPF, 1935–1979 Aran Portfolio, 2006 Francis Rawdon, Earl of Moira, c.1809 Portfóilió de 24 grianghraf dubh agus bán Ulysses XXII, 1963 agus leathanach teidil amháin sínithe ag Graifit ar pháipéar Eitseáil an ealaíontóir Gan fráma: 17 × 14 cm Leathán: 46 × 65.2 cm Leathán (gach ceann): 40.6 × 50.8 cm I bhfráma: 44 × 32 cm Pláta: 39.7 × 49.2 cm Íomhá (gach ceann): 34.9 × 48.3 cm Ceannaithe, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Sean Scully, 2019 NGI.2019.241 NGI.2019.247 NGI.2019.235.1-24 Tuarascáil Bhliantúil 2019 93
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Scylla and Charybdis, 1978 Ulysses, God, 1963 Nausikaa, 1977 Eitseáil Eitseáil Eitseáil Leathán: 53.4 × 53 cm Leathán: 76 × 53.8 cm Leathán: 37.9 × 53.3 cm Pláta: 40.1 × 39.6 cm Pláta: 49.3 × 39.6 cm Pláta: 19.8 × 24.9 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.248 NGI.2019.255 NGI.2019.262
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Bloom Gassenjunge, 1977 Ulysses IV, 1963 Dubliners, 1977 Eitseáil Eitseáil Dúch agus graifít ar pháipéar Leathán: 37.9 × 53.4 cm Leathán: 38 × 54 cm Gan fráma: 38.4 × 53.5 cm Pláta: 19.8 × 29.8 cm Pláta: 29.5 × 39.6 cm Ceannaithe, Heidrun Schöllkopf‑Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.263 NGI.2019.249 NGI.2019.256 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 The Oxen, 1977 Bloom ‑Peristaltik, 1978 Teacher I (Stephen Hero), 1962 Crián Eitseáil Eitseáil Gan fráma: 38.3 × 53.4 cm Leathán: 58.5 × 53.4 cm Leathán: 38.1 × 53.5 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 39.6 × 39.7 cm Pláta: 29.5 × 39.7 cm NGI.2019.264 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.250 NGI.2019.257 GÜNTER SCHÖLLKOPF, 1935–1979
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Eccles Street, 1977 Crián, graifít, dúch agus gouache ar Ulysses Metamorphoses, 1977 Stephen teacher, 1977 pháipéar Eitseáil Dúch agus graifít ar pháipéar Gan fráma: 38.1 × 53.4 cm Leathán: 38 × 53.3 cm Gan fráma: 26.7 × 38.4 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 19.8 × 29.7 cm Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.265 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.258 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.251 GÜNTER SCHÖLLKOPF, 1935–1979 Phoenix Park, 1971 GÜNTER SCHÖLLKOPF, 1935–1979 Dädalus teacher (Ulysses teacher), 1977 Dúch Two Persons in Dublin (Dädalus Mulligan), Eitseáil Gan fráma: 29.5 × 41.9 cm 1963 Leathán: 37.9 × 53.4 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Eitseáil Pláta: 29.7 × 40 cm NGI.2019.266 Leathán: 54.5 × 76.4 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 40.7 × 49.3 cm GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.259 Bronnta, Heidrun Schöllkopf Schober, 2019 Borstal Boy, 1971 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.252 Dúch agus graifít ar pháipéar Molly Bloom, 1964 GÜNTER SCHÖLLKOPF, 1935–1979 Gan fráma: 29.5 × 41.9 cm Eitseáil Bronnta, Heidrun Schöllkopf Schober, 2019 Leichenbegängnis, 1963 Leathán: 69.9 × 50.1 cm NGI.2019.267 Eitseáil Pláta: 49.5 × 33 cm Leathán: 55 × 53.2 cm GÜNTER SCHÖLLKOPF, 1935–1979 Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 39.3 × 39.6 cm NGI.2019.260 Hark!, 1971 Bronnta, Heidrun Schöllkopf Schober, 2019 Graifit ar pháipéar GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.253 Gan fráma: 29.6 × 42 cm Traum im Bordell, 1964 GÜNTER SCHÖLLKOPF, 1935–1979 Bronnta, Heidrun Schöllkopf Schober, 2019 Eitseáil NGI.2019.268 Turm (Ulysses l), 1963 Leathán: 56 × 53.5 cm Eitseáil GÜNTER SCHÖLLKOPF, 1935–1979 Pláta: 39.2 × 39.8 cm Leathán: 38.5 × 53.8 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Borstal Boy, 1971 Pláta: 29.7 × 39.8 cm NGI.2019.261 Dúch agus gouache ar pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 Gan fráma: 29.5 × 41.9 cm NGI.2019.254 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.269 94 Tuarascáil Bhliantúil 2019
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Attentat im Phoenix Park, 1976 O Tell Me, 1971 Eccles Street, 1976 Eitseáil Eitseáil Uiscedhath, graifít agus péint mhiotalach Leathán: 35.3 × 53.2 cm Leathán: 53.3 × 68.5 cm ar pháipéar Pláta: 19.5 × 39.9 cm Pláta: 34.7 × 49.2 cm Gan fráma: 39.5 × 29.6 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.270 NGI.2019.277 NGI.2019.284
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Mulligan, 1971 The Tower, 1971 Eitseáil Eitseáil Brendan Behan, (Das Narrenschiff), 1977 Leathán: 38.2 × 54 cm Leathán: 37.9 × 42.6 cm Dúch Pláta: 29.8 × 39.5 cm Pláta: 19.8 × 29.7 cm Gan fráma: 29.7 × 39.7 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.271 NGI.2019.278 NGI.2019.285
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Disputation, 1974 J.J. O. Molloy, 1971 Bloom Shopping, 1963 Eitseáil Eitseáil Dúch Leathán: 46.5 × 60 cm Leathán: 38.1 × 54.2 cm Gan fráma: 30.5 × 42.8 cm Pláta: 29.6 × 39.5 cm Pláta: 29.7 × 40.1 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.286 NGI.2019.272 NGI.2019.279 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 The Mass, 1971 Evangelisten, 1977 Dublin Business, 1962 Uiscedhath, graifít, gouache agus péint Eitseáil mhiotalach ar pháipéar Dúch Leathán: 38 × 53.5 cm Gan fráma: 44.5 × 47.2 cm Gan fráma: 29.6 × 41.8 cm Pláta: 29.8 × 40 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.273 NGI.2019.287 NGI.2019.280 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 Martello ‑tower, 1977 1935–1979 Bloomsday Bloom Annoncenaquisiteur, 1964 Eitseáil The Big Four, 1977 Dúch Leathán: 37.8 × 53.2 cm Crián agus graifít ar pháipéar Gan fráma: 29.6 × 41.9 cm Pláta: 29.5 × 39.7 cm Gan fráma: 38.3 × 53.4 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.288 NGI.2019.274 NGI.2019.281 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 O’Neill, 1977 Bloom I, 1968 The Big Four, 1978 Eitseáil Uiscedhath ar pháipéar Eitseáil Leathán: 53.5 × 37.9 cm Gan fráma: 29.4 × 41.8 cm Leathán: 31.7 × 31.2 cm Pláta: 30.2 × 19.5 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 19.7 × 20 cm Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.289 NGI.2019.275 Bronnta, Heidrun Schöllkopf Schober, 2019 GÜNTER SCHÖLLKOPF, NGI.2019.282 GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, The King and I, 1970 Baudelaire, 1977 1935–1979 Eitseáil Graifít ar pháipéar To Bed, 1971 Leathán: 26.7 × 22.5 cm Gan fráma: 29.7 × 41.9 cm Eitseáil Pláta: 13 × 8.7 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Leathán: 46.1 × 53.6 cm Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.290 Pláta: 34.8 × 40.2 cm NGI.2019.276 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.283 Tuarascáil Bhliantúil 2019 95
GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 1935–1979
Bloom als..., 1977 Mother Cries, 1964 Triptychon Alp, 1976 Dúch ar pháipéar Dúch ar pháipéar Dúch dubh ar pháipéar Gan fráma: 38.4 × 53.4 cm Gan fráma: 31.2 × 43.9 cm Gan fráma: 29.6 × 20.4 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.291 NGI.2019.298 NGI.2019.305
GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 1935–1979
Tearoom, 1963 Stephen’s Mutter, 1963 Alp Telling Her Story (Triptychon Alp), 1976 Dúch ar pháipéar Dúch ar pháipéar Dúch gorm agus dubh agus graifít ar pháipéar Gan fráma: 29.5 × 40.3 cm Gan fráma: 29.5 × 41.6 cm Gan fráma: 29.6 × 20.5 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.292 NGI.2019.299 NGI.2019.306 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Tryptychon I (Anfang Zreuzweg), 1963 Triptychon, 1976 Oxen des Sonnengotts, 1976 Dúch ar pháipéar Dúch gorm, glas agus dubh ar pháipéar Graifít agus péint órga mhiotalach ar Gan fráma: 30.5 × 42.9 cm Gan fráma: 29.6 × 40 cm pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Gan fráma: 41.5 × 59 cm NGI.2019.293 NGI.2019.300 Bronnta, Heidrun Schöllkopf Schober, 2019 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, NGI.2019.307 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, Der Kelch, 1963 Miss Kennedy’s Apples, 1971 1935–1979 Dúch ar pháipéar Dubh, graifít agus uiscedhath ar pháipéar Attentat im Phoenix Park, 1972 Gan fráma: 30.3 × 43 cm Gan fráma: 29.6 × 42 cm Graifít agus dúch ar pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Gan fráma: 29.6 × 42 cm NGI.2019.294 NGI.2019.301 Bronnta, Heidrun Schöllkopf Schober, 2019 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, NGI.2019.308 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, Dädalus Theseus, 1963 The Prison Gate Girls, 1971 1935–1979 Dúch ar pháipéar Dúch agus gouache ar pháipéar Eccles Street I, 1971 Gan fráma: 29.6 × 41.8 cm Gan fráma: 29.5 × 42 cm Graifit ar pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Gan fráma: 29.5 × 42 cm NGI.2019.295 NGI.2019.302 Bronnta, Heidrun Schöllkopf Schober, 2019 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, NGI.2019.309 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, Matthew Dillon, 1963 Nausikaa, 1979 1935–1979 Dúch, uiscedhath agus gouache ar Dúch ar pháipéar Mulligan Prayer, 1972 pháipéar Gan fráma: 29.3 × 42 cm Dúch, uiscedhath agus gouache ar Gan fráma: 29.6 × 41.9 cm Bronnta, Heidrun Schöllkopf Schober, 2019 pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.303 Gan fráma: 35.7 × 47.7 cm NGI.2019.296 GÜNTER SCHÖLLKOPF, Bronnta, Heidrun Schöllkopf Schober, 2019 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.310 1935–1979 Nausikaa, 1976 GÜNTER SCHÖLLKOPF, Waiting Daedallus II, 1964 Dúch dubh ar pháipéar 1935–1979 Dúch ar pháipéar Gan fráma: 29.6 × 39.6 cm Hearasay, 1964 Gan fráma: 21.2 × 30.2 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Dúch ar pháipéar Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.304 Gan fráma: 42.8 × 29.8 cm NGI.2019.297 Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.311 96 Tuarascáil Bhliantúil 2019
GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 1935–1979 Hoke!, 1963 Finnegans Wake Kreuzweg IV, 1964 Dúch ar pháipéar Dúch, crián agus graifít ar pháipéar Eitseáil Gan fráma: 29.5 × 41.7 cm Gan fráma: 53.3 × 38.3 cm Leathán: 53.3 × 37.8 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Pláta: 32.7 × 19.4 cm NGI.2019.312 NGI.2019.319 Ceannaithe, 2019 GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, NGI.2019.322.4 1935–1979 1935–1979 GÜNTER SCHÖLLKOPF, Dying Paloola!!!, 1971 Ulysses (Komiss. Room) 1935–1979 Dúch ar pháipéar Dúch ar pháipéar Kreuzweg V, 1964 Gan fráma: 29.5 × 42 cm Gan fráma: 29.6 × 39.6 cm Eitseáil Bronnta, Heidrun Schöllkopf Schober, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Leathán: 53.3 × 38 cm NGI.2019.313 NGI.2019.320 Pláta: 33.1 × 20.8 cm GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, Ceannaithe, 2019 1935–1979 1935–1979 NGI.2019.322.5 Mattheehew, Markeehew, Lukeeehw, Ulysses Vegetation, 1961 GÜNTER SCHÖLLKOPF, Johneehewheehew, 1971 1935–1979 Eitseáil Dúch ar pháipéar Gan fráma: 29.5 × 41.8 cm Kreuzweg VI, 1964 Gan fráma: 29.5 × 42 cm Bronnta, Heidrun Schöllkopf Schober, 2019 Eitseáil Bronnta, Heidrun Schöllkopf Schober, 2019 NGI.2019.321 Leathán: 53.2 × 38 cm NGI.2019.314 Pláta: 32.8 × 19.8 cm GÜNTER SCHÖLLKOPF, GÜNTER SCHÖLLKOPF, 1935–1979 Ceannaithe, 2019 1935–1979 NGI.2019.322.6 Kreuzweg (‘Way of the Cross’) (I–XIV), 1964 Morning, 1976 Eitseáil GÜNTER SCHÖLLKOPF, 1935–1979 Dúch ar pháipéar Ceannaithe, 2019 Gan fráma: 42 × 56.7 cm Kreuzweg VII, 1964 NGI.2019.322 Bronnta, Heidrun Schöllkopf Schober, 2019 Eitseáil NGI.2019.315 GÜNTER SCHÖLLKOPF, Leathán: 53.2 × 38 cm 1935–1979 Pláta: 33 × 20.9 cm GÜNTER SCHÖLLKOPF, 1935–1979 Kreuzweg I, 1964 Ceannaithe, 2019 Eitseáil NGI.2019.322.7 To Bed I, 1977 Leathán: 53.3 × 38 cm Dúch dubh agus graifít ar pháipéar GÜNTER SCHÖLLKOPF, Pláta: 33.5 × 19.8 cm 1935–1979 Gan fráma: 38 × 53.4 cm Ceannaithe, 2019 Bronnta, Heidrun Schöllkopf Schober, 2019 Kreuzweg VIII, 1964 NGI.2019.322.1 NGI.2019.316 Eitseáil GÜNTER SCHÖLLKOPF, Leathán: 53.4 × 38 cm GÜNTER SCHÖLLKOPF, 1935–1979 1935–1979 Pláta: 32.7 × 19.8 cm Kreuzweg II, 1964 Ceannaithe, 2019 Ulysses (Tiere, Bäume), 1965 Eitseáil NGI.2019.322.8 Eitseáil dúigh Leathán: 53.3 × 38 cm Gan fráma: 29.5 × 41.9 cm GÜNTER SCHÖLLKOPF, Pláta: 32.8 × 19.7 cm 1935–1979 Bronnta, Heidrun Schöllkopf Schober, 2019 Ceannaithe, 2019 NGI.2019.317 Kreuzweg IX, 1964 NGI.2019.322.2 Eitseáil GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, Leathán: 53.1 × 38 cm 1935–1979 Pláta: 32.9 × 19.9 cm Ulysses (Nutten Eccles Street) Kreuzweg III, 1964 Ceannaithe, 2019 Dúch agus graifít ar pháipéar Eitseáil NGI.2019.322.9 Gan fráma: 29.5 × 42 cm Leathán: 53.1 × 37.8 cm Bronnta Heidrun Schöllkopf Schober, 2019 Pláta: 32.9 × 19.8 cm NGI.2019.318 Ceannaithe, 2019 NGI.2019.322.3 Tuarascáil Bhliantúil 2019 97
GÜNTER SCHÖLLKOPF, 1935–1979 Samuel Laurence Ailbhe Barrett,
Kreuzweg X, 1964 Cunnane, b.1989 b.1978 Eitseáil Yew Trees, 2016 Towards Errigal, 2018 Leathán: 54.4 × 37.1 cm Prionta lámhphriontáilte C type ar fhóta- Eitseáil pháipéar cartlainne Pláta: 32.7 × 19.3 cm Leathán: 46 × 38 cm Gan fráma: 16.8 × 25.4 cm Ceannaithe, 2019 Íomhá: 30.5 × 24.5 cm I bhfráma: 39.7 × 48.1 × 3 cm NGI.2019.322.10 Ceannaithe, le cabhair an Uas. Peter Ceannaithe, 2019 Woods agus an Uas. Francis Ryan, 2019 GÜNTER SCHÖLLKOPF, NGI.2019.324 NGI.2019.328.2 1935–1979 Kreuzweg XI, 1964 Caoimhe Eitseáil Vaida Varnagiene, Leathán: 53.4 × 37.9 cm Kilfeather, b.1979 b.1971 Pláta: 32.7 × 19.7 cm in life (i), 2016 From Overseas, 2018 Ceannaithe, 2019 Grianghraf dubh agus bán Eitseáil NGI.2019.322.11 Gan fráma: 60 × 90 cm Leathán: 46 × 38 cm I bhfráma: 85 cm × 57 cm GÜNTER SCHÖLLKOPF, Íomhá: 30.5 × 24.5 cm 1935–1979 Ceannaithe, 2019 Ceannaithe, le cabhair an Uas. Peter NGI.2019.325 Woods agus an Uas. Francis Ryan, 2019 Kreuzweg XII, 1964 NGI.2019.328.3 Eitseáil CAOIMHE KILFEATHER, B.1979 Leathán: 53.3 × 38.1 cm in life (ii), 2016 Julie Ann Haines, Pláta: 32.8 × 19.6 cm Grianghraf dubh agus bán b.1966 Ceannaithe, 2019 Gan fráma: 60 × 90 cm Block D, 2018 NGI.2019.322.12 I bhfráma: 85 cm × 57 cm Eitseáil GÜNTER SCHÖLLKOPF, 1935–1979 Ceannaithe, 2019 Leathán: 46 × 38 cm (prionta): 30.5 × 24.5 NGI.2019.326 cm) Kreuzweg XIII, 1964 Ceannaithe, le cabhair an Uas. Peter Eitseáil Woods agus an Uas. Francis Ryan, 2019 Leathán: 53.3 × 37.8 cm Yousuf Karsh, NGI.2019.328.4 Pláta: 32.7 × 19.7 cm 1908–2002 Ceannaithe, 2019 George Bernard Shaw, 1943 Maser, b.1981 NGI.2019.322.13 Prionta airgid seanré Untitled, 2018 GÜNTER SCHÖLLKOPF, Gan fráma: 27.7 × 22.1 cm Carborundum; photo intaglio 1935–1979 Ceannaithe, 2019 Leathán: 46 × 38 cm Kreuzweg XIV, 1964 NGI.2019.327 Íomhá: 30.5 × 24.5 cm Eitseáil Ceannaithe, le cabhair an Uas. Peter Leathán: 53.7 × 37.9 cm Various Artists Woods agus an Uas. Francis Ryan, 2019 Pláta: 32.8 × 19.8 cm NGI.2019.328.5 Graphic Studio Dublin Sponsors’ Portfolio Ceannaithe, 2019 2018, 2018 NGI.2019.322.14 Portfóilió Various Artists Ceannaithe, le cabhair an Uas. Peter Graphic Studio Dublin Sponsors’ Portfolio Ruth Lyons, b.1983 Woods agus an Uas. Francis Ryan, 2019 2019, 2019 NGI.2019.328 Portfóilió Salarium, 2014 Ceannaithe, le cabhair an Uas. Peter Clochshalann Éireannach Paul Muldoon, Woods agus an Uas. Francis Ryan, 2019 Réad (1): 10 × 12 × 15 cm NGI.2019.329 Réad (2): 22 × 8 × 22 cm b.1951 Réad (3): 14 × 22 × 38 cm Likely to Go Unnoticed, 2018 Ceannaithe, 2019 Litirphreas NGI.2019.323 Leathán: 46 × 38 cm Ceannaithe, le cabhair an Uas. Peter Woods agus an Uas. Francis Ryan, 2019 NGI.2019.328.1 98 Tuarascáil Bhliantúil 2019
Anne Enright, Julia Margaret b.1962 Cameron, 1815– Indelible, 2019 1879 Litirphreas Browning’s Sordello (Henry John Stedman Leathán: 46 × 38 cm Cotton and Mary Ryan), 1867 Ceannaithe, le cabhair an Uas. Peter Prionta Albaimín Woods agus an Uas. Francis Ryan, 2019 Íomhá: 33.3 × 25.7 cm NGI.2019.329.1 Fráma: 61 × 50.8 cm Ceannaithe, 2019 Colin Martin, NGI.2019.330 b.1973 Neural Lace, 2019 Eitseáil Leathán: 46 × 38 cm Íomhá: 23 × 23 cm Ceannaithe, le cabhair an Uas. Peter Woods agus an Uas. Francis Ryan, 2019 NGI.2019.329.2 Niamh McGuinne, b.1967 Mind’s Eye, 2019 Eitseáil Leathán: 46 × 38 cm (prionta): 23 × 23 cm Ceannaithe, le cabhair an Uas. Peter Woods agus an Uas. Francis Ryan, 2019 NGI.2019.329.3 Clare Henderson, b.1981 Witness to an Interrogation, 2019 Eitseáil Leathán: 46 × 38 cm Íomhá: 23 × 23 cm Ceannaithe, le cabhair an Uas. Peter Woods agus an Uas. Francis Ryan, 2019 NGI.2019.329.4 Marc Reilly, b.1956 23.6.18, 2019 Eitseáil Leathán: 46 × 38 cm Íomhá: 23 × 23 cm Ceannaithe, le cabhair an Uas. Peter Woods agus an Uas. Francis Ryan, 2019 NGI.2019.329.5 Tuarascáil Bhliantúil 2019 99 Iasachtaí ó Ghailearaí Náisiúnta na hÉireann do Thaispeántais Shealadacha in 2019 Iasacht don Iasacht don Iasacht don taispeántas: taispeántas: taispeántas: Renaissance in Moroni: The Riches Utrecht, Caravaggio Venice: Painting in of Renaissance and Europe the Age of Titian Portraiture Láthair: Alte Pinakothek, Munich 16 Aibreán 2019 go dtí 21 Iúil 2019 Láthair: Städelsches Kunstinstitut, Láthair: The Frick Collection, Nua Eabhrac Frankfurt NGI.980 Orazio Gentileschi David and 21 Feabhra 2019 go dtí 02 Meitheamh 2019 Goliath, c.1605–1607 13 Feabhra 2019 go dtí 26 Bealtaine 2019 NGI.105 Giovanni Battista Moroni NGI.75 Titian, Ecce Homo, 1558–1560 Portrait of a Gentleman and his two Children, Tugtha ar ais c.1572–1575 Iasacht don taispeántas: Art Iasacht don Iasacht don & Empire: The taispeántas: taispeántas: Mary Golden Age of Making the Swanzy: Voyages Spain Láthair: Gailearaí Ealaíne Crawford, Difference: Láthair: The San Diego Museum of Art Corcaigh 18 Bealtaine 2019 go dtí 02 Meán Fómhair Vermeer and 15 Márta 2019 go dtí 03 Meitheamh 2019 2019 NGI.2006.10 Mary Swanzy Dutch Art NGI.4538 Diego Velázquez Kitchen Maid Propellers, 1942 Láthair: Osaka City Museum of Fine Arts with the Supper at Emmaus, c.1617‑1618 NGI.4699 Mary Swanzy 16 Feabhra 2019 go dtí 12 Bealtaine 2019 Self ‑Portrait with a Candle, c.1940 NGI.4535 Johannes Vermeer NGI.4720 Mary Swanzy Iasacht don Woman Writing a Letter, with her Maid, Allegory, c.1945–1949 c.1670 taispeántas: NGI.4536 Gabriel Metsu Man Writing a Letter, 1664–1666 Iasacht don Renoir: The Body, NGI.4537 Gabriel Metsu Woman Reading a Letter, 1664–1666 taispeántas: The Senses Láthair : The Sterling and Francine Clark Picasso et la Art Institute, Williamstown, Massachusetts 08 Meitheamh 2019 go dtí 22 Meán Guerre Fómhair 2019 Láthair: Musée de l'Armée, Paris NGI.8011 Pierre-Auguste Renoir & Richard 05 Aibreán 2019 go dtí 28 Iúil 2019 Guino Pendule, Hymne à la Vie, 1914 NGI.1314 Pablo Picasso A Bottle and Newspaper, 1913 100 Tuarascáil Bhliantúil 2019
Iasacht don Iasacht don Iasacht don taispeántas: Life taispeántas: taispeántas: Cost above Everything: Oidhreacht: of Revolution: The Lucian Freud and Transforming Life and Death of Jack B. Yeats Tradition an Irish Soldier Láthair : Músaem Nua-Éalaíne na hÉireann, Láthair: Gailearaí Highlanes, Droichead Láthair: Museum of the American Baile Átha Cliath Átha Revolution, Philadelphia 27 Meitheamh 2019 go dtí 19 Eanáir 2020 13 Iúil 2019 go dtí 14 Meán Fómhair 2019 26 Meán Fómhair 2019 go dtí 17 Márta 2020 NGI.4595 Jack B. Yeats June Night, 1929 NGI.166 Joseph Patrick Haverty The Blind Piper, 1841 NGI.4585 Hugh Douglas Hamilton Portrait NGI.3319 Jack B. Yeats Self ‑Portrait, c.1920 of Lieutenant Richard Mansergh Saint George NGI.2374 George Petrie Saint Laurence’s NGI.3828 Jack B. Yeats Gathering Seaweed, Ceadaithe (1756/9–1798), c.1796 Gate, Drogheda, County Louth, 1819 c.1912 NGI.4122 Trevor Thomas Fowler Children NGI.3829 Jack B. Yeats The Country Shop, Dancing at the Crossroads, c.1835 c.1912 Iasacht don NGI.4520 Gerard Dillon The Little Green NGI.3830 Jack B. Yeats The County of Mayo, Fields, c.1946–1950 1903 taispeántas: NGI.6028 George Petrie Gougane Barra NGI.6317 Jack B. Yeats The Man from Lake with the Hermitage of Saint Finbarr, Rembrandt’s Light Aranmore, 1905 County Cork, c.1831 Returned Láthair: Dulwich Picture Gallery, Londain NGI.6036 Frederic William Burton Paddy 04 Deireadh Fómhair 2019 go dtí 02 Iasacht don Conneely, (d.1850), a Galway Piper Feabhra 2020 NGI.6315 Daniel Maclise The Marriage of NGI.215 Rembrandt van Rijn Landscape taispeántas: Strongbow and Aoife, c.1854 with the Rest on the Flight into Egypt, 1647 Seen, not Heard Láthair: Gailearaí Ealaíne Crawford, Iasacht don Iasacht don Corcaigh 28 Meitheamh 2019 go dtí 28 Deireadh taispeántas: taispeántas: Pieter Fómhair 2019 Masterpieces of de Hooch: From NGI.797 Stephen Slaughter Lady and Child, 1745 Dutch Landscape the Shadow of NGI.1053 Walter Frederick Osborne A Boy Blowing Bubbles from the National Vermeer NGI.3129 Harry Aaron Kernoff Portrait of a Gallery of Ireland Láthair: Museum Prinsenhof Delft Girl, 1952 Láthair: Músaem Uladh, Béal Feirste 11 Deireadh Fómhair 2019 go dtí 16 NGI.3150 Harry Aaron Kernoff Portrait of a Feabhra 2020 Boy, 1951 13 Meán Fómhair 2019 go dtí 26 Eanáir 2020 NGI.322 Pieter de Hooch Players at NGI.6413 Michael Healy RHA Two Children Tric ‑trac, c.1652–1655 Seated on the Grass NGI.173 Ludolf Bakhuizen The Arrival of the Kattendijk at Texel, 22 July 1702, 1702 NGI.6414 Michael Healy RHA Two Sisters Holding Hands NGI.496 Hendrick Avercamp Scene on the Iasacht don Ice, c.1620 NGI.6476 Michael Healy RHA A Small Girl taispeántas: with Her Hands in Her Pockets NGI.507 Salomon van Ruysdael The Halt, 1661 The Highlights of NGI.4531 Jacob van Ruisdael The Castle of Bentheim, 1653 Vincent Van Gogh: His Life through Art Láthair: The Ueno Royal Museum, Tokyo 11 Deireadh Fómhair 2019 go dtí 13 Eanáir 2020 NGI.2007.2 Vincent van Gogh Rooftops in Paris, 1886 Returned Tuarascáil Bhliantúil 2019 101
Iasacht don taispeántas James Tissot, 1836–1902 Láthair: Legion of Honor Museum, San Francisco 12 Deireadh Fómhair 2019 go dtí 09 Feb 2020 NGI.4280 James Jacques Tissot Marguerite in Church, c.1861 Iasacht don taispeántas: Van Dyck at the Alte Pinakothek Láthair: Alte Pinakothek, Munich 25 Deireadh Fómhair 2019 go dtí 02 Feabhra 2020 NGI.275 Anthony van Dyck Study of a Naked Youth, c.1615‑1618 Iasacht don taispeántas: Renoir: The Body, The Senses Láthair: Kimbell Art Museum, Texas 27 Deireadh Fómhair 2019 go dtí 26 Eanáir 2020 NGI.8011 Pierre-Auguste Renoir & Richard Guino Pendule, Hymne à la Vie, 1914 Iasacht don taispeántas: Young Rembrandt Láthair: Stedelijk Museum De Lakenhal, Leiden 01 ‑Nov‑2019 to 09‑Feb‑2020 NGI.439 Rembrandt van Rijn Interior with Figures, c.1628 102 Tuarascáil Bhliantúil 2019 Liosta Foirne 2019
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Oifig an Stiúrthóra Oifig an Stiúrthóra Stiúrthóir Sean Rainbird Oifig an Stiúrthóra Cúntóir Feidhmiúcháin Georgia Gannon Oifig an Stiúrthóra Bainisteoir Dlí agus Comhlíonadh Jane Brennan Forbairt Forbairt Ceannasaí Forbartha Maria Noonan Forbairt Bainisteoir um Tiomsú Airgid agus Urraíochta Claire McDonagh Forbairt Cúntóir Forbartha Erin McNulty Forbairt Oifigeach Forbartha Orla O'Brien Cairde Ghailearaí na Cairde Ghailearaí na hÉireann Bainisteoir – Cairde Ghailearaí Náisiúnta Sarah Conroy hÉireann na hÉireann Cairde Ghailearaí na hÉireann Seirbhísí Ballraíochta - Comhordaitheoir Coinneála Mary Dowling Seirbhísí Seirbhísí Corparáideacha Stiúrthóir na Seirbhísí Corparáideacha Patricia Golden Corparáideacha Seirbhísí Corparáideacha Cúntóir Feidhmiúcháin Jacinta Benetti Acmhainní Daonna Ceannasaí AD Ann Travers Acmhainní Daonna Comhpháirtí Sinsearach Acmhainní Daonna Laura Malone Acmhainní Daonna Páirtí AD Ben Doyle Acmhainní Daonna Páirtí AD Rebecca Dunne Acmhainní Daonna Páirtí AD Deirdre Horgan Conarthaí Corparáideacha agus Bainisteoir Conarthaí agus Soláthair Vivienne Lynch Soláthar Rannóg Trádála Bainisteoir Tráchtála Gillian De Marco Rannóg Trádála Bainisteoir Rannpháirtíochta Corparáidí agus Sarah Thomas Imeachtaí Rannóg Trádála Cúntóir Gailearaí Aislinn Lynch Rannóg Trádála Cúntóir Gailearaí Aneta Kolaska Rannóg Trádála Cúntóir Gailearaí Deirdre Stacey Rannóg Trádála Riarthóir Imeachtaí Sinead Leahy Rannóg Trádála Riarthóir Imeachtaí Melanie Murtagh Miondíol Bainisteoir Siopa Jean Lambe Miondíol Maoirseoir Siopa Niamh Deane Miondíol Cúntóir Siopa Joe Palmer Miondíol Cúntóir Siopa Hannah O'Brien Moller Miondíol Cúntóir Siopa Grace Kristensen Miondíol Oibrí i stór an tSiopa Leabhair David Dardis Miondíol Cúntóir Siopa Iain Wynn-Jones Miondíol Cúntóir Siopa Julie Duhy Miondíol Cúntóir Siopa Ann Marie Barrett Miondíol Cúntóir Siopa Leonora Ferguson Miondíol Cúntóir Siopa Rosa Nutty Oibríochtaí Ceannasaí Oibríochtaí Christiaan Clotworthy Oibríochtaí Bainisteoir Slándála agus Sábháilteachta Noel Giles Oibríochtaí Maoirseoir Slándála Andrew Kelly Oibríochtaí Maoirseoir Slándála Mark McQuillan Oibríochtaí Maoirseoir Slándála Alan Proctor Oibríochtaí Maoirseoir Slándála Jorg Mayr Oibríochtaí Maoirseoir Slándála Sean Kerr Oibríochtaí Maoirseoir Slándála Paul Irwin Tuarascáil Bhliantúil 2019 103
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Oibríochtaí Maoirseoir Slándála Gníomhach Darijus Brizgys Oibríochtaí Maoirseoir Áiseanna Richard French Oibríochtaí Cúntóir Áiseanna Brian McGuckin Oibríochtaí Freastalaí Cothabhála Michael Carberry Oibríochtaí Freastalaí Cothabhála David Marry Oibríochtaí Freastalaí Seirbhíse / Glantóir Páirtaimseartha Alice Cadwell Oibríochtaí Freastalaí Seirbhíse / Glantóir Frances Donnelly Oibríochtaí Freastalaí Seirbhíse / Glantóir Patrick Donohoe Oibríochtaí Freastalaí Seirbhíse / Glantóir Páirtaimseartha Richard Dudley Oibríochtaí Oifigeach Slándála Cúnta Tony Walsh Oibríochtaí Bainisteoir Áiseanna Cúnta Tadhg Condon Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Paul McGeough Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Jeffery Doyle Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Brendan Cusack Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Gibson Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Martin Buckley Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Patrick Thompson Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Stephen Keating Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Paul Kelly Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Tony Eady Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Ronan Martin Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Desmond Martin Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Conor McCartney Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Conor Cleary Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Aidan O'Donovan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Keith Gorman Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Matthew Bannon Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Michael Dunne Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Ian Fleming Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Robert Smith Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Sarah Douglas Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Clifford Rowe Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Emmett Byrne Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Michael Stapleton Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Frank McKenna Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Jimmy Kavanagh Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Bernadette Tansey Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Cathal Power Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Paul O'Brien Oibríochtaí Foireann Slándála ar Ghrád Freastalaí David Mulligan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Bird Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Lee Boylan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Joseph McEneaney Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Malgorzata Szewc Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Ellis Dolan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Tony Quilty Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Jeffrey Crosdale Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Marina Azzaro Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Anthony Hyland 104 Tuarascáil Bhliantúil 2019
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Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Michelle Mc Carron Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Rafter Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Nigel Weber Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Damien Long Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Richard Crosdale Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Sabina-Luciana Zapodeanu Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Alessandra Stortoni Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Ken Nicoletti Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Patrick Doyle Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Derek Prior Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Michael Coyne Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Richard Macken Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Rachel Tierney Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Colm Croke Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Paul Doyle Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Michael Lambe Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Peter Vicidomina Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Tomlin Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Tina Shone Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Shaw Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Sarah Fagan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John McDonnell Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Gerard Kennedy Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Eoin O'Sullivan Oibríochtaí Foireann Slándála ar Ghrád Freastalaí Wayne Sugg Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Morrissey Oibríochtaí Foireann Slándála ar Ghrád Freastalaí John Breslin Airgeadas Comhpháirtí Gnó Airgeadais June Cusack Airgeadas Speisialtóir na gCuntas Iníoctha Maria Armas Airgeadas Speisialtóir na gCuntas Iníoctha Brian Callinan Airgeadas Cúntóir Fhoréilimh Airgeadais Katie Haverty Airgeadas Stiúrthóir Párolla Orla Burrell Airgeadas Comhpháirtí Gnó Airgeadais Bernadette Kenny TF Ceannasaí TF Will Brien TF Bainisteoir TF Niamh Gogan TF Teicneoir Tacaíochta TF Michael Paterson TF Oifigeach Tacaíochta TF Daniel Marsden Bailiúchán & Taighde Bailúcháin & Taighde Ceannasaí na mBailiúchán agus an Taighde Kim Smit Caomhnú Ceannasaí an Chaomhnaithe Simone Mancini Caomhnú Caomhnóir Coisctheach Noureen Qureshi Caomhnú Caomhnóir Péintéireachta Letizia Marcattili Caomhnú Caomhnóir Péintéireachta Elline Von Monschaw Caomhnú Caomhnóir Páipéir Niamh McGuinne Caomhnú Caomhnóir Páipéir Ewelina Bykuc Caomhnú Caomhnóir Páipéir Mathilde Renauld Caomhnú Caomhnóir Péintéireachta Muirne Lydon Caomhnú Caomhnóir Péintéireachta Maria Canavan Coimeádaithe Príomhchoimeádaí Brendan Rooney Coimeádaithe Coimeádaí na bPriontaí agus na Líníochtaí Anne Hodge Tuarascáil Bhliantúil 2019 105
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Coimeádaithe Coimeádaí Phictiúir de chuid na Breataine agus na Adrian Le Harivel hÍsiltíre Coimeádaithe Coimeádaí na bPriontaí agus na Líníochtaí Niamh MacNally Coimeádaithe Coimeádaí Ealaín Iodáileach agus Spáinneach Aoife Brady Coimeádaithe Cúntóir Ealaín de chuid na hEorpa 1850 -1950 Janet McLean Seirbhísí Taispeántas agus Bainisteoir na Láimhseála Ealaíne agus na nIasachtaí Lynn McGrane Bailiúchán Seirbhísí Taispeántas agus Comhordaitheoir um Laimhsiú Ealaíne Chris Harbidge Bailiúchán Seirbhísí Taispeántas agus Láimhseálaí Ealaíne Sinsearach Kevin Kelly Bailiúchán Seirbhísí Taispeántas agus Láimhseálaí Ealaíne Graham Cahill Bailiúchán Seirbhísí Taispeántas agus Láimhseálaí Ealaíne Shane Power Bailiúchán Seirbhísí Taispeántas agus Láimhseálaí Ealaíne Luke O'Callaghan Bailiúchán Seirbhísí Taispeántas agus Bainisteoir Tionscadail - Dearadh Taispeántais Susan O'Connor Bailiúchán Seirbhísí Taispeántas agus Cláraitheoir Bailiúchán Caroline Clarke Bailiúchán Seirbhísí Taispeántas agus Cúntóir Doiciméadaithe agus Digitithe Raffaella Lanino Bailiúchán Seirbhísí Taispeántas agus Comhordaitheoir Taispeántas Mia Shirreffs Bailiúchán Seirbhísí Taispeántas agus Comhordaitheoir Taispeántas (Gníomhú ar leibhéal Niamh Keaveney Bailiúchán níos airde, ar iasacht) Leabharlann & Cartlann Ceannasaí na Leabharlainne agus na Cartlainne Andrea Lydon Leabharlann & Cartlann Comhalta de chuid Fhondúireacht H.W. Wilson Mary Clare O'Brien Leabharlann & Cartlann Cartlannaí Cúnta i Leabharlann & Cartlann Sir Denis Claire Doohan Mahon Leabharlann & Cartlann Comhalta BSL i Lárionad BSL um Staidéar ar Ealaín Donna Rose na hÉireann Leabharlann & Cartlann Comhalta BSL i LárIonad BSL um Staidéir ar Ealaíon Grace O'Boyle na hÉireann Leabharlann & Cartlann Cartlannaí Leah Benson Leabharlann & Cartlann Cúntóir Leabharlainne Iain Wynn Jones Leabharlann & Cartlann Cúntóir Leabharlainne Aoife Lyons Leabharlann & Cartlann Coimeádaí CSIA Donal Maguire Leabharlann & Cartlann Cúntóir Leabharlainne Andrew Moore Leabharlann & Cartlann Cúntóir Leabharlainne Catherine Sheridan Foilseacháin & Íomhánna Bainisteoir Foilseacháin agus Íomhánna Marie McFeely Foilseacháin & Íomhánna Grianghrafadóir Sinsearach Roy Hewson Foilseacháin & Íomhánna Leas-Oifigeach Íomhánna agus Ceadúnaithe Brendan Maher Foilseacháin & Íomhánna Leas-Oifigeach Íomhánna agus Ceadúnaithe Louise Morgan Foilseacháin & Íomhánna Grianghrafadóir Cúnta Chris O'Toole Foilseacháin & Íomhánna Cúntóir Meán Digiteach agus Foilsitheoireachta Sean Mooney Rannpháirtíocht Rannpháirtíocht Phoiblí Ceannasaí na Rannpháirtíochta Poiblí Catherine Griffin Phoiblí Cumarsáid, Margaíocht agus Bainisteoir- Cumarsáid, Margaíocht agus Kate O'Leary Rannpháirtíocht Dhigiteach Rannpháirtíocht Dhigiteach Cumarsáid, Margaíocht agus Cúntóir Preasa agus Cumarsáide Emma Pearson Rannpháirtíocht Dhigiteach Cumarsáid, Margaíocht agus Comhordaitheoir na Rannpháirtíochta Digití Catherine Ryan Rannpháirtíocht Dhigiteach 106 Tuarascáil Bhliantúil 2019
RANNÁN RANNÓG TEIDEAL AINM
Cumarsáid, Margaíocht agus Cúntóir Meán Digiteach Claire Crowley Rannpháirtíocht Dhigiteach Roinn Oideachais Bainisteoir Oideachais Sinéad Rice Roinn Oideachais Oifigeach Oideachais: Múinteoirí, Catherine O'Donnell Scoileanna agus an tAos Óg Roinn Oideachais Comhalta Apollo Jessica Supple Roinn Oideachais Riarthóir Oideachais Jennie Taylor Roinn Oideachais Riarthóir Turais Kate Drinane Roinn Oideachais Oifigeach Oideachais – For-rochtain Brina Casey Roinn Oideachais Oifigeach Oideachais - Riarthóir Joanne Drum Roinn Oideachais Cúntóir Oideachais: For-rochtain agus Éascú Caomhán Mac Con Iomaire Eispéireas Cuairteora Bainisteoir Eispéireas Cuairteora Sile Boylan Eispéireas Cuairteora Comhordaitheoir Eispéireas Cuairteora Barry Carroll Eispéireas Cuairteora Riarthóir Eispéireas Cuairteora Louise Donnelly Eispéireas Cuairteora Riarthóir Eispéireas Cuairteora Kate Jameson Tuarascáil Bhliantúil 2019 107 Creidiúintí
Foilsitheoir: GAILEARAÍ NÁISIÚNTA NA HÉIREANN
Cearnóg Mhuirfean Thiar, Baile Átha Cliath D02 K303 www.nationalgallery.ie Eagarthóireacht chóipe: Brendan O’Brien
© Gailearaí Náisiúnta na hÉireann
ISSN 2712-0023 Dearadh: WONDER WORKS Aistriúchán: BRÍD NÍ FHATHARTA nationalgallery.ie Annual Report 202019 Cover Image
Photo © Maxwells Dublin, taken during the exhibition Moment in Time: A Legacy of Photographs|Works from the Bank of America Collection (30 Nov 2019 – 18 Sept 2020) Image includes a reproduction of The Dancers: Martha Graham in Letter to the World, 1940 by Barbara Morgan (1900 – 1992) Gelatin silver print Bank of America Collection
Permission granted by Martha Graham Resources, a division of the Martha Graham Centre of Contemporary Dance, Inc.
Barbara and Willard Morgan photographs and papers, Library Special Collections, Charles E. Young Research Library, UCLA. Annual Report 2019 3
Contents
Board of Governors and Guardians 4 Organisational Structure 5 Chair’s Foreword 6 Director’s Review 7 Mission 8 Core Values 8 Strategy 9 Master Development Plan 9
Collections and Research 10 Acquisition Highlights 11 Exhibitions 18 Conservation: Care of the Collection 21 Publications and Images 24 Library and Archives 24
Public Engagement 27 Accessibility 29 The Newly Enhanced ‘Gallery Volunteer’ Role 29 Promoting Sorolla 29 Renailssance 29 Gallery Website, Newsletters and Social Media Channels 29
Development, Fundraising and Friends 31
Corporate Services 34 HR 35 IT 35 Operations 35 Procurement 36 Commercial 36 Financial Statements 38
Appendices 78 Acquisitions 2019 79 Loans from the National Gallery of Ireland to Temporary Exhibitions in 2019 102 Staff List 2019 104 4 Annual Report 2019
Board of Governors and Guardians of the National Gallery of Ireland
Photo: Maxwell Photography
Back: Lynda Carroll, Dan Flinter, Sean Rainbird (Director), John O’Doherty, Lesley Tully, Gary Jermyn, Una Sealy, Barney Whelan, Abigail O’Brien, Michael P. Kennedy, Patricia Golden (Director of Corporate Services)
Front: Jacqueline Hall, Mary Keane, Michael Cush (Chair), James English, Ann Prendergast
Board members not pictured in the photograph: Bernie Brennan, Maurice Buckley, Margaret Glynn, Suzanne Macdougald, Owen J. Lewis, John Dardis (from 5 December 2019) Annual Report 2019 5
Organisational Structure
Board of the Governors and NGI Director Guardians of the NGI
Board Secretary, Legal & Fundraising & Development Compliance Manager Director’s Offi ce Friends of NGI
Head of Collections and Head of Public Director of Corporate Research Division Engagement Division Services Division
Commercial Conservation Department Communications, Marketing & Digital Department Department Contracts & Curatorial Department Procurement Education Department Department Exhibitions and Collection Services Department Finance Visitor Experience Department Department Library and Archive Department HR Department
Publications & Images Department IT Department
Operations Department
Executive Leadership Team (ELT) Membership 2019
Director Sean Rainbird
Director of Corporate Services Patricia Golden
Head of Collections & Research Adriaan Waiboer to 3 June 2019
Kim Smit from 2 December 2019
Head of Public Engagement Catherine Griffin (on maternity leave from April 2019) 6 Annual Report 2019
Chair’s Foreword
2019 was a year of particularly varied and lively It will be recalled from last year’s report that in 2018 programming. The ten new temporary exhibitions and the government launched a plan to invest in cultural displays across the year amplified areas of strength infrastructure. €54 million was set as an indicative amount within the collection, as well as charting new territory. towards the completion of the Gallery’s masterplan. With Each of these projects was accompanied by an extensive the current focus on smaller projects in other organisations, programme of public and educational activities. These were the Gallery has continued to press the case for the as much aimed at the general visitor as tailor-made for completion of its Master Development Plan (MDP). For the specific, diverse groups the Gallery aims to reach. Board this has remained a high priority, as a generational opportunity to achieve 21st-century museum standards We began the year with Canaletto and the Art of Venice, and facilities for the Gallery. The main objectives, still which had opened in December 2018. This showcased outstanding, include: A Conservation Centre of Excellence; the extraordinary range and depth of Canaletto’s works education facilities; a publicly accessible Library & Archive; and those of his Venetian contemporaries, all belonging new exhibition galleries; full integration of all technical to the Royal Collection. From Venice to the landscapes of services within the existing energy centre; and a full- Ireland over a 250-year period, Shaping Ireland: Landscapes height access between the two entrances and all these in Irish Art included the work of over fifty Irish artists amenities on Merrion Square and Clare Street. Progress working in all media. It surveyed the subject of landscape has depended on the Department of Tourism, Culture, in its multiple dimensions – ecological, political, social and Arts, Gaeltacht, Sport and Media (DTCAGSM) consolidating historical. During the summer, in collaboration once more appropriate procedures to authorise expenditure according with London’s National Gallery, we presented Sorolla: to the Public Spending Code. The Gallery has continued to Spanish Master of Light. This powerful exhibition by an advocate progress on this unfinished project. artist underappreciated in northern Europe was instantly popular and received over 48,000 visitors. The autumn The Board adheres to the revised Code of Practice for the exhibition was Moment in Time: A Legacy of Photographs | Governance of State Bodies, as published by the Minister Works from the Bank of America Collection, the first exhibition of Public Expenditure and Reform. It continues to expect of photography in the Gallery’s history. It presented a and achieve high standards of corporate governance as a selection from the Bank of America’s magnificent holdings key component in all Gallery operations. In 2019 the Board of American photography from the middle of the 20th was at full strength. I am very grateful to my fellow Board century. It also highlighted a new area of the Gallery’s own members for their valuable insights and highly informed acquisitions, as we consolidated our growing collection of contributions to the Board and committee meetings, and photography. for playing a full part in the myriad activities of the Gallery. I would also like to thank the Executive and all Gallery These large-scale exhibitions were accompanied by others staff for their consistent efforts in fulfilling the strategic which marked significant developments. The four Bauhaus objectives of the Gallery. Finally, I would like to thank the print portfolios in the Print Gallery celebrated the 100th Minister and her officials at DTCAGSM for their continuing anniversary of the founding of the influential design commitment to, and support of, the National Gallery of school. Making their Mark: Irish Painter-Etchers 1880–1930 Ireland. examined the period in the late 19th century when Irish artists rediscovered printmaking as an expressive, creative Michael Cush SC medium. Nathaniel Hone, also celebrating an anniversary, was on display in the Hugh Lane room, while the Gallery’s Chair, Governors & Guardians Portrait Prize successfully entered its sixth year, with the of the National Gallery of Ireland kind support of Zurich Insurance plc. since 2018, this time with the addition of an award for artists under 18 years of age.
To support this ambitious programme of shows, events and activities, the Gallery was successful in expanding its groups of Friends and Patrons. With government principally funding staffing and premises costs, most of our programming is supported through other sources of revenue. In particular, the Gallery continues to develop the Corporate Partners scheme and our retail operations in the shop, which give critical support to our artistic undertakings. Annual Report 2019 7
Director’s Review
2019 was a year to consolidate the full range of artistic Exhibitions included a homage to Nathaniel Hone, whose programmes the Gallery aims to undertake, and to continue work comprises the largest holding in the Gallery’s to improve our organisational structures and processes. collection. Born a generation after Hone, Joaquín Sorolla was a Spanish painter who is hugely popular in his The capital programme – our wish to complete the Master native country and on the eastern seaboard of America. Development Plan (MDP) – seeks alignment with other key An exhibition of his luminous paintings, selected in contributors to manage the next stages of its progress in collaboration with London’s National Gallery, was a true compliance with the Public Spending Code. The Gallery word-of- mouth success and was enjoyed by over 48,000 continues to advocate for the need to complete the MDP, visitors during the summer months. The exhibition was not least because the refurbishment of the historic wings a particular favourite with the Gallery’s Friends, who can be mistaken for the completion of the entire MDP. continue in their steadfast support including the Bauhaus A currently pressing renovation of the houses in which Portfolio exhibition in the Print Gallery. Friends also took many office staff work, to ensure fire protection standards, part in many visits and events, and in helping us acquire continued to progress. The range of benefits provided artworks for the collection. Building on the Gallery’s recent by completion of the MDP includes public amenities and commitment to acquiring photography, we staged Moment facilities that bring the Gallery fully up to 21st-century in Time: A Legacy of Photographs | Works from the Bank of museum standards. America Collection, our first major show dedicated to the medium, based on the rich holdings of the Bank of America. The extensive series of programmes take an extraordinary Running in parallel, in the Hugh Lane Room, was a selection amount of careful planning and preparation. They involve: of the Gallery’s own recent acquisitions, View of Ireland: curators devising and proposing exhibitions, or putting Collecting Photography’. Our colleagues in the Education forward acquisitions; the management of our collection Department devised a compelling sequence of activities databases to include information about all works in the and events around these exhibitions, with their community collection; their care by the Conservation Department; the programmes reaching a diversity of groups across Irish preparation of loans received or sent out; the devising of society. a multitude of public events and educational programmes to reach a wide range of audiences both onsite and online; Ireland was also the subject of the Gallery's spring the creation of publications and digital content to support exhibition about landscape art, spanning the 1760s to the these projects and to assist in the effective marketing and present, the majority of artists are still active today. The communication of our programmes; a friendly welcome Gallery has marked a departure from previous traditions of from all our front-of-house and security staff; the many its long history, and acquired a growing number of works by administrative functions that underpin all our operations; national and international living artists. and so many more activities across the Gallery. Among the living artists, the selection achieved parity The diverse programme of displays and exhibitions between male and female artists, with some works reflected some deeper changes across the organisation. later entering the collection as acquisitions. This begins The first hints of a new direction in collecting – photography to address a historic imbalance in our collections and – bore fruit throughout 2019, as the Gallery rapidly exhibitions programmes. Mainie Jellett and Evie Hone from expanded its holdings of, principally, 20th-century early in the 20th century, are already well represented. photography, mainly of Irish subject matter. In other areas More recent artists, including Amelia Stein, Inge Morath, there were significant additions to the Archive by the Alice Neel, Marie Louise von Motesiczky, Dorothea Lange acquisition of a trove of long-concealed correspondence and Dorothy Cross, are among others whose works have between Hugh Lane and Sarah Cecilia Harrison, covering been acquired during the year. Lane’s directorship of the Gallery, a mutual interest in advocating for modern art, his activities as an art dealer and the foundation of Dublin’s gallery of modern art that still bears his name. Work continued on Source, a digitising project for our archival collections, boosted by a special grant from government. The Library & Archive continued to explore the extraordinary riches of the Sir Denis Mahon Archive, with a display of rare books on the theme of travel. 8 Annual Report 2019
The conservators have risen to the challenge of preserving these and all other new acquisitions. They have also continued their success in recent years by Mission gaining additional funding for long-term, often complex Our mission is to care for, interpret, develop and showcase conservation treatments. In particular, work has begun art in a way that makes the National Gallery of Ireland an on the largest autograph painting by Lavinia Fontana, exciting place to encounter art. with support from the Bank of America’s conservation programme. Gaining the valued support of the Getty for a long-planned treatment is a rare two-sided painting by Juan Gris painted in 1913 and bequeathed to the Gallery in Vision 1955 by Evie Hone. A third long-term project making good We aim to provide an outstanding experience that inspires progress is the treatment of Gerard Segher’s Lamentation of an interest in and an appreciation of art for all. Christ, scheduled to be placed on display in 2021.
I am particularly grateful to all my colleagues on the staff of the Gallery for their consistent commitment to Role excellence in the quality of activities and programmes they We are dedicated to bringing people and their art together. organise and present. These are supported financially through the generosity of our Corporate Partners, ticket sales, and through our commercial activities in the Shop and Café. Our Development Office plays an important role in supplementing the grant-in-aid we receive from government. My thanks go also to the Board for its valued Core Values and expert oversight of our strategic direction and the maintenance of corporate governance standards. It ensures Integrity – We do things for the right reasons and provide the Gallery’s compliance with the Code of Practice for people with an enriching experience of art. the Governance of State Bodies. To the Minister, Josepha Madigan, TD, and her officials in DTCAGSM, in particular Openness – We engage with a wide range of audiences and Secretary General Katherine Licken, go my sincere thanks stakeholders. We embrace diversity and promote equality. for their valuable advice and support. Our doors are open seven days a week and admittance is free. Finally, the Gallery exists as an arts organisation and pre- eminent National Cultural Institution to serve the public. Creativity – We are creative, innovative and resourceful. Our visitors from Ireland and from overseas come through We inspire our audiences by deepening their knowledge our doors in large numbers throughout the year. The and heightening their enjoyment of art. Gallery is a friendly, informed and welcoming place. Many other people visit us via the website and take part in online Expertise – Our many specialists share their skills, activities from wherever they happen to be. Our aim is to knowledge and insights with all our audiences both online continue to evolve as an institution, valuing in particular our and within the Gallery in exciting and inventive ways. staff, Board, Patrons, Friends, supporters and stakeholders in government. We will continue to serve the public’s broad and diverse needs and expectations, balancing day-to-day demands with our longer-term ambition to complete our capital plan.
Sean Rainbird,
Director, National Gallery of Ireland Annual Report 2019 9
Strategy Master
Grow and Enhance – The Gallery will grow and enhance its presence and reputation by attracting healthy visitor Development numbers and extending its national footprint. Plan Listen and Share – The Gallery will listen to and share ideas with its audiences, with the aim of understanding In recent years, there have been refurbishments to the their needs and fulfilling their aspirations, while enabling Gallery’s Dargan and Milltown Wings Phases 1–3 of the them to experience art and access the national collection Gallery’s Master Development Plan (MDP). Phase 4 of the on their own terms. MDP represents a major development of international significance. This final phase will include public-facing The Gallery will complete its Invest and Protect – upgrades, visible in the development of a modern visual masterplan. It will invest in staff and prepare the art library, a centre for art conservation and an education organisation for this development. The Gallery will create hub. This hub will include a studio-workroom, an exhibition a Centre of Excellence for Conservation and a highly space, a resource room and a 300-seat auditorium. The accessible home for Ireland’s largest art library and purpose of this phase is to also improve the circulation at archives, and will provide dedicated facilities for educational the National Gallery of Ireland and, to enhance the overall activities. It will also continue to expand the collection and visitor experience. The proposed Phase 4 developments create displays drawn from it. will bring the National Gallery of Ireland in line with its peers internationally. It will provide the potential to attract additional international visitors to both the Gallery and Ireland. The aim of the MDP is to transform the National Gallery of Ireland into a centre of excellence in the areas of conservation and research services, and to create new opportunities that will further develop and enhance our education programme. This expansion represents a potential growth opportunity for the Gallery’s future visitor numbers, in addition to substantially increasing the footprint of the Gallery by over 21,600 square metres.
In 2020, we aim: To welcome 790,000 visitors to the Gallery.
To have 700,000 web and social media engagements.
To provide booked educational and public activities for 80,000 visitors.
To mount eight temporary exhibitions during 2020, of which two will be ticketed.
To introduce new and inventive ways of engaging with our audiences and increase access to the collection.
As a major tourist attraction for the ‘culturally curious’ as defined by Fáilte Ireland, the Gallery aims for a visitor mix of 50% Irish visitors and 50% from overseas. Collections and Research
Julia Margaret CAMERON (1815–1879) Browning’s Sordello (Henry John Stedman Cotton and Mary Ryan), 1867 Albumen print 33.3 x 25.7 cm Purchased, 2019 NGI.2019.330 Annual Report 2019 11
Acquisition Highlights
Although she would become one of Victorian Britain’s In her work, Diana Copperwhite focuses on how the human most notable photographers, Julia Margaret Cameron psyche processes information, and looks at the mechanism (1815–1879) took up photography relatively late in life. employed by the individual to formulate what is real. By In 1863, at the age of 48, she was gifted her first camera. layering fragmentary sources, from personal memory to From that point on, she began to make portraits of locals science, popular media and the internet, Copperwhite and friends. Among her sitters were the poets Alfred creates pictorial environments in which the real is unreal Lord Tennyson and Henry Wadsworth Longfellow, the and this unreality is in a constant state of flux and astronomer Sir John Herschel, and the scientist Charles reformation. Dynamic paintings like Shapeshifter Darwin. Especially noteworthy from the early part of her epitomise this approach. career is her sensitive rendering of female beauty, typified by her portraits of the actress Ellen Terry, her niece Julia Copperwhite lives and works between Dublin and Jackson, and her maid, Mary Ryan. New York.
Mary became Cameron’s loyal maid and muse before marrying Sir Henry Stedman Cotton, of the Indian Civil Service, who had fallen in love with one of the photographer’s portraits of her.
The inspiration for this particular portrait comes from Sordello, a narrative poem by the English poet Robert Browning, published in March 1840. Cameron often based her photographs on other art forms such as painting, philosophy and poetry. Browning’s Sordello is the second portrait in the Gallery’s collection that features Mary Ryan. After the Manner of Perugino (Mary Ryan), c.1865 (NGI.2018.55) depicts the young maid a couple of years earlier in Cameron’s unique style of close cropping and soft focus.
Dorothy CROSS (b.1956) | Shark Heart Submarine | 2011 Mixed media | Easel: 520 × 80 cm, Submarine: 91 cm, Jar with Heart: 6 cm | Purchased, 2019 NGI.2019.43 Permission courtesy of the Artist and Kerlin Gallery, Dublin. Photo: National Gallery of Ireland. Photographer: Roy Hewson
A gilded model of a nuclear submarine, placed on a 19th- century easel, holds the preserved heart of a porbeagle shark, caught accidentally in nets off the south coast of Ireland. In the catalogue for Connemara at the Turner Contemporary in Margate, the exhibition in which the work was first shown, the artist wrote: ‘The heart once beat inside Diana COPPERWHITE (b.1969) | Shapeshifter | 2016 an animal that is very ancient, but about which very little Oil on canvas | 175 × 235 cm is known. Sharks have inhabited our oceans for millions of Purchased, partial gift from the artist, 2019 years, and in evolutionary terms they have changed very NGI.2019.89 little, due to their efficiency.’ The submarine echoes the © National Gallery of Ireland. Photographer: Roy Hewson menace associated with sharks, while the way it serves as a reliquary invites the audience to consider what is deemed holy and why this is the case. Sharks recur in Cross’s work. ‘I am very interested in what is repulsive and what is beautiful,’ she has said, ‘because in our own bodies we are so confused about that, in terms of sexuality and our own mortality. 12 Annual Report 2019
The shark epitomises that, too, in terms of fear and desire and misunderstanding’ (Financial Times, 27 September 2013). The piece brings together art, engineering and craftsmanship; the submarine was made by yacht builders in Kinsale and gilded by a master craftsman.
In 2019, the Gallery also acquired Dorothy Cross’s Glassilaun Snow Peak (2014) which featured in the exhibition Shaping Ireland: Landscapes in Irish Art, the diptych Darkness and Light (2017) and Ghost Ship (i) and Ghost Ship (ii) (2011)
Eamonn D0YLE (b.1969) | Untitled 28 from the series ‘i’ 2013 | Archival pigment print | 80 × 53.5 cm Purchased, 2019 NGI.2019.167 © Eamonn Doyle.
Born in Dublin, Eamonn Doyle graduated with a Diploma in Photography from IADT in 1991. He spent much of the Colin DAVIDSON (b.1968) | The Day I Heard that next 20 years working in the independent music business, Mark Hollis Had Died (Self-portrait) | Oil on canvas founding the Dublin Electronic Arts Festival (DEAF) 105 × 97 cm | Presented, Friends of the National alongside the record labels D1 Recordings and Dead Elvis, Gallery of Ireland before returning to photography in 2008. Most of Doyle’s NGI.2019.238 work is produced in Dublin’s city centre, an environment © National Gallery of Ireland. Photographer: Roy Hewson with which he is intimately familiar.
Colin Davidson is among Ireland’s most admired, critically His debut photobook i, an oblique reference to Samuel acclaimed and widely known contemporary artists. Born in Beckett’s play Not I, was published in 2014. This particular Belfast and educated at the University of Ulster, he has won study is a series of beautifully cropped portraits of several awards including the Keating/McLoughlin Medal individuals as they go about their daily lives. Most of the (ESB) at the RHA in 2009, the Ireland-US Council and Irish subjects are elderly, which imbues the images with a strong Arts Review Portraiture Award in 2010, and gold and silver sense of transience. Doyle suggests that ‘not showing faces medals at the Royal Ulster Academy. One of the artist’s seems to be a way to evoke the very “unknowability” of portraits of the poet and anthologist Michael Longley, gifted people and, perhaps, by implication, of all those with whom to the National Gallery of Ireland in 2012, proved instantly we have such fleeting urban encounters’. popular with visitors and staff. While one can just about make out the female subject’s This work featured in the Ruth Borchard Self-Portrait Prize face in Untitled 28, it is cast in a thick band of shadow, Exhibition 2019 in London. Davidson had been listening contrasting with the colourful stripes on the bus behind her. to the music of Talk Talk while painting the portrait, and Like others in Doyle’s series i, the subject is anonymous. was alarmed to hear of the death of the band’s lead singer, Renowned British photographer Martin Parr has described i Mark Hollis, before completing it. He noticed, having heard as ‘the best street photo book in a decade’. the news, that his expression had changed, and sought to capture this in the final portrait. The typically oversize portrait, in which the face dominates the picture space, is at once impressive and intimate. Annual Report 2019 13
Evelyn HOFER (1922–2009)| Girl with Bicycle, Dublin, 1966 Yousuf KARSH (1908–2002) | George Bernard Shaw 1966, printed 2005 | Dye transfer print 1943 | Unique vintage silver print | 27.7 × 22.1 cm 41.6 × 33.5 cm | Purchased, 2019 Purchased, 2019 NGI.2019.182 NGI.2019.330 © Estate of Evelyn Hofer. Photograph by Yousuf Karsh, Camera Press London
On fleeing Germany in 1946, the documentary and portrait Yousuf Karsh was an Armenian-Canadian photographer photographer Evelyn Hofer began her career working for best known for his portraits of famous men and women Alexey Brodovitch at Harper’s Bazaar. Using a 4 × 5" view in politics, cinema, science and the arts, among them Sir camera, Hofer followed in the tradition of August Sander Winston Churchill, Albert Einstein, Grace Kelly and Walt and anticipated the colour work of William Eggleston. She Disney. When asked why he almost exclusively captured has been called ‘the most famous unknown photographer famous people, he replied ‘I am working with the world’s in America’ by New York Times art critic Hilton Kramer. most remarkable cross-section of people. I do believe it’s the minority who make the world go around, not the Hofer visited Ireland in 1966, a momentous year for the majority.’ By the time Karsh retired in 1992, more than country as it commemorated the 50th anniversary of the 20 of his photographs had appeared on the cover of Life Easter Rising. With an interest in the urban landscape magazine. Dramatic lighting became a hallmark of Yousuf and the people who made up the cities of Ireland, Hofer Karsh’s portrait style. This is one of the most arresting portrayed the country, and in particular it’s capital, at a characteristics of his 1943 portrait of George Bernard Shaw. critical point at which an older, more conservative culture seemed at odds with an emerging modern world. Her work Karsh recalled the moment when he chose to capture this Girl with Bicycle, Dublin, 1966 depicts a young girl straddling likeness of a literary genius: a ‘High Nelly’ bike in the historic south inner-city quarter of Dublin, the Coombe. There is something defiant about “He said I might make a good picture of him – the young girl as she stares unwaveringly at the viewer and but none as good as the picture he had seen at stands confidently over a bike that is far too big for her. a recent dinner party where he glimpsed, over The heavy sky, robust brick houses and wide road could the shoulder of his hostess, a perfect portrait easily dwarf her were it not for her assured stance and of himself: ‘Cruel, you understand, a diabolical stare. It is this approach to the composition that turns an caricature, but absolutely true.’ He pushed by the unspectacular moment of everyday life into a meditation on lady, approached the living image, and found he coming of age. was looking into a mirror! The old man peered at me quizzically to see if I appreciated his little joke. It was then that I caught him in my portrait”. 14 Annual Report 2019
Edward LEAR (1812–1888) | Clondalkin Round Tower, Inge MORATH (1923–2002) Co. Dublin | Graphite on paper | 16.5 × 10.8 cm Gypsies, Killorglin, County Kerry Purchased, with the support of the Friends of 1954, printed 2009/2010, archival pigment print the National Collections of Ireland, 2019 23.5 × 35.5 cm | Purchased, 2019 NGI 2019.196 NGI.2019.126 Photo: National Gallery of Ireland. Photographer: © Inge Morath/Magnum Photos. Chris O’Toole Austrian-American photographer Inge Morath worked as Edward Lear is best known as the author of ‘The Owl and a translator, journalist and editor before moving on to the Pussycat’ and of limericks that appeared in his popular photography. She began taking photographs in London in ‘Nonsense Books’. He was also a prolific draughtsman and 1951, and had joined the newly formed Magnum Photos painter and, from 1836, spent much time travelling and agency by 1953. She spent much of the 1950s travelling living abroad, producing thousands of artworks. around Europe. In 1954, on the recommendation of her friend and colleague Henri Cartier-Bresson, she visited Acknowledged today as one of the best topographical Ireland, where she photographed Puck Fair in Killorglin, draughtsmen of the nineteenth century, Lear visited County Kerry. She was particularly taken by the interesting Ireland in August 1835. He attended the annual meeting culture, activities and people of Killorglin, and conducted of the British Association for the Advancement of Science research for her work in their homes and on their in Dublin with his friend Arthur Stanley. After the meeting, occupations and pastimes. Lear went on a walking tour, sketching as he went. It was a watershed moment in his artistic career, as he began The National Gallery of Ireland acquired in 2019 eight to concentrate on topography and to move away from photographs by Morath, which depict a number of men, the colourful scientific drawings of birds for which he was women and children attending the Puck Fair in 1954 and renowned until then. This sheet is one of nine of Lear’s record the games, stalls and practices that were unique to Irish sketches purchased by the Gallery with the generous that event. support of the Friends of the National Collections of Ireland. These delicate and accurate topographical views Many of the individuals and families portrayed in Morath’s of locations in Wicklow and Dublin are the only known Irish photographs, such as Gypsies, Killorglin, County Kerry, scenes by Lear. The other views include Bray, the Great 1954, were Travellers, commonly referred to as ‘gypsies’ and Little Sugarloaf, Lough Tay, Bellevue in Delgany and at the time. Morath’s series of photographs importantly Glendalough. documents Irish social history and sheds light on the Traveller life and community during the 1950s. This is one of two sketches of the round tower at Clondalkin, one of the best preserved in Ireland. Annual Report 2019 15
Bea ORPEN (1913–1980) | Study of a Reclining Nude 1933 | Graphite on paper | 38 × 56 cm Presented, the Family of the Artist, 2019 NGI.2019.84
© The Artist’s Estate. Photo: National Gallery of Ireland. Brian O’DOHERTY (b.1928) Photographer: Chris O’Toole. Ogham on Broadway | 2003 | Acrylic on canvas 183 × 183 cm | Purchased, the Artist, 2019 This drawing is one of 18 figure studies produced when NGI.2019.199 Bea Orpen was attending the Metropolitan School of Art. © National Gallery of Ireland. Photographer: Roy Hewson. These were acquired in 2019 alongside a gouache of Ventry Bay, dated 1939, and two sketchbooks from 1969 and In Ogham on Broadway, O’Doherty appropriated an ancient 1973 respectively. This group, complements a larger body Irish script consisting solely of lines arranged in four of work, including figure drawings and poster and textile registers, and set this script in a modern New York context. designs, presented by the artist’s family after a visit by two of the artist’s sons, Brian and Fiachra Trench. On behalf Through its title, the painting also alludes to Piet Mondrian’s of their family, they decided to present a selection of their celebrated Broadway Boogie Woogie (1942–43), which was mother’s work, believing that such material should be made presented to the Museum of Modern Art in New York in available to researchers and cared for in perpetuity. 1943.
Bea Orpen trained at the Dublin Metropolitan School Brian O’Doherty qualified as a medical doctor in Ireland of Art and the RHA Schools, where she won prizes for before embarking in the late 1950s on a lengthy career as drawing and painting from life. She attended the Slade artist, critic, writer, filmmaker and educator. An intellectual School of Art and studied textile and commercial design and theorist, O’Doherty addresses such concerns as at the London County Council Central School of Arts and aesthetic discourse, history, language, the self and art Crafts. Back in Ireland, she taught art at several schools in institutions. Drogheda, and later became Director of the Arts Council courses for national school teachers. A niece of both the Name Change (1972), O’Doherty’s first performance work, architect and watercolourist Richard Caulfield Orpen and marked the artist’s adoption of the name Patrick Ireland. the painter Sir William Orpen, Bea Orpen played a key role The artist retained this persona until 2008, in protest in the establishment of the Drogheda Municipal Gallery of against the killing of civil rights marchers in Derry. He lives Art. She exhibited every year at the RHA between 1932 and and works in New York. 1980, contributing over 100 pictures, and was elected an In 2019, the Gallery also acquired two portraits of honorary member in 1980. O’Doherty: an early self-portrait in oil entitled Portrait of the Artist as a Naked Young Man (1953) and Cézanne’s Apple (2018), a photograph of the artist at the age of 90 by Fionn McCann, which was shortlisted for the Zurich Portrait Prize in 2018. 16 Annual Report 2019
Mary Farl POWERS (1948–1992) | June 1991 | 1991 Etching on paper | 100 × 83 cm | Purchased, 2019 NGI 2019.113 Man RAY (1890–1976) | James Joyce, 1922 | c.1932 © The Artist's Estate. Photo: National Gallery of Ireland. Gelatin silver print | 12.3 × 9 cm | Purchased, 2019 Photographer: Roy Hewson NGI.2019. © Man Ray Trust, ADAGP Paris/IVARO Dublin, 2020. Born in Minnesota, Mary Farl Powers came to Ireland with her family in 1951 and studied at Dún Laoghaire School Man Ray made many portraits of visual artists, writers, of Art and the National College of Art. She joined Graphic musicians and celebrities during the 1920s and 1930s. This Studio Dublin in the 1970s and later became its director. portrait of James Joyce represents an important moment in Powers’ work is distinguished by its calligraphic quality, and Irish literary t history. In 1922, Shakespeare and Company the deliberate and assertive nature of the mark-making. publishers sent James Joyce to Man Ray’s studio in Paris Her abstract compositions address the nature of being and to have publicity photographs made for the imminent materiality in art. publication of Ulysses. Although Man Ray recalled that Joyce ‘seemed to consider the sitting a terrible nuisance’, he June 1991 was the last etching she made before her death managed to secure this distinctive likeness of the author. at 43. It and December 1989, which the Gallery also acquired through Graphic Studio Dublin, are her largest etchings. Man Ray was a pioneer of 20th-century avant-garde They were meant to form part of an edition of 60, but fewer photography, and a leading figure in the Dada and than 20 of each were printed and signed. Her usual practice Surrealist art movements in both the United States and was to produce a small number at a time, as the printing France. He was introduced to the European avant-garde process was slow and consumed a lot of her energy. She at the 1913 Armory Show, the first American exhibition told a fellow artist that June 1991 was a self-portrait, but as to feature modern art. Man Ray abandoned painting she was notoriously reticent about meaning and inspiration and collage in the early 1920s to focus on photography, this may have been a partial truth wrapped up as a joke. and opened his own portrait studio in Paris, where he settled in 1921. He invented a new method of camera-less She saw herself as an abstract artist and wrote: ‘I don’t photography, which he called ‘rayographs’, and was praised create an image of a thing, but, I hope, a thing in itself.’ for his unconventional approach to the medium. Annual Report 2019 17
Sean SCULLY (b.1945, Dublin) | Landline Red Run 2018 | Oil on aluminium | 215.9 × 190.5 cm Presented, Sean Scully, 2019 NGI.2019.115
© Sean Scully. Courtesy Kerlin Gallery, Dublin. Photo: Günter SCHÖLLKOPF (1935–1979) | Molly Bloom, 1964 National Gallery of Ireland. Photographer: Roy Hewson Etching | 9.9 × 50.1 cm (sheet); 49.5 × 33 cm (plate) Presented, Heidrun Schöllkopf-Schober, 2019 Sean Scully is widely considered one of the world’s pre- NGI.2019.260 eminent abstract painters. Born in Dublin and raised © The Artist's Estate. Photo: National Gallery of Ireland. in London, he now lives between New York, Spain and Photographer: Chris O’Toole Germany. Scully has taken inspiration from many elements of European culture, ranging from the ideals of ancient This is one of 79 works on paper by Schöllkopf inspired Greek architecture to the vernacular design of stone walls by James Joyce’s Finnegans Wake and Ulysses that were in rural Ireland. He has built on the legacy of abstraction presented to the Gallery by the artist’s sister. A prolific in the United States. Scully’s commanding, internationally illustrator, printmaker and painter, Schöllkopf’s passion recognisable style of abstract art combines considerable for literature led him to produce hundreds of etchings in drama with vibrant colours and great visual delicacy. response to French, German and Irish writers. His interest lay in such poets, playwrights and novelists as François Landline Red Run, completed in 2018, was selected for Villon, Heinrich Heine, Stendhal, Honoré de Balzac and the National Gallery of Ireland by Scully himself as James Joyce. He also illustrated the works of Shakespeare, representative of his current practice and appropriate for Dickens, Wilde and contemporary writers, poets and the national collection. journalists including Thaddäus Troll and Fritz Gordian.
The artist also presented to the Gallery Aran Portfolio, a Schöllkopf was well known for the black and white drawings set of 24 black and white photographs of dry-stone walls, he produced for the German press. Active from the published in an edition of six. The portfolio featured in Sean 1950s to the 1970s, he is regarded as one of the principal Scully (2015) and Shaping Ireland: Landscapes in Irish Art representatives of printmaking in Germany. (2019), two exhibitions at the Gallery. In 1956, Schöllkopf won the Prize for Graphics at the State Academy of Fine Arts in Stuttgart. Between 1965 and 1966 he received a scholarship from the Villa Massimo in Rome, and in 1979 was awarded a scholarship from the Cité Internationale des Arts in Paris. When he died, aged 44, he left around 1,000 works, which, as well as etchings, included lithographs, drawings, watercolours and oil paintings. 350 of his prints, along with 70 sketchbooks and diaries, were deposited in the renowned German Literature Archive Marbach. A selection of works from this gift will be exhibited in early 2022 to mark the centenary of Joyce’s Ulysses, published in its entirety in Paris by Sylvia Beach on 2 February 1922. 18 Annual Report 2019
Exhibitions Turner – The Vaughan Bequest Making their Mark: Irish Painter-Etchers 1–31 January 2019 1880–1930 Print Gallery I Admission Free 2 March – 30 June 2019 Curated by Niamh MacNally Print Gallery | Admission free Exhibition kindly supported by Sarasin & Partners Curated by Anne Hodge and guest curator, Dr Angela Griffith, Trinity College Dublin In 1900, the National Gallery of Ireland received a bequest of 31 Turner watercolours and drawings from English This exhibition introduced audiences to the work of early collector Henry Vaughan (1809–99). In his will, Vaughan modern painter-etchers of Irish birth or heritage. These divided his collection between the national galleries of artists made a significant contribution to the Etching Revival London, Edinburgh and Dublin. He stipulated that the of the 1880s, earning the recognition of their peers and watercolours should be exhibited every year, free of contemporary art critics. Etchings by Myra Hughes, Edward charge, for the month of January. Turner - The Vaughan Millington Synge, Percy Gethin and Roderic O’Conor showed Bequest at the National Gallery of Ireland is a representative how Irish etchers adopted the continental and Whistlerian collection of Turner’s work on paper. In this exhibition, practice of working directly from the motif onto the copper Turner’s watercolours were complemented by a selection plate. Some Irish printmakers were to the forefront of of prints from Liber Studiorum – the artist’s most ambitious technical experimentation, such as Edward Lawrenson, who publishing venture – comprising various landscape and created magnificent colour etchings using multiple plates. seascape compositions. Liber Studiorum was inspired by Claude Lorrain’s Liber Veritatis or ‘book of truth’, a series of A remarkable feature of Irish printmaking was the number drawings conceived as a record of the artist’s landscape of women who became involved with the medium. A large paintings to prevent forgery. In contrast, Turner’s Liber group of etchings of Dublin by Estella Solomons, one of Studiorum was a set of 71 original compositions aimed at Ireland’s most prolific etchers, kindly lent by Trinity College elevating the status of landscape art. This printing project Dublin, was one of the highlights of the exhibition. made his works accessible to a wider audience and served as an effective advertisement for his work. An illustrated catalogue presented new research on this little-known aspect of Irish art, addressing the motivations In 1903, the National Gallery of Ireland was presented with and challenges faced by Irish printmakers within the a complete set of Liber Studiorum prints by the Irish-born context of the Etching Revival and contemporary Irish art. clergyman Stopford Augustus Brooke (1832–1916). This was made possible through generous funding by the Friends of the National Gallery of Ireland and the Irish Nathaniel Hone: Travels of a Landscape Art Research Centre, Trinity College Dublin (TRIARC). This Artist collaborative project, which built on Angela Griffith’s original 23 February – 13 October 2019 research, benefited from generous loans of works from Hugh Lane Room | Admission free public institutions in both Ireland and the UK. Curated by Sarah McAuliffe Voyage of Italy: 200 Years of Travel Guides Commemorating the centenary of the Hone Bequest, the 16 March 2019 – 3 May 2020 single largest (in terms of volume) donation to the National Room 11 | Admission free Gallery of Ireland, this exhibition presented a selection of Curated by Catherine Sheridan works by one of the most significant artists in the history of Irish art, Nathaniel Hone. Considered by Hugh Lane to be Showcasing a selection of Italian travel guides from the Ireland’s greatest landscape painter, Hone was a pioneering 17th and 18th centuries, Voyage of Italy: 200 Years of Travel artist, receiving formal training in Paris before developing Guides presented visitors with beautifully illustrated fold- his skills in provincial France out maps and engravings of places of importance, as well as highlighting the significance of these guides within the Comprising well over 500 works (212 oils and 336 works arena of art scholarship. The exhibition included books, on paper), the bequest was made to the Gallery by Hone’s travelogues and travel guides on Rome, Naples, Venice, wife Magdalene in 1919, two years after his death, and Florence and Bologna that highlighted iconic Italian stops accessioned in 1951. on the Grand Tour route.
Nathaniel Hone: Travels of a Landscape Artist showcased over 30 works by Hone solely from the National Gallery’s collection, tracing the development of the artist’s career as he travelled from Ireland to various locations in Europe, Africa and the Middle East. Annual Report 2019 19
Gifted to the National Gallery of Ireland by the art To mark the 100th anniversary of the founding of the connoisseur, scholar and collector of Italian Baroque Bauhaus, one of the most significant art and design Art Sir Denis Mahon, the books were used extensively schools of the 20th century, the Gallery borrowed four by Mahon in his research. The books also served as an complete sets of Bauhaus print portfolios from the essential blueprint for the modern guidebook as we know Staatsgalerie Stuttgart. These comprised 52 woodcuts, it today. The display marked the completion of an extensive etchings, lithographs and linocuts and brought a seminal cataloguing project to record his generous gift. achievement in German printmaking to the attention of an Irish audience. This exhibition also provided the National Shaping Ireland: Landscapes in Irish Art Gallery of Ireland with an opportunity to showcase 45 20 April – 7 July 2019 renowned avant-garde artists including Lyonel Feininger, Beit Wing, Rooms 6–10 Paul Klee, Franz Marc, Max Beckmann, George Grosz, Ernst Visitor Numbers: 10,973 | Ticketed Exhibition Ludwig Kirchner, Marc Chagall, Wassily Kandinsky, Umberto Curated by Donal Maguire Boccioni and Natalia Goncharova.
You’re on Earth. There’s no cure for that … our human span an This exhibition, in cooperation with the Staatsgalerie eyeblink. To save the world is not so simple as to mine an Stuttgart, was supported by the Friends of the National ocean for each salt tear we’ve wept. Gallery of Ireland. The German Ambassador to Ireland, Mrs Paula Meehan, ‘The Island a Prospect’, commissioned for Deike Potzel, launched the exhibition. A series of talks and Shaping Ireland. screenings were presented in cooperation with the Goethe- lnstitut Irland. Shaping Ireland explored the relationship between people and landscape across 250 years of Irish art. Comprising Dr Christiane Lange, Director of the Staatsgalerie Stuttgart 72 artworks by 50 artists, the exhibition included works who spoke at the opening, later congratulated the Gallery by celebrated names such as George Barret, Paul Henry on the exhibition attendance figures, which reached 63,000 and Jack B. Yeats; contemporary practitioners like Dorothy visitors. Cross, Willie Doherty, Kathy Prendergast and Sean Scully; as well as emerging artists Caoimhe Kilfeather, Samuel Together with many schools, strong links were established Laurence Cunnane, Ruth Lyons and others. between the Gallery and universities.
The exhibition included artworks in a range of traditional Sorolla: Spanish Master of Light and new media from oils and watercolour to photography, Lower Beit Wing (Rooms 6–10) I 10 August – 3 November sculpture and video. 2019 | Visitor numbers: 48,139 I Ticketed exhibition Curated by Brendan Rooney and Aoife Brady It also included loans from both public and private collections, new work from exciting young artists, and a Valencian painter Joaquín Sorolla (1863–1923), famed for selection of the National Gallery’s recent acquisitions. The his sun-drenched depictions of the life, leisure, landscapes last of these included Nick Miller’s large oil From Pat Cogan’s and traditions of Spain, often painted outdoors and on a Shed, Sean Scully’s photographic series Aran Walls and T.P. monumental scale. This exhibition, a partnership with the Flanagan’s painting Boglands 4. National Gallery, London, and organised in collaboration with the Museo Sorolla, Madrid, was the first to present In today’s world of increasing awareness of the human Sorolla’s work in Ireland. Comprising a total of 52 influence on Earth’s ecosystem, Shaping Ireland engaged paintings, borrowed from private and public collections with current environmental discourse through art historical worldwide, the Dublin exhibition presented a wide range of narratives. The exhibition was a timely opportunity for quintessentially Spanish scenes, spanning family portraits, visitors to contemplate the profound and far-reaching gardens and landscapes, seascapes, costume and fashion, effects of human activity and the significant role artists have and snapshots of daily life and culture. played in shaping our understanding of our impact on the natural world. This exhibition included dazzling seascapes of the beaches of his native Valencia, views from the towering cliffs of Ibiza, Bauhaus 100: The Print Portfolios promenaders watching the rolling waves of San Sebastián Print Gallery | 20 July – 1 December 2019 and panoramas of the spectacular azures of the Costa Admission Free Blanca. Sorolla’s depictions of the palaces of Seville and Curated by Niamh MacNally Granada, paintings of the characteristic landscapes and Exhibition in cooperation with the Staatsgalerie Stuttgart inhabitants of Salamanca, Toledo, and the Roncal Valley at Supported by the Friends of the National Gallery of Ireland the foot of the Pyrenees, and illustrations he made of the French coast while on family holidays in the fashionable resort of Biarritz were all presented in this exhibition. 20 Annual Report 2019
An illustrated catalogue included contributions from Enda Bowe’s work is concerned with storytelling and the National Gallery of Ireland curators, Dr Brendan Rooney search for light and beauty in the ordinary. Bowe said of and Dr Aoife Brady. his winning photograph, Cybil McCaddy with Daughter Lulu: ‘this portrait traces the emotional connection between a Zurich Portrait Prize 2019 new parent and her baby, evoking traditional compositions Portrait Gallery, National Portrait Collection (Room 23) of a mother and child’. The portrait was made on a housing 5 October 2019 – 12 January 2020 estate in east London and is part of Bowe’s ongoing project Admission Free titled Clapton Blossom, which is a celebration of humanity Curated by Niamh MacNally and Sarah McAuliffe and social diversity.
2019 marked the sixth year of the National Gallery of The Gallery was delighted to tour the Zurich Portrait Prize Ireland’s annual portrait competition. The Zurich Portrait for the first time in 2019. In January, the shortlisted works Prize showcases contemporary portraiture and is open to from both the Zurich Portrait Prize, and the Zurich Young artists aged 19 and over. It attracts entries from across the Portrait Prize travelled to the Crawford Art Gallery in Cork. island of Ireland and from Irish artists living abroad. The Mary McCarthy, Director of the Crawford Art Gallery, said winner of the Zurich Portrait Prize receives a commission that the exhibition would ‘enable our audiences to make to create a new work for inclusion in the National Portrait connections with our wider collection and supports our Collection. Two prizes for highly commended works are also deeper ongoing collaboration with the National Gallery of awarded. This is the second year that Zurich Insurance plc Ireland.’ An exhibition catalogue, published by the National has generously sponsored the prize. Gallery of Ireland, complemented the displays at both venues. Identity, family, memory, gender, ageing, social change and diversity were some of the themes addressed by the 26 Zurich Young Portrait Prize artists shortlisted from over 300 entries for the competition National Gallery of Ireland I Millennium Wing Studio this year. The judging panel comprised Mike Fitzpatrick, 5 October 2019 – 12 January 2020 Head of Limerick School of Art and Design; Professor Fiona Crawford Art Gallery, Cork, Gibson Galleries I 31 January Kearney, founding Director of the Glucksman in Cork; and – 13 April 2020 Mick O’Dea, artist and member of the RHA. The winner was the Irish photographer Enda Bowe, who lives and works in In 2019, the National Gallery of Ireland introduced a new London, with commendations awarded to Joe Dunne and competition, the Zurich Young Portrait Prize. Playing an Salvatore of Lucan. important role in the Gallery’s continued aim to foster and support creativity, originality and self-expression in children and young people, the inclusive new prize accepted entries from young people up to age 18 of all abilities from across the island of Ireland. 20 finalists in four age categories (6 years and under, 7–11, 12–15 and 16–18), chosen by a panel of judges, were displayed in the Millennium Wing Studio of the Gallery from 5 October 2019. The 2019 judges for this inaugural prize were artist Hetty Lawlor; photographer and filmmaker Perry Ogden; and Dr Brendan Rooney, Head Curator at the National Gallery of Ireland. The finalists who won in each of the four categories were Callie Le Page, Jiaming Zheng, Erin Welch and Cara Pilbeam. The overall winner of the first Zurich Young Portrait Prize was a photograph entitled The new age by Mabel Forsyth and Mary O’Carroll, 12-year old cousins from Dublin. The Zurich Young Portrait Prize was displayed alongside the main prize
at Crawford Art Gallery in Cork from 31 January 2020 until Enda Bowe, winner of the Zurich Portrait Prize at the 13 April 2020. Neil Freshwater, CEO of Zurich Insurance plc, National Gallery of Ireland, with his work Cybil McCaddy said: “It’s been wonderful to introduce a second prize this year with Daughter, Lulu, 2018. and showcase work by artists of all ages. There is a freshness Photo: Maxwell Photography and vibrancy to these works which make us excited for the future talent that this competition is intended to foster”. Annual Report 2019 21
Overall Winner – Zurich Young Portrait Prize included several iconic pictures, among them Jacques Henri 2019 Lartigue’s Grand Prix de l’A.C.F., Circuit de Dieppe (1912), Edward Steichen’s Greta Garbo (1928) and Brassaï’s Couple au bal musette des Quatre-Saisons, Rue de Lappe (1932).
The exhibition, which provided a rich and diverse overview of the history of photography from the mid-nineteenth century to the 1960s, had previously been on display at the Museum of Photographic Arts in San Diego. However, it was presented in a new configuration in Dublin by curators Anne Hodge and Sarah McAuliffe.
Conservation: Care of the
Collection Mabel Forsyth and Mary O’Carroll (aged 12) The new age Photography on paper Introduction In 2019 Conservation staff concentrated on implementing View of Ireland: Collecting Photography and updating established collection care measures, such as Hugh Lane Room (Room 31) | 25 October 2019 – 16 environmental monitoring and preventative conservation, February 2020 | Admission Free to help mitigate risks to the collection. The addition of Curated by Anne Hodge and Sarah McAuliffe two new positions in the department, a Preventative Conservator and a Paper Conservator, were a great support View of Ireland: Collecting Photography, an in-focus display in to the team. The year also presented exciting opportunities the Hugh Lane Room, ran parallel to the larger exhibition, to deliver flagship research and conservation projects, such Moment in Time: A Legacy of Photographs | Works from the as the Lavinia Fontana Project supported by the Bank of Bank of America Collection. It documented the rapid and America Art Conservation Project and the conservation of vigorous development of the Gallery’s own collection The Lamentation of Christ by Gerard Seghers. of photography. The display included works by such prominent Irish and international figures as Jane Bown, Eamonn Doyle, Erich Hartmann, Nevill Johnson, Inge Morath Preservation Policy and Amelia Stein. In line with the Gallery’s commitment to the management and preservation of its collection, the Conservation Moment in Time: A Legacy of Photographs | Department began drafting a new Preservation Policy Works from the Bank of America Collection document. With a broad scope, and encompassing all Lower Beit Wing (Rooms 6–10) | 30 November 2019 collection works (whether on display, in transit, on loan – 18 September 2020 or in storage), the policy aims to define the Gallery’s Visitor Numbers (at 31 December 2019): 3,502 preservation responsibilities, providing guidance on Ticketed exhibition best practice in collection care. The new policy is being Curated by Anne Hodge and Sarah McAuliffe developed in conjunction with existing care of collections This exhibition was made possible through the Bank of protocols and risk management responsibilities. America Art in our Communities® programme.
In 2019, the Gallery hosted the first major exhibition of Scientific Research photography in its history. Moment in Time: A Legacy of Photographs |Works from the Bank of America Collection In 2017 the Conservation Department acquired a handheld drew on one of the largest corporate collections of X-ray fluorescent (XRF) analyser to enable conservation staff photography in the world, and featured works by some of to perform elemental analysis on pigments and binders. the medium’s most celebrated proponents including Julia Margaret Cameron, Henri Cartier-Bresson, Robert Frank, Dorothea Lange and Eugene Smith. The exhibition also 22 Annual Report 2019
To date, project conservators have undertaken comprehensive conservation treatments on the painting, allowing the team to address structural and aesthetic issues. Technical and scientific examination and study has also been carried out while the practical treatment is under way.
All stages of the conservation project have been accompanied by online outreach, using video and website material designed to heighten awareness of both the artist’s significance and the project at hand. A selection of talks and lectures were delivered, both in the Gallery and in partner
institutions, while planning for a series of conservation Photo: National Gallery of Ireland. events was undertaken. Windows into the Conservation Photographer: Elline von Monschaw, Conservation Studio, where visitors can view the live treatment of the painting, have been prepared for a series of viewings in late This equipment allows in-depth examination of artworks 2020. to establish how the artworks are to be treated or conserved as well as providing information on pigments within paintings and substrate materials such as metals Nathaniel Hone: Travels of a Landscape Artist in sculpture. Material identification informs research but can also have practical implications in care of the artwork; The centenary of the bequest of works by Nathaniel Hone for example, the identification of a light-sensitive, fugitive was celebrated with an exhibition of paintings made during pigment can be addressed with light exposure restriction his travels. 34 works were examined and 19 of these were policies. selected for an in-focus exhibition on the artist in the Hugh Lane Room, a small part of the extensive collection of some The following works, among others, underwent 500 Nathaniel Hone works in the Gallery’s collection. examination in 2019:
– NGI.2014.1, Gerard Seghers, The Lamentation of Christ NGI.2014.1, Gerard Seghers, The Lamentation of Christ – NGI.2358, F.W. Burton, Hellelil and Hildebrand, the Meeting The Lamentation of Christ is the only work by Gerard Seghers on the Turret Stairs in the collection. This large painting was presented to the Gallery in 2014 and since then has been subject to NGI.76, Lavinia Fontana, The Visit of the Queen of Sheba to – extensive treatment. The treatment of the canvas support King Solomon was completed in 2019. This involved the removal of the old lining canvases and a new lining treatment, as well as NGI.2019.43, Dorothy Cross, Shark Heart Submarine. – local repairs and assessment of the wooden stretcher. The painting was examined using multiple analytical Groups of artworks relevant to the ongoing Tudor portraits imaging techniques, including ultraviolet and infrared research and the sixteenth-century Italian panel collection reflectography. Elemental analysis of the paint layers was were also analysed, allowing for comparative studies to also carried out with x-ray fluorescence. Several months be carried out and featured in forthcoming exhibitions. have been dedicated to the varnish and overpaint removal, The XRF analyser has greatly enhanced and expanded the a complex and lengthy treatment essential to recover the Gallery’s ability to examine artworks without having to take legibility of the painting. The project will continue into 2020. samples from them.
Glamour and Governance exhibition Painting Conservation Conservation treatments in preparation for the exhibition Glamour & Governance (2021) allowed an unprecedented Projects insight into a selection of 14 Tudor portraits on panel. In NGI.76, Lavinia Fontana, The Visit of the Queen December 2019, Professor Peter Klein, a wood specialist of Sheba to King Solomon who had assisted the NGI with dendrochronology 2018 Bank of America Conservation Project services on the Rembrandt Research project, joined the conservation team again to analyse the panels. The Visit of the Queen of Sheba to King Solomon is the largest known painting by one of the most renowned female artists of the Renaissance. Annual Report 2019 23
Getty Foundation Conserving Canvas Project The Prints and Drawings Collection survey The Conservation Department promotes and engages The Prints and Drawings Conservation Survey began in with conservation institutes as well as museums in Ireland February 2019, also including miniatures and photography. and abroad, and in 2019 was awarded a substantial grant This survey aims to provide detailed information on from the Getty Foundation to undertake research and the condition of objects from the Prints and Drawings training and to conserve three works in the National Gallery Collection. For a better overview, works are also allotted of Ireland Collection: Giovanni Battista Barbieri, called condition and treatment categories to help prioritise the Guercino (1591–1666), Saint Joseph with the Christ Child; Juan prints and drawing collection according to conservation Gris (1887–1927), A Guitar, Glasses and a Bottle and Carafe; requirements. As the survey progresses, the gathered data and Juan Gris (1887 –1927), Cups and Glasses. will be transferred to the Gallery’s Collection Management System, which supports research, loan preparation and All three paintings show fragility, evidence of flaking, display requirements. delamination and deterioration of the canvas supports, so the project involves conducting research and conservation of these important masterpieces and training mid-career New Acquisitions conservators in theoretical and technical issues related In 2019, paper conservators assessed the suitability and to traditional and modern lining processes. Mixed-media condition of 317 potential new acquisitions, of which 160 artworks (oil on canvas and paper collage on canvas) were photographs. require an interdisciplinary team of paper and painting conservators. The new photography collection comes with its own challenges, as photographs are complex objects, usually This project will encompass the challenges of modern made of combined layers or materials, each of which conservation as a holistic discipline and demand a reacts to the environment and physical forces differently. multidisciplinary approach inclusive of technical, ethical and Many photographs on paper look similar, yet the chemistry aesthetical aspects as well as preliminary documentation behind them varies according to photographic process, and scientific analyses. In-depth analytical research and materials used and age. The Gallery acquired photographs documentation of a complex conservation history will lead of varied processes, dimensions, and periods with to discussion and selection of the most appropriate ethical different storage, handling and display requirements. The approaches and clarity for the conservation teams on the Paper Conservation team provided recommendations most appropriate treatments. for proper storage facilities and handling training to staff in contact with photographic collections. It purchased The project will also include a study day on Gris’s collage storage materials and initiated a mounting programme for works with the participation of scholar curators, and protective storage for vulnerable photographs. a two-day workshop on traditional and modern lining methods. The aim is to generate theoretical debates and technical discussion and to help contribute to updating Library and Archives - Treatment of the international conservation standards. It will also present a collection including new acquisitions unique opportunity to preserve the legacy of conservation knowledge pertaining to artworks from different historical 2019 saw the establishment of a close collaboration and technical backgrounds, combining the expertise of between Paper Conservation and the Library and Archives the Gallery’s senior paper and oil painting conservators. including exhibition help and installation, condition Research and conservation treatments will begin in April assessment of new acquisitions, rehousing, and treatment 2021; completion is scheduled for April 2023. of the collection.
A total of 1,077 individual items from the archival collection Internship, training and work placements were surveyed and/or treated, spanning three collections: programme the 2017 Yeats Acquisition, the 2018 Gerda Frömel Archive and the 2019 Bea Orpen Acquisition. The Heritage Council Internship Programme celebrated its tenth year. This programme offers one postgraduate oil- The Bea Orpen collection of 420 items, containing mostly painting conservator the opportunity to train in the Gallery’s life drawings, preparatory sketches and gouache paintings, Conservation Department. It is primarily aimed at students with some correspondence and ephemera, was acquired who have completed specialist conservation courses in the with widespread mould damage. An initial assessment by areas of paper, book bindings and painting and is run in Paper Conservation established that a third of the collection partnership with the Chester Beatty Library, the National had evident dormant mould. Library of Ireland, The National Archives and Trinity College Dublin’s Old Library. 24 Annual Report 2019
Publications and Collection development Source Digital Collections Project Images In 2017 the National Gallery of Ireland was awarded funding from the Department of Culture, Heritage and the Gaeltacht Made up of three strands, the Publications and Images (DCHG) for the development of an online resource, focusing Department is responsible for Gallery publications, images on its Irish art research collections. Entitled Source – and licensing; including management of intellectual Uncovering Stories of Art in Ireland, this multi-annual project property created and used by the Gallery; and photography progressed in 2019, putting in place the infrastructure for of artworks in the collection and for exhibition and cataloguing and digitising the collections in the ESB Centre conservation purposes. Publications in 2019 were for the Study of Irish Art and ensuring that these valuable catalogues to accompany some of our key exhibitions – collections can be easily accessed by researchers in the Shaping Ireland: Landscapes in Irish Art, Making Their Mark: future. Collection care and preservation is also a key part Irish Painter-Etchers 1880–1930; and Zurich Portrait Prize of this project, and a collaboration with the Conservation 2019. Department resulted in 1,077 items being assessed and conserved. Staff worked towards launching the digital The Images & Licensing staff handled over 20,000 requests collections project Source in 2021. Much of 2019 focused and queries on images, copyright and onsite filming and on procuring resources and equipment to support the photography as well as procurement of all collection and cataloguing and digitisation of the Irish art research exhibition images used by every department throughout collections. A Bookeye 4 V1A-C35 scanner, the first to be the Gallery. In addition, the team looked after rights acquired in Ireland, was installed. Sharing how the project clearances for E-Museum, the Gallery website, all exhibition has developed to date, Head of Library and Archives Andrea press and publicity, and exhibition design and educational Lydon was pleased to present ‘Source: digitising Irish art purposes. archives at the National Gallery of Ireland’ at the annual ARLIS art library and information professionals’ conference, Our professional photographers took over 1,640 Glasgow University, 15–17 July 2019. photographs of artworks in the collections as well as those of exhibition installations. Photographs were created for display panels as well as high-quality facsimiles for some of Sir Denis Mahon Library and Archive the display cabinets to replace delicate books that cannot Key developments in the Sir Denis Mahon Library go on display for long periods. Photography also produced and Archive collection included the completion of material for records, research and conservation. Eighty the cataloguing of the Sir Denis Mahon Library, the artworks were photographed using the Gallery’s infrared commencement of the cataloguing of Mahon’s academic reflectography and ultraviolet systems in 2019. archive, increasing participation in the NGI exhibition and public programmes, and greater awareness internationally Library and of the collection’s importance as a research resource. Mahon’s academic papers have been a high priority for processing, and throughout 2019 work continued Archives on this material. The cataloguing of the main library collection, consisting of the academic publications, was In 2019, the Library and Archives continued to develop completed. This contains artists’ monographs, catalogue and provide access to the collections in both physical raisonnés, exhibition catalogues, sales catalogues, journals, and digital environments through research services, the conference proceedings, guide books, pamphlets and a public engagement programme and collaborations. The number of oversized volumes published between the 16th ESB Centre of Studies of Irish Art (CSIA) collection is one century and the present day. The subject areas catalogued of the world’s most important and valuable resources for include art and artists in Italy, Spain, the Netherlands, the study of Irish art. Challenged by accommodation and France and Britain. As well as books on art and exhibitions, space issues, this year saw the Centre of Irish Art (CSIA) the collection includes material on history, geography, Reading Room in the Millennium Wing converted to a architecture, travel and conservation. A total of 8,395 books space for digitising collections as increasing online access were catalogued; including 609 rare volumes, 4,329 books to our holdings becomes increasingly important. The CSIA and exhibition catalogues and 3,286 serials. library collection was temporarily relocated to the Sir Denis Mahon Reading Room and work was also done to The detailed cataloguing of the collection recorded maximise the capacities of current storage facilities and standard bibliographic and subject metadata, and plan redevelopment of the Yeats store. additional information recorded included data on annotations, inserts or archival material discovered in Annual Report 2019 25
the books. This type of meticulous and comprehensive 60 events organised by the department this year, which cataloguing makes this a truly unique database resource included talks, tours and presentations to the Friends of for scholars. The library collection includes many rare and the NGI, inductions for new staff and guides, visits from antiquarian volumes that are regarded as key sources sister institutions and workshops with undergraduate and in the study of European art, particularly Italian art. The postgraduate. The Library and Archive collaborated with earliest volume in the collection is Leon Battista Alberti’s the Education team and welcomed participants from the Della Pittura, which dates from 1550. Transition Year programme, introducing students to the Library and Archive collections, information management and the importance of accurate information curation. Institutional Archive and Records 2019 also saw progress with the care and management We also worked with the Education team on the OUTing of the Gallery’s archives and records. Draft policies and the Past event on 23–24 March, by facilitating a breakout procedures for a Records Management programme were session on the Saturday afternoon, led by library assistant developed in consultation with various departments across Iain Wynn Jones. This was an opportunity to explore the the Gallery. The Gallery was pleased to host the 40th idea of ‘queerness’ as it relates to artists and artworks in the anniversary of the Archives and Records Society, attended NGI Collection. Another collaboration saw Claire Doohan, by President Michael D. Higgins who spoke at the event on Assistant Archivist Sir Denis Mahon Project, participating 5th December. in the Something from There community project held in the National Gallery. This artist-led project, initiated by the Education Department and supported and developed by the Gallery, explored the experiences of people seeking Partnerships asylum or living in Direct Provision in Ireland. Objects form a key focus of the project, with each participant looking As ever, the Gallery is grateful to the Department of more closely at a particular item they brought to Ireland, Tourism, Culture, Arts, Gaeltacht, Sport and Media, the Sir and what this object now represents for them. Objects from Denis Mahon Foundation, H.W. Wilson Foundation and the the Sir Denis Mahon Archive were used as a starting point ESB for their ongoing support of the work of the Library for this workshop in September. and Archives and ESB Centre for the Study of Irish Art. In 2019, the Library and Archive together with the ESB was shortlisted for a Business to Arts Award in the category of Best Long Term Partnership. Collaborations Like any research collection, the NGI Library and Archives and ESB Centre for the Study of Irish Art frequently support a range of projects and initiatives outside the Gallery. This Fellowship year highlights included:
– The Royal Irish Academy’s exhibition Discovering Thomas Programme Moore: Ireland in 19th-Century Europe, 17 June – 23 December. The Gallery lent Moore’s Irish Melodies: The H.W. Wilson Foundation and ESB have been supporting Illustrated by D. Maclise, RA [1866] to the display. Fellowship programmes in the Library and Archives of Possibly unique, this volume presents bright hand- the National Gallery of Ireland since 2014. Through the coloured engraved illustrations throughout which Fellowships, Library and Archives staff provide a deep, underscores Maclise’s skill as an illustrator. experiential learning and training to graduates wishing to work in the cultural sector. The Gallery is pleased to – The exhibition Divine Illumination in the Lexicon Library, continue the development of the programme in 2019 with Dun Laoghaire and accompanying publication of the the appointment of Mary Clare O’Brien as H.W. Wilson same title were launched by Minister Josepha Madigan Fellow and Grace O’Boyle and Donna Rose as ESB Fellows in on 11 October, marking the centenary of the Oratory the ESB Centre for the Study of Irish Art. of the Sacred Heart in Dún Laoghaire, built by the Dominican Sisters in 1918/19 in memory of men from the locality that had died in the Great War. This local Tours, talks and history and heritage initiative celebrated the work of Sr Concepta Lynch, who was responsible for hand painting of the oratory over 16 years in the Celtic Revival style. workshops This fruitful collaboration drew on collections relating to Sr Concepta and her work held in the CSIA archives Tours and talks about the library and archive collections, and Prints and Drawings collection. Images from the services and exhibitions are now a regular feature of the collections are reproduced in the publication and Gallery’s public programme. 965 people attended the exhibition. The public programme around the project 26 Annual Report 2019
was also supported by the Gallery. The exhibition on Level 3, dlr LexIcon, was on display until 4 January 2020.
Academic collaborations The National Gallery of Ireland’s Library and Archives’ collaborations with academic institutions continue to flourish. Highlights this year included an innovative collaboration with Dr Elaine Sissons of the Institute of Art, Design and Technology, Dún Laoghaire, which resulted in theatre and costume design students exploring and studying the Anne Yeats archive through workshops and group research sessions. A module on their course was built around the collection, introducing undergraduate students to the importance of primary source material for their work and research.
The ESB CSIA continued its annual collaborative academic module with the National College of Art and Design BA in Visual Culture. Organised with NCAD lecturer and artist Sarah Pierce, and spanning 12 weeks, this module is now in its third year. In 2019, it culminated in the launch of the student-published zine The Forgotten. The launch was accompanied by a display of items from the CSIA collections curated by the students in the Sir Denis Mahon Reading Room. Public Engagement
From Flamboyant Flamenco performances to showcasing the talent of our young people in the inaugural Zurich Young Portrait Prize, to launching the dynamic Apollo Project, the Gallery’s Education Department continued to grow and enhance engagement with different audiences, ensuring that people of all ages and abilities have been able to interact with the Gallery’s programmes whether onsite, offsite or online. 176,936 people engaged directly with education events and activities in 2019.The programme of activities complimented the exhibitions and the Gallery’s permanent collection, and worked with contemporary artists, other cultural institutions, and collaborators and partners across Ireland to make 2019 a truly outstanding year for public engagement with the Gallery.
Online audiences continued to engage with the Gallery in increased numbers in 2019. The Gallery’s social media accounts had over 135,000 followers by year end. Creative content such as videos and podcasts were popular, with 234,000 views of Gallery videos throughout the year. The Summer exhibition Sorolla: Spanish Master of Light proved particularly popular with online audiences, with a focus on visual communications for the digital and marketing campaigns. The Gallery’s Millennium Wing stairs was transformed to display a work from the exhibition, and a photograph of this became the Gallery’s most popular post on Instagram in two years.
761,469 visitors were welcomed through the doors in 2019, supported by the Visitor Experience team and the Gallery’s volunteers at our visitor desks. 28 Annual Report 2019
1.5m+ visitors to the Gallery onsite and online in 2019 176,936 attendees at Education events 761,469 visitors through its doors 18,433 children and families attended 162 family activities 234,000 YouTube views 136,031 followers across Facebook, Instagram and Twitter 24,000+ used the Library and Archives online resources 123,022 people engaged with educational talks, tours, screenings, displays and podcasts. 17% increase in website visits compared to 2018 957 educational tours and events catered for 21,019 school students and teachers Annual Report 2019 29
Accessibility Promoting Sorolla 2019 was a highly significant year for the Gallery Access The opening of the Summer exhibition Sorolla: Spanish Team in providing greater access to the Gallery’s Master of Light provided an opportunity to engage with buildings and services and to its collection and exhibitions many types of audiences in Ireland and around the world. programme. Visitors were invited to discover ‘Spain’s Impressionist’ in the first exhibition of Sorolla’s work in Ireland. From the This cross-departmental team promotes inclusive, diverse moment it was announced, images of paintings featured and tailored programmes to deepen engagement with the in the exhibition proved hugely popular with the public. A collection, the Gallery and its services. In 2019, the following visual promotional campaign included images of favourite initiatives were realised: works popping up on billboards across Dublin. Additional advertising to specific audiences ran across radio, print and – Funding was secured from the OPW’s Architectural online platforms. Accessibility Unit to replace the two heavy Millennium Wing entrance doors with automated ones. These were An innovative digital campaign allowed the public to learn installed in December, providing much improved access more about the artist and the exhibition. Focusing again to visitors. on visual communications, the Gallery moved to produce an increased amount of video content. Eight Sorolla videos – The Gallery was awarded an ‘As I Am’ approved autism- were created, including the recreation of an onsite family friendly accreditation, the first of its kind for a cultural workshop online. The Gallery’s Millennium Wing stairs was organisation in Ireland. transformed to display a work from the exhibition, and a photograph of this became the Gallery’s most popular – The team offered a comprehensive training programme post on Instagram in two years. A selection of new articles, to equip and motivate colleagues and volunteers to newsletters and posts covered individual works and stories. continually deliver on the Access Action Plan (2018–2021). As the exhibition opened, photographs of the Beit Wing’s – The Education Access programme continued to offer and new display featured in many national newspapers. Gallery develop its wide range of inclusive and bespoke tours, staff were interviewed on national radio programmes, with events and workshops. many well-known personalities choosing the exhibition as their favourite cultural moment of the year. The exhibition’s – The Gallery Access Team conducted a digital accessibility Education programme was heavily promoted within this audit and began the process of embedding accessibility campaign, including an outreach to media. Coverage on into online and digital platforms. A new quarterly Access the exhibition featured heavily in international outlets, Newsletter was introduced and circulated to colleagues particularly in Spanish media. About the exhibition, the and volunteers. Sunday Times said: ‘an hour or so spent in the company of such joyous sun-kissed celebrations of life is a pleasure Access-related feedback ranked fifth in positive visitor beyond petty mercantile considerations’. A quote from the trends acknowledging staff helpfulness, programming Irish Times recognised the fact that Sorolla was not well and services, such as Changing Places and free wheelchair known to the Irish public before this landmark exhibition service. at the Gallery: ‘A master of light comes back out of the shadows’. The Newly Enhanced ‘Gallery Volunteer’ Role Renailssance In summer 2019, to celebrate a highly successful year-long In 2019, the Volunteer Programme merged what were collaboration with Tropical Popical, the award-winning three separate areas into one to change the volunteer role. Dublin nail bar, a vibrant and contemporary exhibition, This new ‘Gallery Volunteer’ role, combined four key areas; RENAILSSANCE, took place at the Gallery. The creative Visitor Experience, Friends Membership, Education and partnership was originally designed to make collections and Research duties, focusing on enhanced visitor engagement exhibitions more accessible to diverse audiences, and to and accessibility onsite. show how historic artworks can provide rich inspiration for new creative practices. However, as it evolved, this project The Volunteer Focus Group helped champion and also presented the opportunity to consider historical communicate the objectives to the 153 volunteers in the definitions of art and the origin of nail art, while stimulating programme and all volunteers partook of intensive training. dialogue on culture, aesthetics and taste. Feedback in the Summer and Autumn was very positive with a 98% ‘excellent/very good’ satisfaction rating in September. 30 Annual Report 2019
Over the course of a year, the team from Tropical Popical inspired the public onsite at the Gallery via live demos and Gallery Website, nail art sessions, offsite at the salon via highly detailed ‘fine art’ nail art, and online via various social media campaigns. Newsletters and Social Media Channels The resulting exhibition was curated by Sinéad Rice, Head of Education, and Andrea Horan, CEO Tropical Popical. 2019 saw excellent growth on the Gallery’s online platforms, A selection of the fingertip creations was showcased in particular across our three main social media profiles in the highly collaborative display, and interpreted – Facebook, Twitter and Instagram – where we had 24.2 through photography, fashion, design and mixed media, million impressions, and 712,700 engagements from demonstrating how artists of the past can inspire the followers. There was significant growth on our Instagram creatives of the future. channel in 2019, with a 39% increase in followers and a 20% increase in engagement. We saw a combined increase of The education, learning and engagement programme 17% across our three main channels, with the total number included activities for all ages and abilities. Around 54,000 of followers standing at just under 140,000 at the end of the visitors came to the exhibition during its eight week run. year. We saw a 21% increase in subscribers to the Gallery’s email newsletters in 2019. The exhibition received broad coverage in print and broadcast media (Irish Times, Totally Dublin, Irish Tatler, Image magazine, TV3, RTÉ Arena, 2FM, Today FM). Language Scheme 2017–2020 The NGI continued to implement and monitor compliance with the Language Scheme during the year. 24.2m social media impressions Facebook, Twitter, Instagram 712,700 engagements from followers 39% increase in Instagram followers 20% increase in engagement on Instagram 17% combined increase across three main social media channels 140,000 total number of followers 21% increase in subscribers to email newsletter Development, Fundraising and Friends 32 Annual Report 2019
Much of the work carried out by the Gallery’s world- For their vital support and loyalty, we would class team of art historians, education specialists and like to thank all our Corporate Partners and conservators has been made possible by the generosity of Sponsors: private donors, corporate partners, Friends and Patrons who have played a critical role in the life of the Gallery. The AIB generosity of our supporters allows the Gallery to create Bank of America exceptional exhibitions, to build the permanent collection Citadel Securities and to expand the work carried out in education and ESB conservation. The Gallery is also grateful for the ongoing Focal Media support of the American Friends of the National Gallery of Maples Group Ireland and the British Friends of the National Gallery of Northern Trust Ireland. Permanent TSB Ryanair Sarasin & Partners Thank you to all our donors who have SMBC Aviation Capital supported the work of the Gallery in 2019. Sotheby’s Zurich Insurance plc Annenberg Foundation ╲ Apollo Foundation ╲ Applegreen Blossom Fund and The Irish Youth Foundation ╲ The Zurich Insurance plc are very proud to sponsor the Blavatnik Family Foundation ╲ Brewin Dolphin Ireland National Gallery of Ireland’s Zurich Portrait Prize. ╲ Coca-Cola Thank You Fund ╲ Getty Foundation ╲ H.W. It has been a pleasure to see how our support Wilson Foundation ╲ Italian Cultural Institute ╲ Sir Denis has helped the competition grow and develop Mahon Foundation ╲ State Street Foundation ╲ Tomar Trust throughout 2019 with the addition of the Zurich ╲ Anthony & Karole Mourek ╲ Brian & Susan Dickie ╲ Jay & Young Portrait Prize and the display travelling to Silvia Krehbiel ╲ John McNamee Sullivan ╲ Peter Woods & Crawford Art Gallery. Francis Ryan ╲ Tony Ahearne ╲ others who wish to remain anonymous. Neil Freshwater CEO, Zurich Insurance plc
Corporate Partners and Sponsors The generosity of our Corporate Partners and Sponsors We truly believe in the power of the arts to help allows the Gallery to fulfil its role of bringing people and economies thrive, to educate and enrich societies, their art together. and to create greater cultural understanding. Over the last year our partnership with the Gallery In 2019, we were particularly pleased to deepen our has evolved and flourished – from supporting relationship with Bank of America, which supported the the conservation of Lavinia Fontana’s The Visit conservation of Lavinia Fontana’s The Visit of the Queen of of Queen Sheba to King Solomon and loaning Sheba to King Solomon, collaborated with us on presenting Moment in Time: A Legacy of Photographs | Works Moment in Time: A Legacy of Photographs | Works from the from the Bank of America Collection, to embarking Bank of America Collection, and commenced a Corporate on a new membership, offering our employees Partnership to promote staff engagement. access to the Gallery’s latest exhibitions and events. The National Gallery of Ireland are first class We were delighted to welcome business leaders to our partners and it has been our pleasure to work with September 2019 Leaders’ Breakfast, where Nick Butcher, them. Managing Partner of Maples and Calder in the Maples Group Dublin office, spoke of the many business benefits of Rena De Sisto, Global Executive for Arts & Culture sponsoring the Gallery’s Creative Space. and Women’s Programs, Bank of America
Newly appointed CEO of Zurich Insurance plc Neil Freshwater awarded the 2019 Zurich Portrait Prize to photographer Enda Bowe in Zurich’s year of support for this exhibition, and awarded prizes to the winners of the inaugural Zurich Young Portrait Prize, Mabel Forsyth and Mary O’Carroll. Annual Report 2019 33
Friends and Patrons Midway through 2019, a new programme for Patrons was launched. Four levels of Patron memberships were made 2019 was a year of substantial growth for the Friends of available with Patrons signed up at each level. A special the National Gallery of Ireland. Since the end of 2016, event for Patrons was held in December, a ‘reveal’ of the membership numbers have tripled. The Friends of the latest artwork purchased thanks to their support. The National Gallery of Ireland were delighted to help support painting was Colin Davidson’s The Day I Heard that Mark the exhibition catalogue for Making their Mark: Irish Painter- Hollis had Died (Self-Portrait). Following a private view of Etchers 1880–1930, as well as the exhibition Bauhaus 100: the painting with Gallery Director Sean Rainbird and Head The Print Portfolios. Curator Brendan Rooney, the Friends and Patrons enjoyed a behind-the-scenes visit to Prints & Drawings with curators Through a wide range of activities and benefits, long-term Anne Hodge and Sarah McAuliffe to learn about a new members re-engaged and new members were welcomed. collection of photographs acquired by the Gallery. Friends and Patrons enjoyed multiple visits to the Gallery’s exhibitions. Sorolla: Spanish Master of Light resulted in a large increase in new membership. All members-only activities offered deeper engagement with the collection or first-hand knowledge of exhibitions.
Offsite events were inspired by exhibitions or the Gallery’s collection. The annual overseas European trip took the Friends to Italy to walk in the footsteps of Sir Denis Mahon. The timing related to the exhibition The Voyage of Italy: 200 Years of Travel Guides from the Sir Denis Mahon Collection. The exhibition Canaletto and the Art of Venice earlier in the year also gave people an interest in visiting or revisiting Venice. Based in Ferrara for five nights, the group also enjoyed day trips to Bologna and Venice.
A pilot three-day trip to the UK explored some of the art and artists in London galleries that are represented in or connected to artists in the Gallery’s collection. The annual Irish trip was to Waterford. This four-day trip focused on themes explored in Daniel Maclise’s The Marriage of Strongbow and Aoife. Day trips during 2019 included a visit to Ardnacrusha inspired by the exhibitions Making Their Mark: Irish Painter-Etchers 1880–1930 and Shaping Ireland: Landscapes in Irish Art.
In total, 137 member-only events were held, five promotional events and six events exclusively for Patrons. Private curator-led preview tours of selected exhibitions were one of the benefits available to Patrons. The variety of member-only events included the now annual Director’s Lecture, curators’ pre-exhibition lectures in advance of exhibitions opening to the public, exhibition previews, behind-the-scenes and other Gallery-based talks and tours, walking tours, day trips and visits to other cultural institutions. Bookending 2019, there was a Celebrating Turner event at the end of January and in early December a Christmas concert in the Shaw Room. This concert featured the Boys of the Palestrina Choir (St Mary’s Pro-Cathedral) and tickets were also available to non-members. The other Christmas event was a screening of Meet Me in St. Louis, also open to non-members. 2019 was the third year to screen a Christmas film. Corporate Services Annual Report 2019 35
HR Employee Engagement The Gallery has placed significant emphasis on The Gallery conducted the first employee engagement organisational development and workforce planning survey in 2018. It proved to be a constructive and successful over recent years and has developed a comprehensive approach to ensure that staff engagement is monitored Workforce Plan. In 2019, the Gallery received 39 sanctions and managed on a regular basis. Key actions arising from from the Department of Culture, Heritage and the Gaeltacht this survey are currently being implemented. The Gallery and a total of 33 posts were recruited, spread across all committed to repeat this engagement survey in Autumn pillars. 2020.
Time and Attendance IT Policy The IT Department successfully migrated all Gallery telephone numbers to a voice-over-IP (VoIP) service, In 2019, the Gallery implemented the Time & Attendance granting staff members added flexibility to handle queries (T&A) policy and related procedures. Overall it was a from the public while also reducing annual reception and success, as 100% of staff recorded their work hours by telephony spend. clocking in and out. Staff also availed of 50.5 days’ flexitime in 2019. This is a benefit to staff that promotes work–life New multi-function printers (MFPs) configured with secure balance. In addition, HR conducted an internal review of the document scanning and retrieval were introduced across full suite of HR policies and procedures to ensure they were all Gallery office spaces as part of the IT Department’s data in line with employment legislation. retention and security objectives.
Transition 2020 Operations The Gallery worked in partnership with SIPTU to agree Following a lengthy engagement with SIPTU, NGI to modernise the internal collective relationship. In the management signed the Transition 2020 agreement in context of progressive employee relations, the aim of the February 2019. parties is to address issues and areas of common interest through the application of progressive HR policies that On 23 May a light fitting became detached from its track concurrently underscore the Gallery’s and its employees’ and fell to the floor in the Upper Milltown Wing. As the ambition to be an employer of choice within the Public cause could not be immediately ascertained, the historic Sector. The Transition 2020 document was signed in May wings were closed to the public while investigations took 2019. place. The manufacturer of the lighting system supplied a modification for each fitting as a safety measure. The historic wings were reopened to the public following Training & Development installation and safety checks on 10 September 2019.
The Gallery placed significant emphasis on training and On 30 July a significant weather event resulted in 22mm staff development over recent years. This is evidenced by of rainfall in the Dublin area over a five-hour period. an increase in the training & development funding budget This resulted in the flooding of two rooms of operations from €55K in 2018 to €103K in 2019 (an increase of 87%). accommodation in the Dargan Wing basement. The The 3-Tier Training & Development framework caters for accommodation was returned to normal use within two the individual staff training needs, through to the collective weeks. training needs of all departments. Group training courses were organised to focus on areas that included Dignity at In December the Millennium Wing entrance was upgraded Work, Visitor Experience and Interviewer Skills Training. with a sliding door system that significantly improved Staff with people management responsibility attended accessibility and environmental control. line management and employee relations workshops. The purpose of these workshops was to ensure that all line managers are equipped with required knowledge and skills to manage their staff. 36 Annual Report 2019
Procurement Wedding Fair Events hosted the Gallery’s first wedding fair on 14 The NGI operates a strategic approach to procurement, as February. The fair showcased the magnificent No. 5 outlined in the Gallery’s Corporate Procurement Plan 2019– rooms to recently engaged couples, and allowed them the 2021. Good procurement practice is of vital importance opportunity to talk with industry suppliers. to the NGI in order to provide value for the public money spent, and ensures that all key suppliers provide the required goods and services at the quality and standard GALLERY SHOP agreed. Discretionary expenditure in 2019 amounted to some €4.74m, on premises expenses, professional fees, There were 368,860 Gallery Shop visitors in 2019, and 51.9% security, exhibition costs, IT, printing, office supplies, of Gallery visitors visited the Gallery Shop. marketing & communications, recruitment and training costs. Inspiration from the Collection The Corporate Procurement function provides in-house In 2019, the shop focused on developing merchandise support and guidance for all Gallery procurements and ranges to celebrate and highlight artworks in the Gallery’s tenders, while ensuring compliance with national and EU collection. Initially, four artworks were selected and Public Procurement rules and the Code of Practice for bespoke products developed and produced. Displays the Governance of State Bodies. Tender competitions were built around these products using merchandise completed in 2019 include: complementary to the colour palette of each painting. These customised products were unique to the Gallery – Capital campaign lead Shop and include mounted prints, notebooks, cushions, lens cloths, magnetic bookmarks, glasses cases, notecards, – Digitisation of archive collections tote bags and cosmetic bags. The four works chosen for the initial phase were: – Bookscanner – William John Leech (1881–1968) A Convent Garden, – Procurement advisory services Brittany, c.1913
– CRM – Claude Monet (1840–1926) Argenteuil Basin with a Single Sailboat, 1874 – Business case support under the Public Spending Code – Mainie Jellett (1897–1944) A Composition, 1930s – Fine art transport – Frederic William Burton (1816-1900) Hellelil and – Design and print services. Hildebrand, the Meeting on the Turret Stairs, 1864.
Commercial Shop Development Shop refurbishment continued during the year. Furniture EVENTS layout and merchandising were adjusted to improve the customer journey through the shop. A new queue While the Gallery is not a bespoke event venue, the Gallery system was installed which allowed for better customer Events Team facilitated 162 events throughout the year. management during busy periods. Stock can also be These ranged from exhibition openings and concerts to stored in the queue system. New signage was designed gala dinners and private receptions. in accordance with the Gallery’s branding and installed towards the end of the year. The signage was on the external walls, windows, and doors of the shop. Customer Highlights information included shop opening times, how all purchases support the Gallery, and highlighting our range Launch of Tipple with Art of Irish design products. This initiative aimed to offer something new to visitors while offering a fun, relaxing evening. ‘Tipple with Art’ where an artist guided guests, offering advice to budding artists as they created their own versions of an artwork from the Gallery’s collection. Every evening was fully booked. We also facilitated our first private Tipple with Art evening for a team building event in No. 5 South Leinster Street. Annual Report 2019 37
Exhibition Merchandise Merchandise ranges were developed for several exhibitions in the Gallery. Larger bespoke ranges were produced for two exhibitions.
For Shaping Ireland: Landscapes in Irish Art, four works were chosen to build the range around. Items such as trinket boxes, postcards, magnetic bookmarks and poster prints were produced. Complementary items such as mohair throws, Irish landscape socks and merino scarves were sourced from Irish suppliers.
Echoing the popularity of the exhibition, the merchandise for Joaquín Sorolla: Master of Light performed very well, with over 22,000 items being sold during the exhibition’s run. Four key images were chosen for which bespoke items were produced. Items were also sourced from the shop at Museo Sorolla and the shop at National Gallery London. A range of complementary items were available such as traditional Spanish soaps, light and flowing scarves, and beach baskets. The exhibition’s companion book was produced by National Gallery London and all 1,200 available copies sold out.
Gallery Shop Publications National Gallery of Ireland Calendar 2020 Published with the generous support of Northern Trust ISBN 9781904288770
National Gallery of Ireland Diary 2020 Co-publication with Gill Books ISBN 9780717184378
National Gallery of Ireland Year Planner 2020 Co-publication with Teapot Press ISBN 9781906013011
CAFÉ – 225,805 visitors used the Gallery Café in 2019 38 Annual Report 2019 Financial Statements
for the year ended 31 December 2019 Annual Report 2019 39
Table of Contents
Governance Statement 40
Statement on Internal Control 48
Comptroller & Auditor General Report for Presentation to the Houses of the Oireachtas 50
Statement of Financial Activities 52
Statement of Comprehensive Income 53
Statement of Financial Position 54
Statement of Changes in Reserves and Capital Account 55
Statement of Cash Flows 56
Notes to the Financial Statements 57 40 Annual Report 2019
Governance Statement and Board Members’ Report
– appointment of the Chairperson of the Board and approving Governance the Terms of Reference of all Board Committees The National Gallery of Ireland (the Gallery) is a statutory – amending or updating the Byelaws corporate body established by the National Gallery of Ireland Act, 1854 (the 1854 Act). The Gallery operates in accordance with the – approval of the terms of major contracts, investments and provisions of National Gallery of Ireland Acts 1854 to 1963 and capital projects, significant acquisitions, disposals, export the National Cultural Institutions Act, 1997 (together, the Acts) licences (pursuant to a delegated authority from the Minister and under the aegis of the Department of Tourism, Culture, Arts, for Tourism, Culture, Arts, Gaeltacht, Sport and Media under Gaeltacht, Sport and Media. the National Cultural Institutions Act, 1997) and retirement of assets The business and affairs of the Gallery are managed on its behalf by a non-executive Board of Governors & Guardians (the Board). – maintenance of a sound system of internal controls, including The main functions of the Board are set out in the Acts and its financial, operational and compliance controls and risk Byelaws. The Board is responsible for ensuring good governance management processes and performs this task by setting strategic objectives and targets – approval of risk management policy, monitoring the Gallery’s and taking strategic decisions on all key business issues. risk management processes and systems, to ensure the The regular day-to-day management, control and direction of the effective identification, monitoring and control of external Gallery is the responsibility of the Director, assisted by the senior risks, and identification of opportunities, to support the management team. The Director and the senior management Gallery’s statutory objectives (delegated to the Audit, Risk & team must follow the broad strategic direction set by the Finance Committee which reports back to the Board at regular Board, and must ensure that all Board members have a clear intervals) understanding of the key activities and decisions related to the – approval of fundraising strategy and treasury policy entity, and of any significant risks likely to arise. The Director acts as a direct liaison between the Board and management. – authorisation to open bank accounts and approve borrowing facilities In 2017, the Gallery became the first organisation to be awarded certification under the National Standards Authority of Ireland – formal review of its own performance, that of its committees (NSAI) SWiFT 3000 standard under the new Code of Practice for and individual Board members. the Governance of State Bodies as published by the Department of Public Expenditure and Reform in August 2016 (the Code). STANDING ITEMS CONSIDERED BY THE BOARD INCLUDE: SWiFT 3000 is a standard relating to a Code of Practice for Corporate Governance assessment in Ireland. Its objective is to – declaration of interests assess the corporate governance frameworks of organisations – reports from Board committees and from the Director and specifically the level of compliance by organisations with governance codes and best practice. The award evidences the – finance & risk, including financial reports and management Gallery’s commitment to operate to best practice corporate accounts governance standards. The Gallery maintained this accreditation – performance reports in 2019, achieving a score of 3.92/4 overall. – corporate governance Board Responsibilities – loans & acquisitions of works of art – reserved matters. The main work and responsibilities of the Board are set out in the Byelaws. The Board has also adopted a formal schedule of Section 35 of the National Cultural Institutions Act 1997 requires matters specifically reserved for Board decision. Key matters the Board to prepare accounts for each financial year in such reserved for the Board include: form as may be approved by the Minister for Tourism, Culture, – approval of acquisitions, donations, loans and exhibitions of Arts, Gaeltacht, Sport and Media, with the consent of the Minister works of art for Public Expenditure and Reform.
– assessment and approval of the Annual Report and Financial Statements IN PREPARING THESE FINANCIAL STATEMENTS, THE – compliance with statutory and non-statutory obligations, BOARD IS REQUIRED TO: including under the Byelaws, the Code and Government circulars – select suitable accounting policies and apply them consistently
– approval of strategic plans, the annual operating plan and – make judgements and estimates that are reasonable and budget prudent
– approval of appointment, remuneration, assessment of performance and succession planning for the Director Annual Report 2019 41
– prepare the financial statements on the going concern basis unless it is inappropriate to presume that it will continue in operation
– state whether applicable accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements.
The Board is responsible for keeping adequate accounting records which disclose, with reasonable accuracy at any time, its financial position and enables it to ensure that the financial statements comply with section 35 of the National Cultural Institutions Act, 1997. The maintenance and integrity of the corporate and financial information on the Gallery’s website is the responsibility of the Board.
The Board is responsible for approving the annual budget. The performance of the Gallery, by reference to its annual plan and budget, was carried out at regular intervals at Board meetings throughout 2019.
The Board is also responsible for safeguarding its assets and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
The Board considers that the financial statements of the Gallery give a true and fair view of the financial performance and the financial position of the Gallery at 31 December 2019.
Board Structure The Board comprises up to seventeen members, of which ten are appointed by the Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, five are ex-officio holders of the offices listed below, and two are nominated and appointed by the Royal Hibernian Academy pursuant to a power bestowed on them in the 1854 Act. Members appointed by the Minister serve terms of five years. Ex-officio members serve terms of varying duration depending on the constitution of their organisation.
EX-OFFICIO MEMBERS:
– Royal Hibernian Academy (RHA) | President
– Royal Dublin Society (RDS) | President and Vice President
– Royal Irish Academy (RIA) | President
– Office of Public Works (OPW) | Chairman
The Board appoints its own Chairperson and Vice Chairperson, pursuant to a power bestowed on them under the Acts. 42 Annual Report 2019
Current Members THE TABLE BELOW DETAILS THE APPOINTMENT PERIOD FOR CURRENT MEMBERS:
MINISTER'S NOMINEES (5-YEAR TERM)
NAME APPOINTED EXPIRATION DATE Lynda Carroll 17 November 2016 16 November 2021 Jacqueline Hall 17 November 2016 16 November 2021 Gary Jermyn 17 November 2016 16 November 2021 Ann Prendergast 17 November 2016 16 November 2021 Lesley Tully 17 November 2016 16 November 2021 Barney Whelan 17 November 2016 16 November 2021 John O’Doherty 19 September 2019 18 September 2024 Mary Keane (Chairperson) 2 July 2014 30 June 2024 Dan Flinter 19 September 2019 18 September 2024
RHA NOMINEES (3 YEAR TERM)
NAME APPOINTED EXPIRATION DATE Diana Copperwhite RHA 6 May 2020 6 May 2023 Una Sealy RHA 1 January 2019 31 December 2021
EX-OFFICIO MEMBERS
NAME APPOINTED EXPIRATION DATE Maurice Buckley (Chairman OPW) 12 December 2016 Ongoing Abigail O’Brien (President RHA) 9 October 2018 Ongoing Mary Canning (President RIA) 16 March 2020 15 March 2023 Owen Lewis (President RDS) 1 December 2016 1 December 2022 John Dardis (Vice-President RDS) 5 December 2019 5 December 2025
The Board and its committees undertook an external performance review in 2017 and plans to undertake an external performance review in 2021, in line with the requirements of the Code. This was due to occur in 2020 but was delayed due to COVID-19.
The Board did not undertake a review of its own internal Board Effectiveness and Evaluation in 2019, as part of its compliance under the Code. However, it has resumed this practice in 2020.
Board Changes In January 2019 Vivienne Roche’s term of the Board ended and Una Sealy was appointed in her place.
In June 2019, Suzanne Macdougald’s term on the Board ended and John O’Doherty was appointed in her place.
In July 2019, Margaret Glynn’s term on the Board ended and Dan Flinter was appointed in her place.
In July 2019, Mary Keane’s term on the Board ended but she was re-appointed for a second term.
In December 2019, Bernie Brennan’s term on the Board ended and John Dardis was appointed in her place. Annual Report 2019 43
Board Committees
DURING 2019, THE BOARD OPERATED FIVE COMMITTEES AS FOLLOWS:
Acquisitions & Exhibitions Education & Public Committee Engagement Committee The role of the Committee is to advise and agree on the potential The role of the Committee is to oversee all matters relating to acquisition, donation, gift and purchase of works of art and the education, public programming and public engagement. The exhibitions programme. The Committee reports to the Board in Committee reports to the Board in writing after each meeting, writing after each meeting, as well as annually. The Committee as well as annually. The Committee currently comprises five currently comprises five members, of which one is the Chairman members, of which one is the Chairman of the Board, including of the Board. The Director, the Head Curator and the Head of two external members. The Director and the Head of Public Collections and Research attend all meetings. There were seven Engagement attend all meetings. There were four meetings of the meetings of the Committee in 2019. Committee in 2019.
Committee Members 2019: Michael Cush, James English Committee Members 2019: Michael Cush, Jacqueline Hall (Committee Chairman), Abigail O’Brien, Mary Keane, Lesley Tully. (Committee Chairperson), James Hanley (external member), Una Sealy, Martina Byrne (external member) and Barney Whelan. Audit, Risk & Finance Committee Governance & Strategy The role of the Committee is to support the Board in ensuring Committee that it meets its relevant statutory functions and advise the The role of the Committee is to support the Board on matters Board on the robustness and effectiveness of corporate relating to governance and organisation, to monitor and advise governance, financial management, risk management and on the Gallery’s strategic plan and on external legislative and internal audit. The Committee reports to the Board in writing strategic matters. The Committee reports to the Board in writing after each meeting, as well as annually. The Committee currently after each meeting, as well as annually. This Committee currently comprises five members, of which one is the Chairman of the comprises five Board members, of which one is the Chairman of Board, including two external members. The Director and the the Board. There were five meetings of the Committee in 2019. Director of Corporate Services attend all meetings. The Gallery’s Committee Members 2019: Michael Cush, Mary Keane Internal Auditors attended relevant meetings throughout the (Committee Chairperson), Barney Whelan, Peter Kennedy and year. There were five meetings of the Committee in 2019. Ann Prendergast. Committee Members 2019: Michael Cush, Bernie Brennan, Maurice Buckley, Lynda Carroll (Committee Chairperson), Jean Philippe Grigy (external member) and Kieran Wallace (external member).
Development Committee The role of the Committee is to promote and facilitate the future development of all aspects of the Gallery. The Committee reports to the Board in writing after each meeting, as well as annually. The Committee currently comprises seven members, of which one is the Chairman of the Board, including two external members. The Director and the Head of Development attend all meetings. There were five meetings of the Committee in 2019.
Committee Members 2019: Lynda Carroll, Michael Cush, Gary Jermyn (Committee Chairman), Suzanne Macdougald (external), Michael Maughan (external member), Vivienne Roche (external) and Lesley Tully. 44 Annual Report 2019
Board Meetings and Expenses The Board meets at least six times a year and, in 2019, met 7 times. A session without the Executive present is included as a standing item on the agenda of each Board meeting.
BOARD MEMBER MEETINGS ATTENDED / EXPENSES PAID MEETINGS ELIGIBLE TO ATTEND Michael Cush (Chairman) 7/7 - Bernie Brennan 6/6 - Maurice Buckley 5/7 - Lynda Carroll 7/7 - John Dardis 0/1 - James English 7/7 - Dan Flinter 1/2 - Margaret Glynn 3/3 - Jacqueline Hall 7/7 - Gary Jermyn 7/7 - Mary Keane 7/7 483 Michael Peter Kennedy 4/7 - Owen Lewis 5/7 - Suzanne Macdougald 3/3 669 Abigail O'Brien 6/7 - John O’Doherty 2/2 - Ann Prendergast 6/7 - Una Sealy 6/7 Lesley Tully 6/7 - Barney Whelan 7/7 1,442 TOTAL €2,594
No Board fees are payable to Board members. Annual Report 2019 45
Salary of the Director SEE NOTE 9 (D) TO THE FINANCIAL STATEMENTS.
Schedule of Attendance at Committee Meetings in 2019
ACQUISITIONS AUDIT, RISK DEVELOPMENT EDUCATION GOVERNANCE & EXHIBITIONS & FINANCE & PUBLIC & STRATEGY ENGAGEMENT NO. MEETINGS 7 5 5 4 5
COMMITTEE MEMBER Michael Cush (Chairman) 3/7 3/5 4/5 4/4 5/5 Bernie Brennan 1/5 Maurice Buckley 5/5 Lynda Carroll 5/5 4/5 James English 7/7 Margaret Glynn 3/4 1/2 Jean-Philippe Grigy (external) 4/5 Jacqueline Hall 4/4 James Hanley 3/4 Gary Jermyn 5/5 Mary Keane 2/2 5/5 Peter Kennedy 4/4 Owen Lewis Suzanne Macdougald 4/4 5/5 Michael Maughan (external) 1/5 Abigail O'Brien 3/6 Ann Prendergast 5/5 Vivienne Roche 4/5 Lesley Tully 1/2 2/5 Kieran Wallace (external) 1/5 Barney Whelan 3/4 4/5 Martina Byrne (external) 2/3 Una Sealy 4/4
Disclosures Required by Employee Short Term the Code of Practice for the Benefits Breakdown Governance of State Bodies See Note 9 (a) to the Financial Statements. (2016) The Board is responsible for ensuring that the Gallery has Consultancy Costs complied with the requirements of the Code. The following Consultancy costs include the cost of external advice to disclosures are required by the Code: management and exclude outsourced “business-as-usual” functions. 46 Annual Report 2019
Consultancy Costs CONSULTANCY COSTS INCLUDE THE COST OF EXTERNAL ADVICE TO MANAGEMENT AND EXCLUDE OUTSOURCED “BUSINESS-AS-USUAL” FUNCTIONS.
2019 2018 € € Legal Fees 61,045 30,655 Economic/MDP 7,220 2,768 Financial 57,240 5,874 Human Resources 33,954 17,480 Operational 30,622 40,229 TOTAL 190,081 97,006
Travel and Subsistence Expenditure
2019 2018 € € DOMESTIC Board 2,594 7,583 Employees 5,253 14,270 Non Staff 1 2,073 1,762
INTERNATIONAL Board - - Employees 59,789 57,752 Non Staff 1 578 762 Friends of the NGI 1,397 778 TOTAL 71,684 82,907 1 Non Staff Travel & Subsistence expenditure relates to guest speakers, intern travel and consultant expenses.
2019 2018 € € Travel and Subsistence in Income and Expenditure 65,763 74,359 Account Board Travel and Subsistence included in Note 10 (Other 2,594 7,583 Costs) Shop Travel and Subsistence included in Note 7 1,930 187 (Operating Costs) Friends Travel and Subsistence included in Note 6 1,397 778 (Operating Costs) TOTAL 71,684 82,907 Annual Report 2019 47
Hospitality Expenditure THE STATEMENT OF INCOME AND EXPENDITURE INCLUDES THE FOLLOWING HOSPITALITY EXPENDITURE:
2019 2018 € € Staff hospitality 8,230 4,301 Client hospitality 11,015 15,345 TOTAL 19,245 19,646
Statement of Compliance The Board has adopted the Code of Practice for the Governance of State Bodies (2016) and has put procedures in place to ensure compliance with the Code. Save for a failure to undertake a review of its own internal Board Effectiveness and Evaluation in 2019, the Gallery was in full material compliance with the Code during 2019. It has resumed this practice in 2020.
ON BEHALF OF THE GOVERNORS AND GUARDIANS OF THE NATIONAL GALLERY OF IRELAND:
MARY KEANE, LYNDA CARROLL, CHAIRPERSON BOARD MEMBER 10 DECEMBER 2020 10 DECEMBER 2020 48 Annual Report 2019 Statement on Internal Control Scope of Responsibility
On behalf of the Board of Governors and Guardians of the National Gallery of Ireland (the Board), I acknowledge our responsibility for ensuring that an effective system of internal control is maintained and operated. This responsibility takes account of the requirements of the Code of Practice for the Governance of State Bodies (2016).
The ARF has developed a risk management policy which sets out Purpose of the System of the Gallery’s risk appetite, the risk management processes in Internal Control place and details the roles and responsibilities of staff in relation to risk. This policy has been issued to all staff who are expected The system of internal control is designed to manage risk at a to work within its terms, to alert management to emergent risks tolerable level rather than to eliminate it. The system of internal and control weaknesses and assume responsibility for risks and control can therefore provide only reasonable and not absolute controls within their own area. assurance that assets are safeguarded, transactions authorised and properly recorded, and that material errors or irregularities are either prevented or would be detected in a timely manner. Risk and Control Framework Maintaining the system of internal controls is a continuous process and the system and its effectiveness are kept under The Gallery has implemented a risk management system which ongoing review. The system of internal control, which accords identifies and reports key risks and the management actions with guidance issued by the Department of Public Expenditure being taken to address and, to the extent possible, to mitigate and Reform has been in place in the National Gallery of Ireland those risks. (the Gallery) for the year ended 31 December 2019 and up to the A risk register is in place which identifies the key risks facing the date of approval of the financial statements. Gallery and these have been identified, evaluated and graded according to their significance. The risk register identifies various types of risks including strategic, operational, financial, and Capacity to Handle Risk reputational risks to the organisation and the existing controls The Board has an Audit, Risk & Finance Committee (ARF) and further actions necessary to minimise the impact on the comprising five members, with financial and audit expertise, organisation, in the event of the risk occurring. The register is one of whom is Chairman of the Board. The ARF met five times reviewed and updated by the Executive Leadership Team and in 2019. The ARF produces an annual report of activity which is the Gallery’s Risk Management Committee on an ongoing basis. circulated to the Board. The outcome of these assessments is used to plan and allocate resources to ensure risks are managed to an acceptable level. The The Gallery has also outsourced the internal audit function to risk register details the controls and actions needed to mitigate Deloitte. The internal audit function is adequately resourced and risks and responsibility for operation of controls assigned to conducts a programme of work agreed with the ARF Committee. specific staff. The programme of work is prepared taking into consideration results of the previous internal audit reviews; industry risks; risk Deloitte provides comprehensive internal audit reports focused register; and is then discussed and agreed with the ARF. on areas of higher risk, but with an overall objective of evaluating controls in all of the Gallery’s major areas of activity over a cycle of three years. The internal audit plan is done in three year cycles and all scheduled audits for 2019 took place. Annual Report 2019 49
A review of Internal Financial Control was undertaken in 2019. Reports are prepared in accordance with Deloitte’s internal Procurement audit approach, which is consistent with standards laid down by I confirm that the Gallery has procedures in place to ensure the Chartered Institute of Internal Auditors. Findings identified compliance with current procurement rules and guidelines, during internal and external audit were used to inform the including a corporate procurement plan and a procurement updated risk register and the 2019 Internal Audit Workplan. operational plan and that during 2019, the Gallery complied with these procedures with the exception of two contracts for design A framework of administrative procedures and regular services totalling €88,214. management reporting is also in place including segregation of duties and a system of delegation and accountability. In particular: Review of Effectiveness – There is an appropriate budgeting system with an annual I confirm that the Gallery has procedures to monitor the approved budget which is kept under review by senior effectiveness of its risk management and control procedures. management. The Gallery’s monitoring and review of the effectiveness of the – There are regular reviews by senior management of periodic system of internal control is informed by the work of the internal and annual financial reports which indicate financial and external auditors, the ARF which oversees their work, and performance against forecasts. the senior management within the Gallery responsible for the development and maintenance of the internal control framework. – The risk register is presented in summary to the ARF on a periodic basis and is reviewed in full by the ARF annually. I confirm that the Board conducted an annual review of the effectiveness of the internal controls for 2019. – There are systems aimed at ensuring the security of the ICT systems. Through the processes outlined above, the ARF confirms that the Board is satisfied with the effectiveness of the internal controls in – There are appropriate capital investment control guidelines operation in respect of the year ended 31 December 2019, based and formal project management disciplines. on a review carried out by Deloitte in November 2019. – Security procedures for safeguarding the collection are reviewed regularly. ON BEHALF OF THE GOVERNORS AND GUARDIANS OF – The Gallery ensures that there is an appropriate focus on good THE NATIONAL GALLERY OF IRELAND: practice in purchasing and that procedures are in place to ensure compliance with all relevant guidelines.
Ongoing Monitoring and Review MARY KEANE, CHAIRPERSON Formal procedures have been established for monitoring control 10 DECEMBER 2020 processes and control deficiencies are communicated to those responsible for taking corrective action and to management and the Board, where relevant, in a timely way. I confirm that the following ongoing monitoring systems are in place:
– Key risks and related controls have been identified and processes have been put in place to monitor the operation of those key controls and report any identified deficiencies,
– Reporting arrangements have been established at all levels where responsibility for financial management have been assigned, and
– There are regular reviews by senior management of periodic and annual performance and financial reports which indicate performance against budgets/forecasts.
– Following a review of the process relating to payments, additional controls have been implemented to further strengthen this control environment. This review was initiated following a targeted fraud directed at the Gallery, which resulted in payment of €28,214 being made in 2019, of which €25,644 was recouped. Fraud procedures were followed including reporting of the incident to An Garda Síochána. 50 Annual Report 2019 Annual Report 2019 51 52 Annual Report 2019
Statement of Financial Activities
For the Year Ended 31 December 2019
NOTE UNRESTRICTED RESTRICTED 2019 UNRESTRICTED RESTRICTED 2018 FUNDS FUNDS TOTAL FUNDS FUNDS TOTAL INCOMING RESOURCES € € € € € € Oireachtas Grant 2 9,688,000 859,000 10,547,000 9,143,000 894,763 10,037,763 Oireachtas Grant - Other 2a 120,340 - 120,340 15,129 - 15,129 Donations Revenue 144,261 - 144,261 304,540 4,999 309,539 Café/Events Revenue 301,412 - 301,412 316,029 - 316,029 Exhibitions Income 615,739 - 615,739 434,806 - 434,806 Education Income 3 85,754 - 85,754 98,124 - 98,124 Royalties 154,638 - 154,638 161,296 - 161,296 Sponsorship/Research Income 4 278,900 87,959 366,859 491,114 371,878 862,992 Miscellaneous Income 5 (20,342) 6,715 (13,627) 405,679 20,299 425,978 Heritage Asset Donations - 1,330,116 1,330,116 - 555,185 555,185 Net Income from Friends of the NGI 6 - 92,421 92,421 - 49,627 49,627 Net Income from Shop 7 292,188 - 292,188 366,001 - 366,001 TOTAL INCOME 11,660,890 2,376,211 14,037,101 11,735,718 1,896,751 13,632,469
RESOURCES EXPENDED Charitable Activities Collection and Research 8C 8,677,153 107,226 8,784,379 8,481,457 191,630 8,673,087 Public Engagement 8C 1,703,034 - 1,703,034 1,917,897 - 1,917,897 Education 8C 1,203,736 7,711 1,211,447 1,222,196 257 1,222,453 Development 8C 708,239 3,967 712,206 275,063 1,757 276,820 Total resources expended 8B&C 12,292,162 118,904 12,411,066 11,896,613 193,644 12,090,257
SURPLUS FOR THE YEAR BEFORE (631,272) 2,257,307 1,626,035 (160,895) 1,703,107 1,542,212 APPROPRIATIONS Transfer (to)/from the Capital 11 42,572 - 42,572 3,617 - 3,617 Account Transfer (to) Heritage Asset Reserve 12 (28,218) (2,235,501) (2,263,719) (20,000) (1,751,579) (1,771,579) Unrealised revaluation gain/(loss) 14 586,258 175,816 762,074 (195,675) (66,553) (262,228) on investments Gain on investment disposals 14 37,560 16,464 54,024 127,749 1,454 129,203 MDP commissioning costs - - - - (2,708) (2,708) SURPLUS/(LOSS) FOR THE YEAR 6,900 214,086 220,986 (245,204) (116,279) (361,483) AFTER APPROPRIATIONS
The statement of Cash Flows and Notes 1 to 28 form part of these financial statements.
ON BEHALF OF THE GOVERNORS AND GUARDIANS OF THE NATIONAL GALLERY OF IRELAND:
MARY KEANE, LYNDA CARROLL, CHAIRMAN BOARD MEMBER 10 DECEMBER 2020 10 DECEMBER 2020 Annual Report 2019 53
Statement of Comprehensive Income
For The Year Ended 31 December 2019
NOTE UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € SURPLUS /(LOSS) FOR THE YEAR AFTER 6,900 214,086 220,986 (361,483) APPROPRIATIONS
Revaluation of Property 13 45,000 55,000 100,000 70,000 Other Comprehensive Income for the year 45,000 55,000 100,000 70,000
TOTAL COMPREHENSIVE INCOME FOR THE YEAR 51,900 269,086 320,986 (291,483)
The statements of Cash Flows and Notes 1 to 28 form part of these financial statements.
ON BEHALF OF THE GOVERNORS AND GUARDIANS OF THE NATIONAL GALLERY OF IRELAND:
MARY KEANE, LYNDA CARROLL, CHAIRPERSON BOARD MEMBER 10 DECEMBER 2020 10 DECEMBER 2020 54 Annual Report 2019
Statement of Financial Position
For The Year Ended 31 December 2019
NOTE 2019 2018 FIXED ASSETS € € Heritage Assets1 11/12 41,709,857 39,446,138 Property, Plant & Equipment 13 7,189,126 7,142,992 Financial Assets 14 6,146,369 5,239,831 TOTAL FIXED ASSETS 55,045,352 51,828,961
CURRENT ASSETS Inventory 15 361,697 386,257 Receivables 17 310,643 1,103,931 Cash and Cash Equivalents 16 1,383,758 1,027,328 TOTAL CURRENT ASSETS 2,056,098 2,517,516
CURRENT LIABILITIES (AMOUNTS FALLING DUE WITHIN ONE YEAR) Payables 18 1,097,753 1,062,640 Deferred Income - Government Grant 20 52,997 56,896 Deferred Income - Other 21 2,339,070 2,157,444 TOTAL CURRENT LIABILITIES 3,489,820 3,276,980
NET CURRENT (LIABILITIES) (1,433,722) (759,464)
TOTAL NET ASSETS 53,611,630 51,069,497
REPRESENTING Capital Account 11 872,202 914,774 Unrestricted Reserves 22 6,857,005 6,805,105 Restricted Reserves 22 4,172,566 3,903,480 Capital Account - Heritage Assets 12/22 41,709,857 39,446,138 TOTAL RESERVES 53,611,630 51,069,497 1 All Heritage Assets acquired since 1 January 2007 have been included in the Statement of Financial Position at their cost or value at date of donation.
The statement of Cash Flows and Notes 1 to 28 form part of these financial statements.
ON BEHALF OF THE GOVERNORS AND GUARDIANS OF THE NATIONAL GALLERY OF IRELAND:
MARY KEANE, LYNDA CARROLL, CHAIRMAN BOARD MEMBER 10 DECEMBER 2020 10 DECEMBER 2020 Annual Report 2019 55
Statement of Changes in Reserves and Capital Account
For The Year Ended 31 December 2019
UNRESTRICTED FUNDS RESTRICTED FUNDS
NOTE CAPITAL RESERVES CAPITAL OTHER TOTAL ACCOUNT ACCOUNT - RESTRICTED HERITAGE RESERVES ASSETS € € € € € BALANCE 1 JANUARY 2018 918,391 7,015,309 37,674,559 3,984,759 49,593,018 Surplus/(loss) for the year after appropriations - (245,204) - (116,279) (361,483) Other Comprehensive Income - 35,000 - 35,000 70,000 Heritage Assets purchased 11/12 - - 1,216,394 - 1,216,394 Heritage Assets at valuation 11/12 - - 555,185 - 555,185 Payment to acquire Fixed Assets 11 252,256 - - - 252,256 Amortisation of Fixed Assets 11 (255,873) - - - (255,873) BALANCE AT 31 DECEMBER 2018 914,774 6,805,105 39,446,138 3,903,480 51,069,497
BALANCE AT 1 JANUARY 2019 914,774 6,805,105 39,446,138 3,903,480 51,069,497
Surplus for the year after appropriations - 6,900 - 214,086 220,986 Other Comprehensive Income - 45,000 - 55,000 100,000 Heritage Assets purchased 11/12 - - 933,603 - 933,603 Heritage Assets at valuation 11/12 - - 1,330,116 - 1,330,116 Payment to acquire Fixed Assets 11 201,968 - - - 201,968 Amortisation of Fixed Assets 11 (244,540) - - - (244,540) BALANCE AT 31 DECEMBER 2019 872,202 6,857,005 41,709,857 4,172,566 53,611,630
INCLUDED IN THE BALANCES AT 31 DECEMBER 2019: VALUE OF PROPERTY REVALUATIONS: Unrestricted Reserves 2,730,000 Restricted Reserves 3,040,000 56 Annual Report 2019
Statement of Cash Flows
For The Year Ended 31 December 2019
2019 2018 € € NET CASH FLOWS FROM OPERATING ACTIVITIES Excess Income over Expenditure 220,986 (361,483) Depreciation and impairment of fixed assets 359,712 365,825 Decrease /(Increase) in Inventory 24,560 7,780 (Increase) / Decrease in Receivables 793,288 (532,093) (Decrease)/Increase in Payables 35,113 (87,828) Bank Interest received (42) (2,679) Dividends received (33,135) (36,265) Decrease in Deferred Government Grant (3,899) (34,763) Increase / (Decrease) in Deferred Income - Other 181,626 (182,468) Movement on Capital Account (42,572) (3,617) NET CASH INFLOW FROM OPERATING ACTIVITIES 1,535,637 (867,591)
CASH FLOWS FROM INVESTING ACTIVITIES Payments to acquire property, plant and equipment (305,846) (622,931) Disposals of property, plant and equipment - 13,636 Payments to acquire quoted investments (942,943) (1,132,459) Receipts from disposal of quoted investments 863,250 1,138,697 Movement of investment cash balances (10,747) 63,600 Unrealised revaluation gain on investments (762,074) 262,228 Gain on investment disposals (54,024) (129,203) NET CASH FLOWS FROM INVESTING ACTIVITIES (1,212,384) (406,432)
CASH FLOWS FROM FINANCING ACTIVITIES Bank interest received 42 2,679 Dividends received 33,135 36,265 NET CASH FLOWS FROM FINANCING ACTIVITIES 33,177 38,944
NET INCREASE /(DECREASE) IN CASH AND CASH 356,430 (1,235,079) EQUIVALENTS Cash and Cash Equivalents at 1 January 1,027,328 2,262,407 CASH AND CASH EQUIVALENTS AT 31 DECEMBER 1,383,758 1,027,328 Annual Report 2019 57 Notes to the Financial Statements 1. Accounting Policies
The basis of accounting and significant accounting policies adopted by the National Gallery of Ireland (the Gallery) are set out below. They have been applied consistently throughout the year and for the preceding year. a) General Information c) Basis of Preparation The Gallery was founded by an Act of Parliament in 1854 and The financial statements have been prepared under the historical opened to the public in 1864 at Merrion Square, Dublin 2. cost convention, except for certain assets and liabilities that are measured at fair values as explained in the accounting policies The Gallery’s primary objectives as set out in Part VI of the below. The financial statements are in the form approved by the National Cultural Institutions Act, 1997, are as follows: Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, 60. — 1) IT SHALL BE A FUNCTION OF THE GOVERNORS with the concurrence of the Minister for Finance under the AND GUARDIANS – National Cultural Institutions Act, 1997. A Performance Delivery Agreement and Oversight Agreement between the Gallery and (a) to increase and diffuse in or outside the State the Department of Tourism, Culture, Arts, Gaeltacht, Sport knowledge of the visual arts by whatever means they and Media is now in place. The following accounting policies consider appropriate, have been applied consistently in dealing with items which are (b) to dispose of land or an interest in land subject to the considered material in relation to the financial statements. consent of the Minister, and to dispose of any other property (other than cultural objects in the collection of the National Gallery), and d) Format of Financial
(c) to engage in such activities for the purpose of raising Statements funds for purposes of the National Gallery as they think The format of these financial statements has been approved appropriate. by the Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, and comprises the Statement of Income and Expenditure, (2) T HE FUNCTIONS AFORESAID ARE IN ADDITION TO AND NOT IN SUBSTITUTION FOR ANY Statement of Comprehensive Income, Statement of Financial Position, FUNCTIONS CONFERRED ON THE GOVERNORS Statement of Changes in Reserves and Capital Account, Statement of AND GUARDIANS BY THE NATIONAL GALLERY Cash Flows and related notes. These financial statements are a OF IRELAND ACTS, 1854 TO 1963. consolidation of all the activities of the Gallery and comprise of: -
The Gallery is a Public Benefit Entity. b) Statement of Compliance The financial statements of the Gallery are prepared in accordance with FRS 102, the Financial Reporting Standard applicable in the UK and Ireland issued by the Financial Reporting Council (FRC), as promulgated by Chartered Accountants Ireland. 58 Annual Report 2019
DEFERRED INCOME ACCOUNTS (NOTE 20 &21) JOHN BARRY/ This fund was established in 1988 to provide for a Scholarship for the promotion and encouragement of PETRONELLA BROWN educational research. SCHOLARSHIP FUND
DARGAN COUNCIL The Dargan Council was established in 2005 to raise funds to purchase major works of art that will most benefit the Gallery’s Collection. FELLOWSHIP FUND This fund was set up by deed in 1986 (and amended in 2005) to generate income in order to provide Fellowships in areas of research, conservation, painting, sculpture and other academic purposes. LANE FUND This fund was established in 1918 when Sir Hugh Lane bequeathed part of his estate to the Gallery specifically for the acquisition of Irish paintings. THE MILLENNIUM WING This fund was set up to record donations from private benefactors towards the construction of the FUND Gallery’s Millennium Wing and its related expenditure.
RESERVE ACCOUNTS (NOTE 22) SHAW FUND This fund was established in 1950 on the death of George Bernard Shaw who bequeathed one-third of the residuary income of his estate to the Gallery to be expended at the discretion of the Board of Governors and Guardians (the Board). NATIONAL GALLERY The shop was initially established under The Magawley Banon Trust set up to fund reproductions and SHOP catalogues of works of art in the collection. OWN RESOURCES This account records all transactions in respect of monies donated to the Gallery and commercial income ACCOUNT generated including sponsorships, educational activities, restaurant licence income and the hire of Gallery facilities. This account also records income and expenditure relating to Exhibitions.
THE FOLLOWING ARE LEGAL ENTITIES, SEPARATE TO THE GALLERY, LIMITED BY GUARANTEE (NOTE 6): FRIENDS OF THE This company, which is limited by guarantee, was established in 1986 to support the activities of the NATIONAL GALLERY Gallery by recruiting membership, to encourage an appreciation of painting, sculpture and architecture. OF IRELAND BRITISH FRIENDS This company, which is limited by guarantee, is a registered charity in the UK. It was set up to raise funds OF THE NATIONAL for the construction of the Millennium Wing, and has also donated funds for the acquisition of paintings GALLERY OF IRELAND of a particular origin and era.
e) Format for Charities g) Revenue The Gallery is a registered charity (CHY2345). In accordance with Income accounted for on a cash receipts basis includes: recommended practice for charities, the Gallery’s income and OIREACHTAS GRANTS expenditure has been analysed to reflect their availability to the Board as follows: DONATIONS REVENUE Restricted Funds: These funds may be expended by the Gallery only for the specific purposes for which they were received. DIVIDEND INCOME
Unrestricted Funds: These funds are available to the Gallery to GOVERNMENT GRANTS/SPONSORSHIP/RESEARCH/ apply for the general purposes of the Gallery as set down in the EDUCATION INCOME legislation under which it has been established. Government Grants and sponsorship income received for specific purposes are recognised in the Statement of Financial Activities f) Capital Account so as to match them with the expenditure towards which they are intended to contribute. Unspent amounts at the balance State grants used for the purchase of fixed assets are transferred sheet date are included in Deferred Income in the Statement of to the Capital Account in the year in which the expenditure occurs Financial Position. Sponsorship income received for non-specific and reflected in the Statement of Income and Expenditure over the purposes is recognised in the Statement of Financial Activities on useful life of the related assets. The Capital Account represents a cash receipts basis. the unamortised funds utilised of the acquisition of fixed assets Annual Report 2019 59
Income recognised on an accruals basis includes: to commercial markets using recent transaction information from auctions. Donations, where the Gallery avails of Section 1003 of CAFÉ/EVENTS REVENUE the Taxes Consolidation Act 1997, are recorded on the basis of the valuation of the Office of the Revenue Commissioners. Donations EXHIBITION INCOME are recognised as income with a corresponding transfer to the ROYALTIES Heritage Fixed Assets capital account. VALUATION OTHER INCOME The Board of Governors and Guardians is of the opinion that NET INCOME FROM FRIENDS OF THE NGI the collection is unusual as an asset in many ways. It is unique, irreplaceable, fragile and extraordinarily valuable. In this regard, NET INCOME FROM SHOP it is an asset that is difficult to value in a way that would be meaningful for readers of financial statements. INTEREST INCOME The Board considers that even if valuations could be obtained for Interest income is recognised on an accruals basis using the some of the works of art in the collection, the cost of performing effective interest rate method. such an exercise would not be commensurate with any benefit HERITAGE ASSET DONATIONS that could be derived by the reader of the financial statements from the inclusion of part of the collection on the Statement Where pictures have been donated, bequeathed or acquired of Financial Position. As a result, no value has been included in other than on the open market, valuations have been performed the Statement of Financial Position for heritage assets acquired by the Gallery's curators, who are recognised experts in their before 2007, the point at which additions to the collection were field. The primary method of valuation involves the analysis of first capitalised. recent market values for comparable works, together with a The treatment required by FRS 102, section 34 results in a partial detailed technical assessment of the painting's physical condition capitalisation of heritage assets on the basis of the date of to arrive at a reasonable valuation. However, there is an inherent acquisition. limitation to valuation of works acquired by the Gallery, because by their nature they are usually unique works of art for which IMPAIRMENT little or no comparable market exists. Heritage assets are not depreciated. If there is objective evidence of impairment of the value of a heritage asset, an impairment h) Receivables loss is recognised in the Statement of Income and Expenditure and Retained Revenue Reserves in the year. A heritage asset Receivables are recognised at transaction price, less a provision may be impaired, for example, where it has suffered physical for doubtful debts. All movements in the provision for doubtful deterioration, breakage or doubts arise as to its authenticity. debts are recognised in the Statement of Income and Expenditure. CONSERVATION COSTS i) Recognition of Expenditure Expenditure which is required to preserve or prevent further deterioration of individual collection items, as well as the costs All expenditure is recognised in the period to which it relates and of managing the collection, are recognised in the Statement of any such expenditure incurred but unpaid at the balance sheet Income and Expenditure when incurred. date is included in Payables. Further information on the nature and scale of the Gallery's j) Heritage Assets collection can be found in Note 12. The Gallery’s collection comprises paintings, sculpture, works on paper, miniatures, books, archives and applied art, chiefly k) Property, Plant and silverware, stained glass and furniture, and these are treated as Equipment heritage assets. Except as below, property, plant and equipment are stated at cost In accordance with FRS 102, works of art acquired or donated are or valuation, less accumulated depreciation. The depreciation capitalised and recognised in the Statement of Financial Position charge is calculated to write off the original cost or valuation, less at their cost or value at the date of acquisition, where such a cost estimated residual value, over the expected useful life as follows: or value is reasonably obtainable.
Additions to the collection are made by purchase, bequest, gift of LAND & BUILDINGS NIL the asset and/or the purchase of assets funded by donation. FURNITURE & FITTINGS 10% STRAIGHT LINE
INITIAL RECOGNITION EQUIPMENT & MOTOR 20% STRAIGHT LINE VEHICLES Purchased items are recorded at cost in the Financial Statements. Donation items are recorded at a current valuation ascertained by the Gallery’s curators with reference, where possible, 60 Annual Report 2019
A full year’s depreciation is applied in the year of acquisition and no depreciation is applied in the year of disposal, or on Assets m) Inventory under Development. Assets below the value of €1,000 are not Inventory comprise goods for resale in the Gallery’s Shop and are capitalised and are charged to the Statement of Income and valued at the lower of cost and net realisable value. Full provision Expenditure. is made for obsolete and slow moving items.
The majority of the buildings occupied by the Gallery are owned and maintained by the OPW and accordingly these buildings are n) Foreign Currencies recognised in OPW’s financial statements. Monetary assets and liabilities denominated in foreign currencies The Gallery owns 2 properties – No. 90 Merrion Square and No. are translated at the rates of exchange ruling at the Statement 5 South Leinster Street. These properties are recognised in the of Financial Position date. The resulting translation differences financial statements using the revaluation model. Revaluations are recognised in the Statement of Income and Expenditure. are conducted on an annual basis so as to ensure the carrying Transactions during the year, which are denominated in foreign amount does not differ materially from that which would be currencies, are translated at the rates of exchange ruling at the determined using fair value at the end of the reporting period. date of the transaction. The resulting exchange differences are If the asset’s carrying amount is increased as a result of a accounted for in the Statement of Income and Expenditure. revaluation, the increase is recognised in the Statement of Comprehensive Income. If the carrying amount has decreased as a result of revaluation it is recognised in the Statement of o) Employee Benefits Comprehensive Income to the extent that it reverses a revaluation SHORT-TERM BENEFITS increase of the same asset previously and any balance is recognised in the Statement of Income & Expenditure. Short term benefits such as holiday pay are recognised as an expense in the year, and benefits that are accrued at year-end The Board is prohibited from disposing of any Heritage Assets. are included in the Payables figure in the Statement of Financial Disposal of fixed assets in this section refers only to non- Position. Heritage Assets. Disposals include sale, long-term loan, give away, scrappage and donation to a charitable organisation. RETIREMENT BENEFITS The Board may specify that any disposal above an approved threshold should be formally endorsed by the Board who may Gallery operates the following pension schemes: impose specific restrictions with regard to any such disposal. The defined benefit pension payable to established civil servants It is the policy to adhere to the Code of Practice for the and non-established state employees in the Gallery, liability for Governance of State Bodies when disposing of assets where which has been assumed by the Minister for Public Expenditure such assets are surplus to general requirements. This should and Reform. The pension contributions deducted from be by auction or competitive tendering process, other than employees are remitted to the ‘Department of Tourism, Culture, in exceptional circumstances (such as a sale to a charitable Arts, Gaeltacht, Sport and Media’. body). The method used should be both transparent and likely to achieve a fair market-related price. The reserve value of the The Single Public Services Pension Scheme (‘Single Scheme’), asset being disposed of should be determined, where required which is a defined benefit scheme for pensionable public and practicable, on foot of a professional valuation. Details of servants appointed on or after 1 January 2013. Single Scheme all disposals or grants of access to property or infrastructure for members’ contributions are paid over to the Department of commercial arrangements with third parties (save for connected Public Expenditure and Reform (DPER). third parties) below the threshold of €150,000 without auction or Personal Retirement Savings Accounts (PRSA), operated through competitive tendering process should be formally reported to the an authorised PRSA provider. The Gallery makes a contribution Board, including the paid price and name of buyer, on an annual of up to 7% to the scheme and both contributions are remitted basis. directly to the PRSA provider on a monthly basis. The Gallery does not depreciate its buildings as it has a policy of regular maintenance and repairs such that the buildings are kept to previously assessed standard of performance.
l) Financial Assets The Gallery has a number of funds relating to amounts both bequeathed and gifted to the Gallery for specific purposes. The funds are managed by external fund managers and included in the Statement of Financial Position at market value. The funds are valued at the end of each reporting period and the changes in the value of the managed funds due to changes in market value are recognised in the Statement of Income and Expenditure as unrealised gains or losses. Any gains or losses on disposal of investments are recognised in the Statement of Income and Expenditure. Annual Report 2019 61 p) Critical Accounting Judgements and Estimates The preparation of the financial statements requires management to make judgements, estimates and assumptions that affect the amounts reported for assets and liabilities as at the Statement of Financial Position date and the amounts reported for revenues and expenses during the year. However, the nature of the estimation means that actual outcomes could differ from those estimates. The Gallery has not made any judgements that have made a significant effect on amounts recognised in the financial statements.
DEPRECIATION AND RESIDUAL VALUES
The assets’ lives and associated residual values of all fixed asset classes and in particular the useful economic life and residual values of fixtures and fittings, have been reviewed. It has been concluded that the assets’ lives and residual values are appropriate.
GOING CONCERN
As a result of the COVID-19 pandemic, the Gallery closed for significant periods in 2020 with a resultant decrease in visitor numbers. This has had a significant impact on critical revenue sources such as ticketed exhibition admissions, cafe, shop and donation boxes. Corporate support in the form of memberships and events was also impacted due to the economic downturn.
In response to this, the Gallery has taken measures to find new revenue streams and to reduce and re-plan activities and projects, including the exhibition programme, to ensure that it has sufficient funds to cover its revised programme. This was further assisted by additional government operational supports and measures for National Cultural Institutions in 2020 to provide a safe environment for visitors and staff when galleries reopened. Together this will ensure that the Gallery achieves a break even position for 2020. The Gallery has been notified of an increase in Exchequer allocation for 2021. Given this, the Board are satisfied that the Gallery can continue to operate as a going concern. 62 Annual Report 2019
2. Oireachtas Grant 1
RECEIVED FROM DEPARTMENT OF TOURISM, CULTURE, ARTS, GAELTACHT, SPORT AND MEDIA
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Current - Contribution to Administration costs 9,688,000 - 9,688,000 9,143,000 Capital - Contribution to Refurbishment, Conservation & Library - 858,000 858,000 858,000 Current - Contribution to Jesuit Fellowship - 1,000 1,000 1,000 Release of deferred grant for Conservation, Library & Jesuit Fellowship - - - 35,763 9,688,000 859,000 10,547,000 10,037,763
1 Oireachtas Grant (Vote 33 Subhead A.13) is the Gallery's annual grant for current and capital expenditure. Current expenditure relates to pay, operation costs and programme expenditure. Capital costs relate to the expenditure on the refurbishment project, conservation and library books.
2(a) OIREACHTAS GRANT - RECEIVED FROM DEPARTMENT OF TOURISM, CULTURE, ARTS, GAELTACHT, SPORT AND MEDIA
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL CNCI Seminar 1,204 - 1,204 1,093 Drawing Day 2,848 - 2,848 2,814 Digitised Collection Funding Scheme 116,288 - 116,288 11,222
120,340 - 120,340 15,129 3. Education Income
This income is generated from the provision of tutorials and guided educational tours. Annual Report 2019 63
4. Sponsorship/Research Income
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Exhibition Sponsorship 15,000 - 15,000 320,657 Education Sponsorships - 25,000 25,000 - Development Office 215,776 - 215,776 2,500 Conservation/Curatorial - 242,959 242,959 - Corporate Sponsorship - 49,750 49,750 108,000 230,776 317,709 548,485 431,157
TOTAL TRANSFERRED FROM DEFERRED INCOME 48,124 (229,750) (181,626) 431,835 278,900 87,959 366,859 862,992 5. Miscellaneous Income
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € VAT Rebate - - - 340,230 Bank Interest 42 - 42 2,679 Dividends 26,420 6,715 33,135 36,265 Other Income (46,804) - (46,804) 46,804 (20,342) 6,715 (13,627) 425,978 6. Friends of the National Gallery of Ireland
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Income - 385,624 385,624 269,778 Operating Costs - 293,203 293,203 220,151 SURPLUS - 92,421 92,421 49,627 64 Annual Report 2019
7. Shop
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Sales / Other Income 1,442,433 - 1,442,433 1,466,870 Cost of Sales 683,592 - 683,592 669,387 758,841 - 758,841 797,483 Operating Costs 1 466,653 - 466,653 431,482 NET PROFIT 292,188 - 292,188 366,001 1 Included in Operating Costs is an amount of €9,625 in respect of the C & AG Audit Fee (2018: €8,000) and nil Consultancy Costs (2018: 13,738). 8. (a) Analysis of Total Expenditure
COLLECTION AND PUBLIC EDUCATION DEVELOPMENT TOTAL RESEARCH ENGAGEMENT 2019 € € € € € Remuneration & Other Pay Costs 2,079,461 367,856 298,320 163,422 2,909,059 Collection, Care & Exhibition Costs 616,540 84,934 - - 701,474 Advertising, Promotion & Publicity 260,543 156,200 33,163 12,654 462,560 Lectures and Tours 5,641 - 113,615 529 119,785 Consultancy/Professional Fees - - - 50,535 50,535 Office and administration costs 168,308 43,243 8,112 18,243 237,906 3,130,493 652,233 453,210 245,383 4,481,319
Support costs 5,653,886 1,050,801 758,237 466,823 7,929,747
8,784,379 1,703,034 1,211,447 712,206 12,411,066
2018 Remuneration & Other Pay Costs 1,962,864 401,197 271,424 59,573 2,695,058 Collection, Care & Exhibition Costs 598,802 15,227 5,725 - 619,754 Advertising, Promotion & Publicity 257,835 161,461 16,683 (3,336) 432,643 Lectures and Tours 80,043 1,064 91,950 - 173,057 Consultancy/Professional Fees - 47,726 - 16,796 64,522 Office and Administration costs 125,796 78,085 15,941 23,651 243,473 3,025,340 704,760 401,723 96,684 4,228,507
Support costs 5,647,747 1,213,137 820,730 180,136 7,861,750
8,673,087 1,917,897 1,222,453 276,820 12,090,257 Annual Report 2019 65
8. (b) Resources Expended for Charitable Purpose
COLLECTION AND PUBLIC EDUCATION DEVELOPMENT TOTAL Restricted RESEARCH ENGAGEMENT 2019 € € € € € Remuneration & Other Pay Costs 80,306 - 26,355 - 106,661 Collection, Care & Exhibition Costs 29,102 - - - 29,102 Advertising, Promotion & Publicity 587 - - - 587 Consultancy/Professional Fees - - - 3,967 3,967 Office and administration costs 54,040 - - - 54,040 164,035 - 26,355 3,967 194,357
Support costs 4,221 1,386 - 5,607 Transfer of funds from Deferred Funding (61,030) (20,030) - (81,060)
107,226 - 7,711 3,967 118,904
2018 Remuneration & Other Pay Costs 111,941 - - - 111,941 Collection, Care & Exhibition Costs 20,226 - - - 20,226 Advertising, Promotion & Publicity 4,984 - 257 (1,668) 3,573 Consultancy/Professional Fees - - - 3,425 3,425 Office and administration costs 3540 - - 3,540 140,691 - 257 1,757 142,705
Support costs 50,939 - - - 50,939
191,630 - 257 1,757 193,644 66 Annual Report 2019
8. (c) Resources Expended for Charitable Purpose
COLLECTION PUBLIC EDUCATION DEVELOPMENT TOTAL Unrestricted AND RESEARCH ENGAGEMENT 2019 € € € € € Remuneration & Other Pay Costs 1,999,155 367,856 271,965 163,422 2,802,398 Collection, Care & Exhibition Costs 587,438 84,934 - - 672,372 Advertising, Promotion & Publicity 259,956 156,200 33,163 12,654 461,973 Lectures and Tours 5,641 - 113,615 529 119,785 Consultancy/Professional Fees - - - 46,568 46,568 Office and Administration costs 114,268 43,243 8,112 18,243 183,866 2,966,458 652,233 426,855 241,416 4,286,962
Support costs 5,710,695 1,050,801 776,881 466,823 8,005,200
8,677,153 1,703,034 1,203,736 708,239 12,292,162
2018 Remuneration & Other Pay Costs 1,850,923 401,197 271,424 59,573 2,583,117 Collection, Care & Exhibition Costs 578,576 15,227 5,725 - 599,528 Advertising, Promotion & Publicity 252,851 161,461 16,426 (1,668) 429,070 Lectures and Tours 80,043 1,064 91,950 - 173,057 Consultancy/Professional Fees - 47,726 - 13,371 61,097 Office and Administration costs 122,256 78,085 15,941 23,651 239,933 2,884,649 704,760 401,466 94,927 4,085,802
Support costs 5,596,808 1,213,137 820,730 180,136 7,810,811
8,481,457 1,917,897 1,222,196 275,063 11,896,613 Annual Report 2019 67
2019 2018 € € ACTIVITIES INCLUDED IN SUPPORT COSTS
Remuneration & Other Pay Costs 5,055,561 4,974,597 Advertising, Promotion & Publicity 284 20,175 Consultancy/Professional Fees 398,921 290,551 Recruitment, Training & Education 137,542 217,450 Travel & Subsistence 22,160 31,352 Security Costs 404,847 409,570 Insurance 28,654 25,880 Postage & Telecoms 30,235 64,123 IT Costs 368,178 233,065 Printing, Stationery & Supplies 38,095 100,029 Premises Expenses 963,180 886,520 Audit Fees 28,875 27,000 Depreciation 345,396 352,257 Office and administration costs 107,819 229,181
7,929,747 7,861,750
Support costs are allocated on the basis of Remuneration & Other Pay Costs dedicated to supporting the charitable activities and funds generating activities of the organisation as follows:
2019 2018 € € Collection & Research 5,653,886 5,647,747 Public Engagement 1,050,801 1,213,137 Education 758,237 820,730 Development 466,823 180,136
7,929,747 7,861,750 68 Annual Report 2019
9. (a) Remuneration & Other Pay Costs
THE STAFF COSTS ARE COMPRISED OF:
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Wages and salaries 6,849,486 96,344 6,945,830 6,173,409 Employers PRSI 698,011 10,316 708,327 634,100 Agency Staff 310,463 - 310,463 862,146 7,857,960 106,660 7,964,620 7,669,655
AGGREGATE EMPLOYEE BENEFITS
2019 2018 € € Staff short-term benefits 7,256,293 7,035,555 Termination benefits - - Retirement benefit costs - - Employer's contribution to social welfare 708,327 634,100 7,964,620 7,669,655
STAFF SHORT-TERM BENEFITS
2019 2018 € € Basic Pay 7,611,330 6,753,459 Overtime 36,989 48,211 Allowances 5,838 5,839 Agency 310,463 862,146 7,964,620 7,669,655
STAFF COSTS CLASSIFIED ELSEWHERE (SEE NOTES 6 & 7)
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Shop 305,287 - 305,287 268,073 Friends of the NGI - 146,011 146,011 109,218 Payroll Costs - - - 39,564 Pension Costs - - - 3,016 Agency Staff - 32,972 32,972 42,052 305,287 178,983 484,270 461,923 TOTAL REMUNERATION 8,163,247 285,643 8,448,890 8,131,578 2 No termination benefits were paid in 2019. Annual Report 2019 69
(b) Number of employees THE NUMBER OF PERSONS EMPLOYED (INCLUDING EXECUTIVE DIRECTORS) AT 31 DECEMBER:
2019 2018 F.T.E. F.T.E. Office staff 97 90 Attendants 85 88 182 178
(c) Key Management Personnel Key management personnel in NGI consists of the members of the Board, the Director, the Director of Corporate Services, Head of Collections & Research and Senior Manager Public Engagement. The total value of employee benefits for key management personnel is set out below.
2019 2018 € € Salary 334,945 331,399 Allowances - - Termination benefits - - Health Insurance - - 334,945 331,399
This does not include the value of retirement benefits earned in the period. The key management personnel are members of the Gallery’s pension scheme and their entitlements in that regard do not extend beyond the terms of the model Public Service Pension Scheme.
(d) Director's Remuneration In 2019 the Director of the Gallery was paid a salary of € 109,346 (2018: €104,180). The superannuation entitlements of the Director are the standard entitlements of the public sector defined benefit superannuation scheme. In 2019, the Director incurred expenses of €2,484 (2018: €3,896)
(e) Employee benefits breakdown NO. OF EMPLOYEES 2019 NO. OF EMPLOYEES 2018 RANGE OF TOTAL EMPLOYEE BENEFITS FROM: TO: €60,000 €69,999 12 15 €70,000 €79,999 4 5 €80,000 €89,999 0 0 €90,000 €99,999 1 1 €100,000 €109,999 1 1 70 Annual Report 2019
10. Other Costs
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € Sundry Expenses 132,325 (80,336) 51,989 209,323 Gallery Functions 38,436 - 38,436 32,529 Uniforms 26,363 - 26,363 15,070 Subscriptions 26,956 - 26,956 41,226 Currency (Gain)/Loss 26,822 (1,412) 25,410 24,636 Portrait Prize 22,188 - 22,188 20,000 Courier & Taxis 11,092 - 11,092 9,115 Board Expenses 2,594 - 2,594 7,583 Accessibility Costs - - - 5,381 286,776 (81,748) 205,028 364,863 11. Capital Account
2019 2018 € € BALANCE 1 JANUARY 914,774 918,391 TRANSFER FROM INCOME AND EXPENDITURE ACCOUNT: Additions to Plant, Property and Equipment 201,968 252,256 Asset Depreciation (244,540) (255,873) Total Movement in the Year (42,572) (3,617) CLOSING BALANCE 31 DECEMBER 872,202 914,774
HERITAGE ASSETS: BALANCE 1 JANUARY 39,446,138 37,674,559 Assets Purchased in the Year 933,603 1,216,394 Assets Donated Under Section 1003 Taxes Consolidation Act, 1997 - - Other Asset Donations 1,330,116 555,185 Total Movement in the Year 2,263,719 1,771,579 CLOSING BALANCE 31 DECEMBER 41,709,857 39,446,138
Annual Report 2019 71
12. Heritage Assets
The National Gallery of Ireland is Ireland’s major national from 1300 to 1930. There are significant holdings in British, Dutch, cultural institution devoted to the collection and care of fine and Italian schools and with different concentrations of quality art comprising some 16,840 paintings, drawings, water colours, and depth. The Gallery also holds the national collection of Irish miniatures, prints, sculpture and objets d'art, and over 100,000 art, from the late seventeenth century until circa 1970, and the volumes in the Fine Art Library. The institution's extensive national collection of portraiture which extends to the present holdings include masterpieces by many of the most celebrated day. There is a significant library collection, including rare books, figures in the history of western European art. In addition, the and several important archival collections connected with Irish Gallery houses the most representative collection of historic Irish art and other areas of specialism in the collections, including pre- Art. Funded by the State, the Gallery provides free access to the eminently the Centre for Studies in Irish Art, the Yeats Archive public 361 days a year. and Sir Denis Mahon's papers. Overall, the Gallery's collection is of great significance and is on par with the most prestigious All acquisitions are approved by the Board, except for Library museums in Europe. and Archives items which may be approved by the Director or the Librarian. The Gallery's Acquisitions policy is reviewed The Gallery is committed to the sound and responsible periodically. Approximately 588 works of art are currently on management and preservation of its collection. To achieve public display in the Gallery and 449 are on loan elsewhere. this, the Gallery closely adheres to principles of preventative Works on paper are available to view on request. conservation, mainly through environmental and light control and conservation treatments where necessary. The Gallery The Board is prohibited from disposing of any Heritage Assets. also uses a collections management system (TMS) to catalogue The Gallery houses Ireland’s national collection of paintings, the collection and to manage acquisitions, location recordings, sculpture, works on paper, miniatures, books, archives and exhibitions and loans. applied art. The collection consists principally of European art
HERITAGE ASSETS CAPITALISED IN THE STATEMENT OF FINANCIAL POSITION ARE SHOWN BELOW:
COST VALUATION TOTAL
€ € € As at 1 January 2018 11,773,437 25,901,122 37,674,559 Additions 2018 1,216,394 555,185 1,771,579 As at 1 January 2019 12,989,831 26,456,307 39,446,138 Additions 2019 933,603 1,330,116 2,263,719 As at 31 December 2019 13,923,434 27,786,423 41,709,857
All Heritage Assets acquired since 1 January 2007 have The primary method of valuation involves the analysis been included in the Statement of Financial Position of recent market values for comparable works, together at their cost or value at the date of acquisition. Where with a detailed technical assessment of the painting's Heritage Assets have been acquired under the Section physical condition to arrive at a reasonable valuation. 1003 of the Taxes Consolidation Act, 1997, valuations are However, there is an inherent limitation to valuation of provided by an external professional valuer appointed by works acquired by the Gallery, because by their nature the Revenue Commissioners. Where pictures have been they are usually unique works of art for which little or no donated, bequeathed or acquired other than on the open comparable market exists. market, valuations have been performed by the Gallery's curators, who are recognised experts in their field. 72 Annual Report 2019
Five-year financial summary of acquisitions
2019 2018 2017 2016 2015 € € € € € Total cost of 933,603 1,216,394 659,400 392,791 81,840 acquisitions Total valuation of 1,330,116 555,185 81,400 3,854,977 3,251,174 acquisitions TOTAL 2,263,719 1,771,579 740,800 4,247,768 3,333,014
Heritage Assets not capitalised on the Statement of Financial Position THE PROPORTION OF THE COLLECTION NOT CAPITALISED ON THE STATEMENT OF FINANCIAL POSITION IS SET OUT BELOW:
TOTAL NUMBER OF ITEMS NUMBER CAPITALISED % NUMBER NOT % NOT CAPITALISED CAPITALISED CAPITALISED Works of Art 16,840 1,558 9.25% 15,282 90.75%
The vast majority of the National Gallery of Ireland's collection is not capitalised. The nature and scale of the collection can be viewed on the Gallery's website (https://www.nationalgallery.ie/). 13. Property, Plant & Equipment
LAND OFFICE FURNITURE ASSETS TOTAL AND EQUIPMENT & & FITTINGS UNDER BUILDINGS MOTOR VEHICLES DEVELOPMENT € € € € € COST AT 1 JANUARY 2019 5,670,000 1,151,455 1,650,672 13,776 8,485,903 Additions - 102,536 24,459 178,851 305,846 Disposals - - - - - Revaluation 1 100,000 - - - 100,000 AT 31 DECEMBER 2019 5,770,000 1,253,991 1,675,131 192,627 8,891,749
DEPRECIATION AT 1 JANUARY 2019 - 562,457 780,454 - 1,342,911 Disposals - - - - - Charge for the year - 214,294 145,418 - 359,712 AT 31 DECEMBER 2019 - 776,751 925,872 - 1,702,623
NET BOOK VALUE AT 31 DECEMBER 2019 5,770,000 477,240 749,259 192,627 7,189,126 AT 31 DECEMBER 2018 5,670,000 588,998 870,218 13,776 7,142,992 1 The revaluation of the land and buildings was carried out by qualified Chartered Surveyors of independent valuers Lambert Smith Hampton. The Assets were individually revalued on 31 December 2019 at an aggregate fair value of €5,770,000. They are based on the definition of Market Value as defined in the Royal Institution of Chartered Surveyors Appraisal and Valuation Standards Manual on an Existing Use basis. The valuation was carried out on 31 December 2019. The buildings referred to above are owned by the Gallery. All other offices and buildings occupied by the Gallery are owned and maintained by the Office of Public Works. Annual Report 2019 73
UNRESTRICTED RESTRICTED 2019 2018 FUNDS FUNDS TOTAL TOTAL € € € € DEPRECIATION CHARGE Charged to the Income & Expenditure 345,396 - 345,396 352,257 Account
CHARGED ELSEWHERE: Shop 13,831 - 13,831 18,537 Friends of the National Gallery of Ireland - 485 485 485 TOTAL 359,227 485 359,712 371,279 14. Financial Assets
2019 TOTAL 2018 TOTAL € € MARKET VALUE AT 1 JANUARY 4,745,482 4,884,745 Additions at cost 942,943 1,132,459 Disposals at market value (863,250) (1,138,697) Realised Gain on disposal 54,024 129,203 Unrealised Gain/(Loss) on revaluation 762,074 (262,228) Value of Quoted Investments at 31 December 5,641,273 4,745,482
Cash held as part of the Investment Portfolio 505,096 494,349 AT 31 DECEMBER 6,146,369 5,239,831
The Gallery's Funds are managed by Davy Stockbrokers. The Gallery's Investment Policy has been approved by the Board and is reviewed regularly during the year. 15. Inventory
2019 TOTAL 2018 TOTAL € € STOCK IN TRADE 361,697 386,257
The Gallery operates a shop on its premises. Inventory consists of goods for re- sale in these operations. Inventory to the value of €682,179 (2018: €669,387) was charged to the cost of sales. 16. Cash & Cash Equivalents
2019 2018 € € Current Accounts 1,072,264 745,551 Deposit Accounts 313,129 283,086 Credit Cards (5,787) (4,994) Petty Cash 742 509 Other 3,410 3,176 TOTAL 1,383,758 1,027,328 74 Annual Report 2019
17. Receivables
2019 2018 € € Trade debtors 91,045 160,585 Other debtors 44,161 133,854 Prepayments and accrued income 175,437 809,492 310,643 1,103,931 18. Payables
2019 2018 € € Trade creditors 362,717 325,689 VAT, PSWT & PAYE/PRSI 243,704 313,890 Other creditors 34,100 17,747 Accruals and deferred income 457,232 405,314 1,097,753 1,062,640 19. Related Party Disclosures
Key management personnel in the Gallery consist of the Director covering the personal interests of Board members. In the normal and members of the Board. Details of the salary and expenses of course of business, the Gallery may enter into contractual the Key Management Personnel is included in Note 9(d). Following arrangements with entities in which its Board members are a decision by the Minister for Tourism, Culture, Arts, Gaeltacht, employed or are otherwise interested. In cases of potential Sport and Media, Board fees are not payable after 28 February conflict of interest, Board members do not receive Board 2014. documentation or otherwise participate in or attend discussions regarding these transactions. A register is maintained and The Gallery adopts procedures in accordance with the guidelines available on request of all such instances. issued by the Department of Public Expenditure and Reform,
20. Deferred - Government Grant
2019 2018 € € OPENING BALANCE 1 JANUARY 56,896 91,659 Release of deferred grant for Conservation , Library & Jesuit Fellowship (3,899) (34,763) CLOSING BALANCE AT 31 DECEMBER 52,997 56,896 The balance of €52,997 above comprises €52,997 in respect of the Jesuit Fellowship. Annual Report 2019 75
21. Deferred Income - Other BALANCE MOVEMENT MOVEMENT BALANCE 1 JANUARY INCOME EXPENDITURE 31 DECEMBER 2019 2019 € € € € Millennium Wing Fund 837,282 - (51,060) 786,222 Dargan Council Fund 97,110 - - 97,110 British Fund 15,237 4,538 (3,184) 16,591 Fellowship Fund 321,487 - (25,367) 296,120 Friends of the NGI 150,232 381,086 (289,235) 242,083 John Barry/Petronella Brown Scholarship Fund 216,287 - - 216,287 Lane Fund 75,541 - (30,000) 45,541 Bank of America Merrill Lynch Conservation 110,035 - (25,334) 84,701 Project Sir Denis Mahon Archive Fund 50,813 - (18,596) 32,217 Decipher EU Library Research Fund 87,815 - - 87,815 LEM Education Fund 2,358 - - 2,358 MOP Education Fund 351 - - 351 Vermeer Project Fund 384 - - 384 Wilson Library Project 46,265 - (21,360) 24,905 O'Neill Research Fund 7,543 - - 7,543 Getty Conserving Canvas - 183,000 (3,442) 179,558 Murillo Conservation - 59,959 (9,793) 50,166 Monet Conservation Project 1,288 - - 1,288 Creating History 1,729 - - 1,729 Ageing Creatively Education Fund 2,304 - - 2,304 Battle of the Boyne Conservation Project 291 - - 291 Apollo - 25,000 - 25,000 Monument Trust 4,593 - (1,507) 3,086 Centre for the Study of Irish Art 128,499 50,000 (43,079) 135,420 TOTAL 2,157,444 703,583 (521,957) 2,339,070 76 Annual Report 2019
22. Reserves
UNRESTRICTED RESTRICTED TOTAL TOTAL 2018 RESTATED FUNDS FUNDS 2019 € € € € Heritage Assets 1 - 41,709,857 41,709,857 39,446,138 Capital Account 872,202 - 872,202 914,774 Exchequer (952,962) 1,132,566 179,604 85,078 Own Resources 2 478,322 - 478,322 1,127,832 Shaw Fund 7,331,645 - 7,331,645 6,510,675 Millennium Wing Fund - 3,040,000 3,040,000 2,985,000
BALANCE AS AT 31 DECEMBER 7,729,207 45,882,423 53,611,630 51,069,497 1 Heritage Assets acquired since 1 January 2007 have been capitalised in line with FRS102, Section 34. 2 Incorporates Donations, Exhibitions and Bookshop. 23. Master Development Plan
A project to refurbish the historic wings of the Gallery commenced in January 2014 and was completed in December 2016. The Gallery contributed a total of €12.1 million towards the cost of the project. The remaining costs were funded by the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media and the Office of Public Works (OPW). The OPW are responsible for managing the project and are in the process of settling the final account. The Gallery has made all payments in respect of its contribution to the project. The value of the asset is recorded in the OPW's financial statements. The refurbished historic wings re-opened on 15 June 2017. In April 2018, the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media pledged €54 million to support Phase 4, the final phase of the Gallery’s Master Development Plan, in their Project Ireland: Investing in our Culture, Language & Heritage 2018-2027 document. Annual Report 2019 77
24. Contingent 26. Events after the Liabilities balance sheet date
The Gallery is involved in a number of legal challenges which may On 12 March 2020, the Taoiseach announced measures to contain give rise to financial liabilities depending on their outcome. The the spread of COVID-19. Included in these measures was an total amount or timing of these contingent liabilities cannot be instruction to close the state’s cultural institutions, including estimated with certainty at this time but it is unlikely to exceed the National Gallery of Ireland. The COVID-19 crisis situation €200,000 in any event. continues to develop day-by-day. As a result, the full financial and other impacts on the Gallery are not yet known and remain to be determined. 25. Reserves Policy The objective of the Reserves Policy is to ring fence a portion of 27. Constitution the unrestricted reserves on the following basis: The Gallery was established by Act of Parliament on 10 August – in an amount equivalent to 6 months of annual non exchequer 1854. It has Charitable Status and is registered with the Revenue budgeted expenditure for which there is no guarantee of a Commissioners (CHY 2345) and the Charities Regulatory matching income stream, and Authority (Reg. No. 20003029). – an amount equivalent to any known shortfall in contractual funding for contracted expenditure where these is significant doubt as to the shortfall being remediated by the contractual funding party. 28. Approval Further, it is recommended that the Board be immediately made aware of any change in the ongoing and projected financial of Financial position of NGI which could materially adversely impact its ability to meet any expenditure commitments. Under such Statements circumstances, the Board may consider it appropriate to increase the “ring fenced” reserve to ensure the funds are secured to meet expenditure commitments as they fall due. The financial statements were approved by the Board on 10 December 2020 Reserves held in a readily realisable form This policy requires that a proportion of reserves is held in a readily realisable form. This can be in the form of cash or else an asset that can readily be converted into cash. An asset that can readily be converted into cash is similar to cash itself because the asset can be sold with little impact on its value. This will mean that the asset must be in an established market, with a large number of interested buyers and with the ability for ownership to be transferred easily. 78 Annual Report 2019
Appendices Annual Report 2019 79 Acquisitions 2019
Richard King, RICHARD KING, 1900–1974 AOIFE LAYTON, B.1979 Holy Family with Flight into Egypt, c.1950 Focus, 2017/2018 1900–1974 Stained ‑glass cartoon Etching and collage St Brendan the Navigator, c.1935 Graphite/charcoal on paper Unframed: 60 × 80 cm Stained ‑glass cartoon Unframed: 46 × 40.5 cm Purchased, 2019 Graphite, charcoal, crayon and ink on Presented, 2019 NGI.2019.8 paper NGI.2019.5.1 Unframed: 146 × 42 cm Presented, 2019 RICHARD KING, 1900–1974 Eimearjean NGI.2019.1 Virgin Mary, c.1950 McCormack, b.1980 RICHARD KING, 1900–1974 Stained ‑glass cartoon Untitled, 2017/2018 Graphite/charcoal on paper Stained ‑Glass Cartoon of a Monk/Scribe for Cyanotype Boston College, Massachusetts, USA, c.1950 Unframed: 46 × 40.5 cm Unframed: 70 × 50 cm Stained ‑glass cartoon Presented, 2019 Purchased, 2019 Ink, watercolour, graphite and bodycolour NGI.2019.5.2 NGI.2019.9 on paper RICHARD KING, 1900–1974 Unframed: 135.9 × 33 cm Presented, 2019 Child of Prague, c.1950 Miriam Hurley, NGI.2019.2 Stained ‑glass cartoon b.1965 Graphite/charcoal on paper RICHARD KING, 1900–1974 Faoin Uisce, 2017/2018 Unframed: 46 × 40.5 cm Photo etching Lugh Conquering Balor of the Evil Eye, c.1950 Presented, 2019 Unframed: 70 × 50 cm Stained ‑glass cartoon NGI.2019.5.3 Purchased, 2019 Watercolour, ink, graphite, crayon and bodycolour on paper RICHARD KING, 1900–1974 NGI.2019.10 Unframed: 156.8 × 52.1 cm St Anne and the Young Virgin, c.1950 Presented, 2019 Stained ‑glass cartoon Johnny Bugler, NGI.2019.3 Graphite/charcoal on paper b.1975 RICHARD KING, 1900–1974 Unframed: 46 × 40.5 cm The Last Wave, 2017/2018 Presented, 2019 Design for a Two‑Light Window, c.1950 Photo etching NGI.2019.5.4 Stained ‑glass cartoon Unframed: 69.5 × 80.5 cm Watercolour and ink on board Purchased, 2019 Unframed: 49.5 × 33 cm Fiona Kelly, b.1985 NGI.2019.11 Presented, 2019 Future Forests, 2017/2018 NGI.2019.4 Etching and aquatint Debbie Godsell, Unframed: 80 × 60 cm RICHARD KING, 1900–1974 Purchased, 2019 b.1973 Four Designs Mounted Together for NGI.2019.6 Untitled, 2017/2018 Stained ‑Glass Window in St Columba’s Church, South Perth, Western Australia, Screenprint c.1950 Aoife Layton, Unframed: 76 × 70 cm Stained ‑glass cartoons Purchased, 2019 Graphite, watercolour, ink, charcoal and b.1979 NGI.2019.12 bodycolour on paper Clash, 2017/2018 Unframed: 46 × 40.5 cm Mezzotint Presented, 2019 Shane O’Driscoll Unframed: 70 × 50 cm NGI.2019.5 Dizzy, Dizzy, We All Fall Down, 2017/2018 Purchased, 2019 Screenprint NGI.2019.7 Unframed: 70 × 50 cm Purchased, 2019 NGI.2019.13 80 Annual Report 2019
Kim Roberts, NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911 – 1999 Children on Cart, 1952–53 Men on Bench, 1952–53 b.1960 Selenium‑toned print Selenium‑toned print Fractured, 2017/2018 Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm Collograph Image: 25.5 × 18 cm Image: 25.5 × 18 cm Unframed: 80 × 60 cm Purchased, 2019 Purchased, 2019 Purchased, 2019 NGI.2019.20 NGI.2019.27 NGI.2019.14 NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911 – 1999 Sylvia Taylor Doorway and Hall, 1952–53 Pearse Street, 1952–53 Selenium‑toned print Selenium‑toned print The Waiting Room, 2017/2018 Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm Relief print Image: 25.5 × 18 cm Image: 25.5 × 18 cm Unframed: 80 × 60 cm Purchased, 2019 Purchased, 2019 Purchased, 2019 NGI.2019.21 NGI.2019.28 NGI.2019.15 NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911–1999 Dominic Fee Elderly Women on the Quays, 1952–53 Man at Window II, 1952–53 Plan N, 2017/2018 Selenium‑toned print Selenium‑toned print Lithograph Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm Unframed: 99 × 66 cm Image: 25.5 × 18 cm Image: 25.5 × 18 cm Purchased, 2019 Purchased, 2019 Purchased, 2019 NGI.2019.16 NGI.2019.22 NGI.2019.29 NEVILL JOHNSON, 1911–1999 NEVILL JOHNSON, 1911–1999 David Lilburn, Family outside Tenement Door 1, 1952–53 Man in a Field, 1952–53 b.1950 Selenium‑toned print Selenium‑toned print Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm The Kings are out..., 2017/2018 Image: 25.5 × 18 cm Image: 25.5 × 18 cm Drypoint and watercolour Purchased, 2019 Purchased, 2019 Unframed: 49.5 × 71 cm NGI.2019.23 NGI.2019.30 Purchased, 2019 NGI.2019.17 NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999 Family outside Tenement Door 2, 1952–53 Meat Hooks, 1952–53 Nevill Johnson, Selenium‑toned print Selenium‑toned print Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm 1911–1999 Image: 25.5 × 18 cm Image: 25.5 × 18 cm Butcher, 1952–53 Purchased, 2019 Purchased, 2019 Selenium‑toned print NGI.2019.24 NGI.2019.31 Mount: 34.5 × 27 cm NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999 Image: 25.5 × 18 cm Purchased, 2019 Foreign Press, 1952–53 Men and Steam Machine, 1952–53 NGI.2019.18 Selenium‑toned print Selenium‑toned print Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm NEVILL JOHNSON, 1911–1999 Image: 25.5 × 18 cm Image: 25.5 × 18 cm Children and Washing, 1952–53 Purchased, 2019 Purchased, 2019 Selenium‑toned print NGI.2019.25 NGI.2019.32 Mount: 34.5 × 27 cm NEVILL JOHNSON, 1911 – 1999 NEVILL JOHNSON, 1911–1999 Image: 25.5 × 18 cm Purchased, 2019 Man at Window, 1952–53 Men at Bookstall, 1952–53 NGI.2019.19 Selenium‑toned print Selenium‑toned print Mount: 34.5 × 27 cm Mount: 34.5 × 27 cm Image: 25.5 × 18 cm Image: 25.5 × 18 cm Purchased, 2019 Purchased, 2019 NGI.2019.26 NGI.2019.33 Annual Report 2019 81
NEVILL JOHNSON, 1911–1999 Mary Lohan, Donald Teskey, Street Ornament, 1952–53 Selenium‑toned print b.1954 b.1956 Sea, 2016 Still Water, 2017 Mount: 34.5 × 27 cm Etching Oil on canvas Image: 25.5 × 18 cm Sheet: 45.8 × 37.6 cm Unframed: 80 × 100 cm Purchased, 2019 Plate: 21.1 cm Purchased, 2019 NGI.2019.34 Purchased, 2019 NGI.2019.42 NEVILL JOHNSON, 1911–1999 NGI.2019.39.2 Two Women in Hats, 1952–53 Dorothy Cross, Selenium‑toned print Tom Phelan, b.1970 Mount: 34.5 × 27 cm b.1956 Pax, 2016 Image: 25.5 × 18 cm Shark Heart Submarine, 2011 Relief print Purchased, 2019 Mixed media Sheet: 45.9 × 37.6 cm NGI.2019.35 Object (Easel): 520 × 80 cm; Object Plate: 25.2 × 20.2 cm (Submarine): 91 cm; Object (Jar with NEVILL JOHNSON, 1911–1999 Purchased, 2019 Heart): 6 cm Purchased, 2019 Woman at a Street Corner, 1952–53 NGI.2019.39.3 NGI.2019.43 Selenium‑toned print Mount: 34.5 × 27 cm Grainne Cuffe, DOROTHY CROSS, B.1956 Image: 25.5 × 18 cm b.1957 Glassilaun Snow Peak, 2014 Purchased, 2019 Archival pigment print Tulipa Pax, 2016 NGI.2019.36 Unframed: 88.4 × 124 cm Etching NEVILL JOHNSON, 1911–1999 Purchased, 2019 Sheet: 46.3 × 37.5 cm NGI.2019.44 Woman in Scarf, 1952–53 Plate: 24.5 × 22.6 cm Selenium‑toned print Purchased, 2019 DOROTHY CROSS, B.1956 Mount: 34.5 × 27 cm NGI.2019.39.4 Darkness and Light (2 prints), 2017 Image: 25.5 × 18 cm Luminescent print Purchased, 2019 Sharon Lee, b.1978 Framed: 74.8 × 58.7 cm NGI.2019.37 Projection Scape [Pru‑jek‑shuhn‑skeyp], 2016 Purchased, 2019 Lithograph NGI.2019.45 William Evans of Sheet: 46 × 38.1 cm DOROTHY CROSS, B.1956 Plate: 19 × 17 cm Eton, 1798–1877 Darkness and Light/Print 1, 2017 Purchased, 2019 Renvyle, Connemara, c.1838 Luminescent print NGI.2019.39.5 Watercolour on paper Framed: 74.8 × 58.7 cm Sheet: 22.8 × 43.2 cm Purchased, 2019 Presented, Dr Andrew Mulcahy, in memory Margaret Clarke, NGI.2019.45.1 of his uncle Mr John Mulcahy, 2019 DOROTHY CROSS, B.1956 NGI.2019.38 1884–1961 Girl Praying, c.1925 Darkness and Light/Print 2, 2017 Various Artists Oil on canvas Luminescent print Unframed: 45.5 × 40.5 × 1.3 cm Framed: 74.8 × 58.7 cm Graphic Studio Dublin Sponsors’ Portfolio Presented, Mr Leo Donnelly, in memory of 2016, 2016 Purchased, 2019 Kathleen O’Brien and her daughter Mary Purchased, 2019 Donnelly, 2019 NGI.2019.45.2 NGI.2019.39 NGI.2019.40 DOROTHY CROSS, B.1956
Ghost Ship (ii), 2011 Paula Meehan, Cian McLoughlin, Luminescent print b.1955 b.1977 Plate: 37 × 45 cm Sheet: 47.5 × 55 cm Pax, 2016 Self ‑Portrait, 2018 Purchased, 2019 Letterpress Oil on board NGI.2019.46 Unframed: 46 × 37.5 cm Unframed: 61 × 46 cm Purchased, 2019 Purchased, 2019 NGI.2019.39.1 NGI.2019.41 82 Annual Report 2019
DOROTHY CROSS, B.1956 Patrick Scott, Seán O’Sullivan, Ghost Ship (i), 2011 Luminescent print 1921–2014 1906–1964 Meditations (Box set of 7 prints), 2007 Portrait of Patrick Tuohy Plate: 37 × 45 cm Etchings on paper Charcoal on paper Sheet: 47.5 × 55 cm Unframed: 73 × 71 cm Unframed: 27 × 19 cm Purchased, 2019 Purchased, 2019 Bequeathed, 2019 NGI.2019.47 NGI.2019.54 NGI.2019.60 Rita Duffy, b.1956 At Sixes and Sevens (Set of 8 prints), 2011 Rita Duffy, b.1956 Hilda Roberts, Luminescent print & Paul Muldoon, b. 1901–1982 Plate: 37 × 45 cm 1951 Portrait of Patrick Tuohy Sheet: 47.5 × 55 cm Oil on canvas Purchased, 2019 Printer: Stoney Bequeathed, 2019 NGI.2019.48.1-8 Road Press NGI.2019.61 ‘At Sixes and Sevens’, 2013 Blaise Drummond, Book with eight etchings Christopher Object: 33.2 × 25.5 × 1.8 cm b.1967 Presented, 2019 Campbell, 1908– Lake Eden, 2016 NGI.2019.55 1972 Intaglio and applied collage Self ‑Portrait, Nude Study Unframed: 105 × 88 cm Graphite on paper Purchased, 2019 Patrick Joseph Unframed: 51 × 36 cm NGI.2019.49 Tuohy, 1894–1930 Bequeathed, 2019 BLAISE DRUMMOND, B.1967 The Artist with Two Women NGI.2019.62 Oil on canvas Muuratsalo, 2014 Unframed: 90 × 105 cm Intaglio and collage Bequeathed, 2019 William Conor, Unframed: 66 × 82 cm NGI.2019.56 1881–1968 Purchased, 2019 Bangor, 1910 NGI.2019.50 PATRICK JOSEPH TUOHY, 1894–1930 Ink, graphite and wax crayon on paper Standing Nude BLAISE DRUMMOND, B.1967 Unframed: 19 × 22 cm Oil on canvas Music School, 2014 Framed: 34 × 40.4 cm Unframed: 100 × 74 cm Intaglio and hand stitching Presented, in memory of Mary Olive Scott, Bequeathed, 2019 2019 Unframed: 66 × 82 cm NGI.2019.57 NGI.2019.63 Purchased, 2019 NGI.2019.51 PATRICK JOSEPH TUOHY, 1894–1930
BLAISE DRUMMOND, B.1967 Girl in Blue Patrick Joseph Watercolour on paper Seven Leaves for James [ in memory of James Tuohy, 1894–1930 Unframed: 44 × 29 cm O’Nolan], 2018 Woman in a Large Hat (Possibly May Power, Etching Bequeathed, 2019 Daughter of Albert Power) Sheet: 80 × 93.5 cm NGI.2019.58 Oil on canvas Bequeathed, 2019 Purchased, 2019 PATRICK JOSEPH TUOHY, 1894–1930 NGI.2019.52 NGI.2019.64 Dominick Bowe Oil on canvas Eilis O’Connell, Unframed: (approx.) 70 × 50 cm Percy Francis b.1953 Bequeathed, 2019 Gethin, 1874–1916 NGI.2019.59 MRI Diffusion, 2017 Gerona Intaglio Etching on paper Unframed: 45 × 45 cm Sheet: 17.4 × 30 cm Purchased, 2019 Purchased, 2019 NGI.2019.53 NGI.2019.65 Annual Report 2019 83
PERCY FRANCIS GETHIN, 1874–1916 BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980
Auxerre Study of a Seated Male Study of a Standing Female Nude Seen from the Back Etching on paper Graphite on tracing paper Graphite on paper Sheet: 10.2 × 17.4 cm Sheet: 25.5 × 19 cm Sheet: 56 × 38 cm Purchased, 2019 Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 NGI.2019.66 NGI.2019.73 NGI.2019.80 BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Joyce Gunn Cairns, Study of a Seated Male Seen from the Back The Life Drawing Class, 1933 b.1948 Graphite on tracing paper Graphite on paper Portrait of Colm Tóibín (b.1955), 2017 Sheet: 25.3 × 19.5 cm Sheet: 38 × 56 cm Graphite and coloured pencil on paper Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 Unframed: 114.2 × 75.3 cm NGI.2019.74 NGI.2019.81 Purchased, Joyce Gunn Cairns, 2019 BEA ORPEN, 1913–1980 NGI.2019.67 BEA ORPEN, 1913–1980 Study of a Seated Woman with Hand on Knee; Study of a Seated Female Nude with Arm Studies of a Male Figure Lying Down with Outstretched (on verso) Hand behind Head, 1933 Bea Orpen, 1913– Graphite on paper Graphite on paper 1980 Sheet: 27.5 × 21.3 cm Sheet: 56 × 38 cm Study of a Seated Female Nude Seen from the Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 Back NGI.2019.75 NGI.2019.82 Graphite on tracing paper BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Sheet: 25.5 × 19 cm Presented, the Family of the Artist, 2019 Studies of a Black Man Standing with Arms Study of a Seated Female Nude with Arm Folded, 1937 Outstretched, Holding a Pole, 1934 NGI.2019.68 Graphite on paper Graphite on paper BEA ORPEN, 1913–1980 Sheet: 38 × 28 cm Sheet: 56 × 38 cm Study of a Seated Female Nude Leaning Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 Forward NGI.2019.76 NGI.2019.83 Graphite on tracing paper BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Sheet: 19 × 25.5 cm Presented, the Family of the Artist, 2019 Study of Hands and a Woman Drawing, 1933 Study of a Reclining Nude, 1933 NGI.2019.69 Graphite on paper Graphite on paper Sheet: 38 × 56 cm Sheet: 38 × 56 cm BEA ORPEN, 1913–1980 Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 Study of a Seated Female Nude with Raised NGI.2019.77 NGI.2019.84 Knee Graphite on tracing paper BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980
Sheet: 25.5 × 19 cm Study of a Standing Female Nude with Knee Study of a Male Seen from the Back, Holding Presented, the Family of the Artist, 2019 Raised, 1934 Knee NGI.2019.70 Graphite on paper Graphite on paper Sheet: 44.5 × 25.3 cm Sheet: 38 × 56 cm BEA ORPEN, 1913–1980 Presented, the Family of the Artist, 2019 Presented, the Family of the Artist, 2019 Study of a Seated Female Nude Lying Down NGI.2019.78 NGI.2019.85 Graphite on tracing paper BEA ORPEN, 1913–1980 BEA ORPEN, 1913–1980 Sheet: 14.8 × 25.5 cm Presented, the Family of the Artist, 2019 Study of a Seated Female Nude with Knee Ventry Bay, 1939 Raised, 1934 NGI.2019.71 Gouache on beige paper Graphite on paper Sheet: 28.1 × 38 cm BEA ORPEN, 1913–1980 Sheet: 44.5 × 29 cm Presented, the Family of the Artist, 2019 Study of a Standing Female Nude with Hands Presented, the Family of the Artist, 2019 NGI.2019.86 Placed on Head NGI.2019.79 Graphite on tracing paper Sheet: 25.5 × 19 cm Presented, the Family of the Artist, 2019 NGI.2019.72 84 Annual Report 2019
BEA ORPEN, 1913–1980 Pentti Father Francis Sketchbook with 18 Pages, 1969 Black marker and graphite Sammallahti, Browne, 1880–1960 Handball against Castle Wall, Wexford, 1930, Book: 16.8 × 23 cm b.1950 2019 Presented, the Family of the Artist, 2019 Croagh Patrick, Ireland, 1978 Platinum print NGI.2019.87 Silver gelatin print Unframed: 28 × 35.5 cm Unframed: 15 × 20 cm BEA ORPEN, 1913–1980 Purchased, 2019 Presented, 2019 Sketchbook with 3 Sheets, 1973 NGI.2019.101 NGI.2019.94 Black biro and watercolour FATHER FRANCIS BROWNE, 1880– Book: 30 × 21 cm PENTTI SAMMALLAHTI, B.1950 1960 Presented, the Family of the Artist, 2019 Croagh Patrick, Ireland, 1978 Newsboy Reading Mail, 1930, 2019 NGI.2019.88 Silver gelatin print Platinum print Unframed: 15 × 20 cm Unframed: 28 × 35.5 cm Diana Presented, 2019 Purchased, 2019 Copperwhite, b. NGI.2019.95 NGI.2019.102 PENTTI SAMMALLAHTI, B.1950 FATHER FRANCIS BROWNE, 1880– 1969 1960 Dingle, Co. Kerry, Ireland, 1978 Shapeshifter, 2016 Silver gelatin print Hanging up the Mail Bag T.P.O., 1930, 2019 Oil on canvas Unframed: 15 × 20 cm Platinum print Unframed: 175 × 235 cm Presented, 2019 Unframed: 28 × 35.5 cm Purchased, partial gift from the Artist, Purchased, 2019 2019 NGI.2019.96 NGI.2019.103 NGI.2019.89 PENTTI SAMMALLAHTI, B.1950 FATHER FRANCIS BROWNE, 1880– Croagh Patrick, Ireland, 1978 1960 Stuart Pearson Silver gelatin print Traffic on the Quays, 1930, 2019 Unframed: 15 × 20 cm Wright, b. 1975 Platinum print Presented, 2019 Portrait of Sir Michael Gambon, 2006 Unframed: 28 × 35.5 cm NGI.2019.97 Colouring pencil and pencil on paper Purchased, 2019 Unframed: 56 × 44 cm PENTTI SAMMALLAHTI, B.1950 NGI.2019.104 Purchased, 2019 Dunquin, Co. Kerry, Ireland, 1978 FATHER FRANCIS BROWNE, 1880– NGI.2019.90 Silver gelatin print 1960 Unframed: 15 × 20 cm The Apple House, Emo Court, Laois, 1931, Martin Parr, b.1952 Presented, 2019 2019 Belmullet Fair, County Mayo from the series NGI.2019.98 Platinum print ‘A Fair Day’, 1983, 2019 PENTTI SAMMALLAHTI, B.1950 Unframed: 28 × 35.5 cm Silver gelatin print Purchased, 2019 Mayo, Ireland, 1978 Image: 30.5 × 40.6 cm NGI.2019.105 Purchased, 2019 Silver gelatin print Unframed: 15 × 20 cm FATHER FRANCIS BROWNE, 1880– NGI.2019.91 1960 Presented, 2019 MARTIN PARR, B.1952 NGI.2019.99 Man Seated on Fallen Signpost, Portarlington, Laois, 1927, 2019 Glenbeigh Races, County Kerry from the series ‘A Fair Day’, 1983, 2019 PENTTI SAMMALLAHTI, B.1950 Platinum print Silver gelatin print Cathleen Ni Houlihan Portfolio, 1979 Unframed: 28 × 35.5 cm Image: 30.5 × 40.6 cm Portfolio Purchased, 2019 Purchased, 2019 Object: 32 × 30 × 2 cm NGI.2019.106 NGI.2019.92 Presented, 2019
MARTIN PARR, B.1952 NGI.2019.100.1-30
Manorhamilton Sheep Fair, County Leitrim from the series ‘A Fair Day’, 1983, 2019 Silver gelatin print Image: 30.5 × 40.6 cm Purchased, 2019 NGI.2019.93 Annual Report 2019 85
FATHER FRANCIS BROWNE, 1880– PENTTI SAMMALLAHTI, B.1950 1960 Mary Farl Powers, Ireland (Couple), 1978 Interior of Gleeson’s Post Office, Reading Irish 1948–1992 Gelatin silver print Independent, 1935, 2019 June, 1991 Unframed: 15 × 19 cm Platinum print Etching Purchased, 2019 Unframed: 28 × 35.5 cm Framed: 100.5 × 83.2 cm NGI.2019.119 Purchased, 2019 Purchased, 2019 PENTTI SAMMALLAHTI, B.1950 NGI.2019.107 NGI.2019.113 Co. Kerry, Ireland, 1978 FATHER FRANCIS BROWNE, 1880– MARY FARL POWERS, 1948–1992 1960 Gelatin silver print December, 1989 Quaint Door Latch at Mount Saint Anne’s Unframed: 24 × 30 cm Etching Mount Henry, Laois, 1936, 2019 Purchased, 2019 Framed: 99.5 × 82.3 cm Platinum print NGI.2019.120 Unframed: 28 × 35.5 cm Purchased, 2019 PENTTI SAMMALLAHTI, B.1950 Purchased, 2019 NGI.2019.114 NGI.2019.108 Outer Hebrides, 2008 Gelatin silver print FATHER FRANCIS BROWNE, 1880– Sean Scully, b. Unframed: 20.5 × 25 cm 1960 1945 Purchased, 2019 Through Window Screen, Flooded Town, Landline Red Run, 2018 1933, 2019 NGI.2019.121 Oil on aluminium Platinum print PENTTI SAMMALLAHTI, B.1950 Unframed: 215.9 × 190.5 cm Unframed: 28 × 35.5 cm Presented, Sean Scully, 2019 Seoul, Korea, 2016 Purchased, 2019 NGI.2019.115 Gelatin silver print NGI.2019.109 Unframed: 20 × 25 cm FATHER FRANCIS BROWNE, 1880– Purchased, 2019 1960 Pentti NGI.2019.122 Self-Portrait, Merseyside, England, 1930, Sammallahti, 2019 Platinum print b.1950 Inge Morath, 1923– Croagh Patrick, Mayo, Ireland (Pilgrims), 1978 Unframed: 28 × 35.5 cm 2002 Gelatin silver print Purchased, 2019 Ireland. Killorglin, County Kerry. Puck Fair, Unframed: 11.8 × 26.5 cm NGI.2019.110 1954 Purchased, 2019 Vintage gelatin silver print Estella Frances NGI.2019.116 Unframed: 25.4 × 16.8 cm PENTTI SAMMALLAHTI, B.1950 Purchased, 2019 Solomons, 1882– NGI.2019.123 Youghal, Ireland, 1978 1968 Gelatin silver print INGE MORATH, 1923–2002 McDaid’s Pub, Dublin, c.1910 Unframed: 20.5 × 25 cm Ireland. Killorglin, County Kerry. Puck Fair. Etching on paper Purchased, 2019 Find the Lady, 1954 Sheet: 26.2 × 32.5 cm NGI.2019.117 Vintage silver gelatin print Presented, 2019 Unframed: 34 × 25.4 cm PENTTI SAMMALLAHTI, B.1950 NGI.2019.111 Purchased, 2019 Inch, Co. Kerry, 1978 NGI.2019.124 Gelatin silver print INGE MORATH, 1923–2002 Edmund Joseph Unframed: 20.5 × 25 cm Purchased, 2019 Ireland. Killorglin, County Kerry. Puck Fair, Sullivan, 1869–1933 1954 Portrait of George Bernard Shaw Writing at a NGI.2019.118 Desk, 1929 Vintage silver gelatin print Copper plate Unframed: 29.8 × 20.2 cm Plate: 26.5 × 20.3 cm Purchased, 2019 Presented, Gordon G. F. Dixon, 2019 NGI.2019.125 NGI.2019.112 86 Annual Report 2019
INGE MORATH, 1923–2002 TOM WOOD, B.1951 AMELIA STEIN, B.1958
Killorglin, Gypsies, 1954, 2010 London Road, City Centre, 1993 Teacháin a’ Watch from Precipice, 2019 Archival pigment print Vintage gelatin silver print Archival pigment print Image: 23.5 × 35.5 cm Image: 30.5 × 40.8 cm Image: 40 × 50 cm Sheet: 33 × 44.5 cm Purchased, 2019 Purchased, 2019 Purchased, 2009 NGI.2019.133 NGI.2019.140 NGI.2019.126 TOM WOOD, B.1951 AMELIA STEIN, B.1958 INGE MORATH, 1923–2002 Out from Town, 1986 Precipice: The Knife Rock, 2015, 2019 Ireland, Killorglin, Co. Kerry, Gypsy Family, Vintage analogue handprint Archival pigment print 1954, 2010 Unframed: 40.5 × 50.5 cm Image: 40 × 50 cm Archival pigment print Purchased, 2019 Purchased, 2019 Image: 35.5 × 23.5 cm NGI.2019.134 NGI.2019.141 Sheet: 40.5 × 30.5 cm TOM WOOD, B.1951 AMELIA STEIN, B.1958 Purchased, 2019 NGI.2019.127 Chinatown, 1980 Precipice: The Precipice of the Fox, 2015, 2019 Vintage analogue handprint Archival pigment print INGE MORATH, 1923–2002 Unframed: 21 × 29.8 cm Image: 40 × 50 cm Ireland, Killorglin, Co. Kerry, 1954, 2010 Purchased, 2019 Purchased, 2019 Archival pigment print NGI.2019.135 NGI.2019.142 Image: 23.5 × 35.5 cm TOM WOOD, B.1951 AMELIA STEIN, B.1958 Sheet: 30.5 × 40.5 cm Purchased, 2019 London Road, City Centre, 1990 White Stable from The Big Sky, 2012, 2019 NGI.2019.128 Vintage analogue handprint Silver gelatin print Unframed: 50.5 × 61 cm Unframed: 36.5 × 46cm INGE MORATH, 1923–2002 Purchased, 2019 Framed: 68 × 58 cm Ireland, Killorglin, Co. Kerry, 1954, 2010 NGI.2019.136 Purchased, 2019 Archival pigment print NGI.2019.143 Image: 44.5 × 33 cm AMELIA STEIN, B.1958 Sheet: 35.5 × 23.5 cm Amelia Stein, Purchased, 2019 b.1958 White House from The Big Sky, 2012, 2019 NGI.2019.129 Hand Cut Bog, 2011, 2019 Archival silver gelatin print Sheet: 40 × 50 cm INGE MORATH, 1923–2002 Silver Gelatin Print Unframed: 37.3 × 37.3 cm Purchased, 2019 Ireland, Killorglin, Co. Kerry, 1954, 1954 Framed: 60 × 60 cm NGI.2019.144 Archival pigment print Purchased, 2019 AMELIA STEIN, B.1958 Image: 35.5 × 23.5 cm NGI.2019.137 Sheet: 40.5 × 30.5 cm Terry’s Old Stable from The Big Sky, 2012, 2019 Purchased, 2019 AMELIA STEIN, B.1958 Archival silver gelatin print NGI.2019.130 Sheepwire II, 2015–2017, 2019 Sheet: 40 × 50 cm Archival pigment print Purchased, 2019 Image: 80 × 65 cm Tom Wood, b.1951 NGI.2019.145 Purchased, 2019 Stanley Road, Bootle (flower streets), 1989 NGI.2019.138 AMELIA STEIN, B.1958 Vintage analogue handprint Image: 50.7 × 60.9 cm AMELIA STEIN, B.1958 Sheepwire I, 2015–2017, 2019 Archival pigment print Purchased, 2019 Precipice: Diarmaid and Gráinne’s Bed, 2015, NGI.2019.131 2019 Image: 80 × 65 cm Archival pigment print Presented, in memory of Mona Stein, the TOM WOOD, B.1951 Artist’s mother, 2019 Image: 40 × 50 cm King Street, Wallasey, 1978 NGI.2019.146 Purchased, 2019 Vintage gelatin silver print NGI.2019.139 Image: 16.5 × 21.5 cm Purchased, 2019 NGI.2019.132 Annual Report 2019 87
Bill Brandt, DENNIS DINNEEN, 1927–1985 DENNIS DINNEEN, 1927–1985 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 1904–1983 Silver gelatin print Silver gelatin print Francis Bacon on Primrose Hill, 1963, 1975 Image: 25.4 × 25.4 cm Image: 25.4 × 25.4 cm Silver gelatin print Purchased, 2019 Presented, 2019 Image: 30 × 40 cm NGI.2019.154 NGI.2019.162 Purchased, 2019 DENNIS DINNEEN, 1927–1985 DENNIS DINNEEN, 1927–1985 NGI.2019.147 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 Edward Quinn, Silver gelatin print Silver gelatin print Image: 25.4 × 25.4 cm Image: 25.4 × 25.4 cm 1920–1997 Purchased, 2019 Presented, 2019 Three Boys, Dublin, 1963 NGI.2019.155 NGI.2019.163 Vintage gelatin silver print DENNIS DINNEEN, 1927–1985 Image: 21.3 × 26.3 cm George Zimbel, Purchased, 2019 Untitled, 1950s–1970s, 2019 NGI.2019.148 Silver gelatin print b.1929 Image: 25.4 × 25.4 cm Irish Dance Hall, The Bronx, NY, 1954, 1968 EDWARD QUINN, 1920–1997 Purchased, 2019 Silver gelatin print Donnelly’s Coal, Dublin, 1963 NGI.2019.156 Image: 20.3 × 29.9 cm Vintage gelatin silver print DENNIS DINNEEN, 1927–1985 Purchased, 2019 Image: 20.6 × 26.2 cm NGI.2019.164 Purchased, 2019 Untitled, 1950s–1970s, 2019 NGI.2019.149 Silver gelatin print Image: 25.4 × 25.4 cm Eamonn Doyle, EDWARD QUINN, 1920–1997 Purchased, 2019 b.1969 Dublin, 1963 NGI.2019.157 Untitled 7, from the series i, 2014 Vintage gelatin silver print DENNIS DINNEEN, 1927–1985 Archival pigment print Image: 21.4 × 26.5 cm Unframed: 80 × 53.3 cm Purchased, 2019 Untitled, 1950s–1970s, 2019 Framed: 81.5 × 54.5 × 5 cm NGI.2019.150 Silver gelatin print Image: 25.4 × 25.4 cm Purchased, 2019 EDWARD QUINN, 1920–1997 Purchased, 2019 NGI.2019.165 Men Browsing at Bookstore, 1963 NGI.2019.158 EAMONN DOYLE, B.1969 Vintage gelatin silver print DENNIS DINNEEN, 1927–1985 Untitled 4, from the series i, 2013 Image: 22.4 × 26.1 cm Archival pigment print Purchased, 2019 Untitled, 1950s–1970s, 2019 Unframed: 80 × 53.5 cm NGI.2019.151 Silver gelatin print Image: 25.4 × 25.4 cm Framed: 81.5 × 54.5 × 5 cm Purchased, 2019 Purchased, 2019 Dennis Dinneen, NGI.2019.159 NGI.2019.166
1927–1985 DENNIS DINNEEN, 1927–1985 EAMONN DOYLE, B.1969 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 Untitled 28, from the series i, 2013 Silver gelatin print Silver gelatin print Archival pigment print Image: 25.4 × 25.4 cm Image: 25.4 × 25.4 cm Unframed: 80 × 53.5 cm Purchased, 2019 Purchased, 2019 Framed: 81.5 × 54.5 × 5 cm NGI.2019.152 NGI.2019.160 Purchased, 2019 DENNIS DINNEEN, 1927–1985 NGI.2019.167 DENNIS DINNEEN, 1927–1985 Untitled, 1950s–1970s, 2019 Untitled, 1950s–1970s, 2019 Silver gelatin print Silver gelatin print Image: 25.4 × 25.4 cm Image: 25.4 × 25.4 cm Purchased, 2019 Purchased, 2019 NGI.2019.153 NGI.2019.161 88 Annual Report 2019
EAMONN DOYLE, B.1969 LUTZ DILLE, JANE BOWN, 1922–2008 1925–2014 END. Liberty Hall, 2016 Pigment print on Hahnemühle Fine Art Dublin, Ireland, 1968, 1995 Portrait of Elizabeth Bowen, 1964 Paper Gelatin silver print Vintage gelatin silver print Unframed: 67 × 100 cm Unframed: 19.1 × 24.8 cm Image: 25 × 19.5 cm Framed: 68.5 × 101.5 × 5 cm Purchased, 2019 Presented, 2019 Purchased, 2019 NGI.2019.174 NGI.2019.181 NGI.2019.168 LUTZ DILLE, EAMONN DOYLE, B.1969 1922–2008 Evelyn Hofer, END. Green, 2016 Ireland, 1968, 1975 1922–2009 Gelatin silver print Pigment print on Hahnemühle Fine Art Girl with Bicycle, Dublin, 1966, 2005 Paper Image: 49.5 × 37.8 cm Dye transfer print Unframed: 67 × 100 cm Purchased, 2019 Unframed: 41.6 × 33.5 cm Framed: 68.5 × 101.5 × 5 cm NGI.2019.175 Sheet: 50 × 40 cm Purchased, 2019 Purchased, 2019 NGI.2019.169 Jane Bown, NGI.2019.182 EAMONN DOYLE, B.1969 1925–2014 EVELYN HOFER, 1922–2009 Untitled 2, from the series i Portrait of Samuel Beckett, 1976 Distillery, Dublin, 1966, 2003 Archival pigment print Vintage gelatin silver print Dye transfer print Image: 80 × 53.3 cm Image: 29.3 × 19.7 cm Image: 33.5 × 40 cm Framed: 81.5 × 54.5 × 5 cm Purchased, 2019 Sheet: 40 × 50 cm Presented, 2019 NGI.2019.176 Purchased, 2019 NGI.2019.170 JANE BOWN, NGI.2019.183 1925–2014 EVELYN HOFER, 1922–2009 Lutz Dille, Francis Bacon in His Studio, 1985 Mountjoy Square, Dublin, 1966, 1977 Vintage gelatin silver print 1922–2008 Dye transfer print Ireland, West Coast, 1982 Image: 37.8 × 19 cm Image: 26 × 34 cm Gelatin silver print Purchased, 2019 Sheet: 35 × 43 cm Unframed: 25.4 × 38.1 cm NGI.2019.177 Purchased, 2019 Purchased, 2019 JANE BOWN, NGI.2019.184 NGI.2019.171 1925–2014 EVELYN HOFER, 1922–2009 LUTZ DILLE, Portrait of Sinead O’Connor, 1995, 2019 1922–2008 Modern digital print Prams, Dublin, 1988, 2008 Gelatin silver print Ireland, 1968, 1969 Image: 42 × 59.4 cm Image: 37.5 × 39.8 cm Gelatin silver print Purchased, 2019 Sheet: 50 × 40 cm Unframed: 17.2 × 24.8 cm NGI.2019.178 Purchased, 2019 Purchased, 2019 JANE BOWN, NGI.2019.185 NGI.2019.172 1925–2014 EVELYN HOFER, 1922–2009 LUTZ DILLE, Ted Hughes and Children in Connemara, 1922–2008 1966, 2019 Tinker Girl, Dublin, 1966, 2001 Modern digital print County Kilkenny, Ireland, Farmer, 1968 Gelatin silver print Image: 42 × 59.4 cm Gelatin silver print Image: 39.3 × 31 cm Purchased, 2019 Unframed: 19.7 × 24.8 cm Sheet: 50 × 40 cm NGI.2019.179 Purchased, 2019 Purchased, 2019 NGI.2019.173 JANE BOWN, NGI.2019.186 1925–2014
Portrait of Peter O’Toole, 1995, 2019 Modern digital print Image: 42 × 59.4 cm Purchased, 2019 NGI.2019.180 Annual Report 2019 89
EVELYN HOFER, 1922–2009 EDWARD LEAR, 1812–1888 Brian O’Doherty, ‘Mulligan’s’ James Joyce’s Pub, Dublin, 1966, 1996 Loch Tay Looking North, 1835 b.1928 Gelatin silver print Graphite on paper Ogham on Broadway, 2003 Image: 39 × 31 cm Unframed: 10.8 × 16.5 cm Acrylic on canvas Sheet: 50 × 40 cm Purchased, with the support of the Friends Unframed: 183 × 189 × 5 cm Purchased, 2019 of the National Collections of Ireland, 2019 Purchased, the Artist, 2019 NGI.2019.187 NGI.2019.193 NGI.2019.199
EVELYN HOFER, 1922–2009 EDWARD LEAR, BRIAN O’DOHERTY, B.1928 1812–1888 Boots Repair, Dublin, 1966, 2002 Portrait of the Artist as a Naked Young Man, Bray, with the Little Sugarloaf in the Distance, 1953 Gelatin silver print 1835 Oil on canvas Image: 36 × 28.5 cm Graphite on paper Framed: 75.5 × 64 × 4 cm Sheet: 50 × 40 cm Unframed: 10.8 × 16.5 cm Purchased, the Artist, 2019 Presented, Estate of Evelyn Hofer, 2019 Purchased, with the support of the Friends NGI.2019.200 NGI.2019.188 of the National Collections of Ireland, 2019 NGI.2019.194 André Dunoyer de EDWARD LEAR, Kyffin Williams, Segonzac, 1884– 1812–1888 1918–2006 Clondalkin Round Tower, Co. Dublin, 1835 Storm over Caernarfon Bay, 1996 1974 Graphite on paper Oil on canvas Le Chemin du Golfe, 1960 Unframed: 10.8 × 16.5 cm Unframed: 61 × 61 cm Ink and wash on paper Purchased, with the support of the Friends Presented, Patron of the National Gallery Unframed: 50 × 74 cm of the National Collections of Ireland, 2019 of Ireland, 2019 Purchased, 2019 NGI.2019.195 NGI.2019.201
NGI.2019.189 EDWARD LEAR, KYFFIN WILLIAMS, 1918–2006 1812–1888 Sheepdog, c.2002 Clondalkin Round Tower, with House with Edward Lear, Smoking Chimney, 1835 Ink and wash on paper 1812–1888 Graphite on paper Unframed: 23 × 41 cm The Great and Little Sugarloaf, 1835 Unframed: 10.8 × 16.5 cm Framed: 49.5 × 65.7 cm Graphite on paper Purchased, with the support of the Friends Presented, Patron of the National Gallery of Ireland, 2019 Unframed: 10.8 × 16.5 cm of the National Collections of Ireland, 2019 NGI.2019.202 Purchased, with the support of the Friends NGI.2019.196 of the National Collections of Ireland, 2019 EDWARD LEAR, NGI.2019.190 1812–1888 Eve Arnold, EDWARD LEAR, Glendalough Round Tower, Co. Wicklow, 1835 1912–2012 1812–1888 Graphite on paper Aran Islands: Carrying a Curragh down to The Great and Little Sugarloaf from the Unframed: 10.8 × 16.5 cm the Ship that Brings the Community’s Weekly Scalp, 1835 Supplies, 1974, 2019 Purchased, with the support of the Friends Graphite on paper of the National Collections of Ireland, 2019 Archival print Unframed: 10.8 × 16.5 cm NGI.2019.197 Unframed: 40.6 × 50.8 cm Purchased, with the support of the Friends Purchased, 2019 EDWARD LEAR, of the National Collections of Ireland, 2019 1812–1888 NGI.2019.203 NGI.2019.191 The Banqueting‑room, Bellevue, with a View EDWARD LEAR, of Wicklow Head, 1835 1812–1888 Myra Kathleen Graphite on paper Figures beside Scots Pine Trees, ?Powerscourt Unframed: 10.8 × 16.5 cm Hughes, 1877–1918 Demesne, 1835 Harpur’s Arms (Thavies Inn), Holborn, Purchased, with the support of the Friends London, c.1912 Graphite on paper of the National Collections of Ireland, 2019 Etching on paper Unframed: 10.8 × 16.5 cm NGI.2019.198 Plate: 28 × 18.3 cm Purchased, with the support of the Friends of the National Collections of Ireland, 2019 Sheet: 37 × 27.5 cm NGI.2019.192 Purchased, Elizabeth Harvey‑Lee, 2019 NGI.2019.204 90 Annual Report 2019
MYRA KATHLEEN HUGHES, 1877– 1918 Mary Swanzy, Paul Henry, 1876–
The Bank of Ireland, College Green, Dublin, 1882–1978 1958 c.1912 Panoramic Landscape View over a Plain, Sketch ‘Old Age’, c.1910–1919 c.1920 Etching on paper Graphite on paper Coloured pencil on paper Plate: 19 × 25 cm Unframed: 19.4 × 14.3 cm Unframed: 19.4 × 25.7 cm Sheet: 24.6 × 30.2 cm Presented, 2019 Presented, 2019 Purchased, Elizabeth Harvey‑Lee, 2019 NGI.2019.218 NGI.2019.205 NGI.2019.211 MARY SWANZY, 1882–1978 Camille Souter, b. Dorothea Lange, Farm Buildings with Trees in Foreground, 1929 1895–1965 c.1920 Coloured pencil on paper Study for the Painting ‘The Slaughtered Cow, Woman in Black, Ellen Shannon, Ennis, Ten Minutes Dead’, c.1973 Unframed: 19.4 × 25.7 cm Ireland, 1954, c.1955 Graphite on paper Presented, 2019 Gelatin silver print Unframed: 28.5 × 21 cm NGI.2019.212 Unframed: 23.9 × 19.3 cm Presented, 2019 Purchased, 2019 MARY SWANZY, 1882–1978 NGI.2019.219 NGI.2019.206 Landscape with Houses and Trees, c.1920 DOROTHEA LANGE, 1895–1965 Coloured pencil on paper Francis Danby, Paddy Reynolds from Kilfenora. Ennistymon Unframed: 19.4 × 25.7 cm Fair, County Clare, Ireland, 1954, c.1955 Presented, 2019 1793–1861 A Rocky Landscape Gelatin silver print NGI.2019.213 Unframed: 16.8 × 24.4 cm Sepia wash with graphite underdrawing MARY SWANZY, 1882–1978 on paper Purchased, 2019 Mountain View, c.1920 Unframed: 16.1 × 19 cm NGI.2019.207 Coloured pencil on paper Presented, 2019 DOROTHEA LANGE, 1895–1965 Unframed: 25.7 × 19.5 cm NGI.2019.220 Bridget Wylde Tends to her Shop on Market Presented, 2019 Street, Ennis, 1954, c.1955 NGI.2019.214 Brian Bourke, Gelatin silver print MARY SWANZY, 1882–1978 Unframed: 20.1 × 20.2 cm b.1936 Purchased, 2019 Woman Seated at a Table Outdoors with Grazing Horse, c.1996 Bottle, c.1920 NGI.2019.208 Chalk, graphite and coloured wash on Black coloured pencil watercolour paper DOROTHEA LANGE, 1895–1965 Unframed: 25.7 × 19.5 cm Unframed: 33 × 40 cm Nora Kenneally at her Fireside, County Clare, Presented, 2019 Presented, 2019 Ireland, 1954, 1955 NGI.2019.215 NGI.2019.221 Gelatin silver print MARY SWANZY, 1882–1978 Unframed: 23.3 × 30.8 cm Presented, in memory of John Eaglefeather Portrait of Clare Marsh, Artist, c.1920 Áine Divine Dixon, 2019 Coloured pencil and graphite Portrait of Mo Mowlam (1949–2005), 2004 NGI.2019.209 Unframed: 25.7 × 19.5 cm Watercolour on paper Presented, 2019 Unframed: 100 × 70 cm Thomas James NGI.2019.216 Framed: 100 × 79 cm Purchased, 2019 Mulvany, NGI.2019.222 1779–1845 ? Samuel Frederick Menlo Castle, County of Galway, the Seat of Brocas, Patrick Hickey, Sir Valentine Blake, Bart, 1844 c.1792–1847 Oil on panel 1927–1998 View of Dublin from Islandbridge, c.1810 Unframed: 36 × 50 cm Irish Landscape, January, c.1971 Graphite, grey wash with white highlights Framed: 40.5 × 67 × 2.5 cm on paper Lithograph Bequeathed, Dr Stephen Michael Shea, Unframed: 10.2 × 16.9 cm Sheet: 53 × 34 cm 2019 Presented, 2019 Framed: 64.5 × 44.5 cm NGI.2019.210 NGI.2019.217 Purchased, 2019 NGI.2019.223 Annual Report 2019 91
PATRICK HICKEY, 1927–1998 Fionn McCann, b. Unknown Artist East Coast Forest, 1971 Portrait of Nuala O’Faolain, c.1970s, 2019 Carborundum print 1973 Gelatin silver print Cezanne’s Apple, 2018 Sheet: 52.4 × 60.7 cm Unframed: 30 × 37.5 cm Photograph Purchased, 2019 Presented, 2019 Unframed: 78.6 × 62.2 cm NGI.2019.224 NGI.2019.236 Framed: 81.2 × 64.8 × 3.4 cm Presented, the Artist, 2019 Man Ray, 1890– NGI.2019.230 Jane Bown, 1976 1925–2014 James Joyce, 1922, c.1932 Kim Haughton Children on Pavement, Dublin, 1963 Gelatin silver print J.P Donleavy, 2015 Gelatin silver print Unframed: 12.3 × 9 cm Archive C print Unframed: 27 × 37 cm Purchased, 2019 Framed: 100 × 72 cm Presented, 2019 NGI.2019.225 Purchased, 2019 NGI.2019.237 NGI.2019.231 Peter Beard, 1938– Colin Davidson, 2020 Evelyn Hofer, b.1968 Francis Bacon, 80 Narrow Street, London, The Day I Heard that Mark Hollis had Died 1972 1922–2009 (Self ‑Portrait), 2019 Portrait of Frank O’Connor, 1966, 2019 Vintage gelatin silver print Oil on canvas Modern gelatin silver print Unframed: 8 × 7 cm Unframed: 105 × 97 cm Image: 37.6 × 29.4 cm Purchased, 2019 Presented, Friends of the National Gallery Sheet: 50.8 × 40.4 cm NGI.2019.226 of Ireland (Patrons of Irish Art Funds), 2019 Presented, Estate of Evelyn Hofer, 2019 NGI.2019.238 Madeline Green NGI.2019.232 EVELYN HOFER, 1922–2009 Portrait of John McGahern, c.1980s John Comerford, Gelatin silver print Portrait of Mary Lavin, 1966, 2019 1770–1832 Unframed: 42 × 59.4 cm Modern gelatin silver print The Duke of Leinster, c.1809 Presented, 2019 Sheet: 50.8 × 40.4 cm Graphite on paper NGI.2019.227 Image: 37.6 × 29.5 cm Unframed: 17 × 14 cm Presented, Estate of Evelyn Hofer, 2019 Framed: 44 × 32 cm NGI.2019.233 Erich Hartmann, Purchased, 2019 1922–1999 EVELYN HOFER, 1922–2009 NGI.2019.239 Portrait of Patrick Kavanagh, 1966, 2019 Irish Actress Playing Molly Bloom, 1964 JOHN COMERFORD, 1770–1832 Modern gelatin silver print Vintage gelatin silver print Rt Hon. William Cunningham Plunket, c.1809 Sheet: 50.8 × 40.4 cm Unframed: 15 × 22 cm Graphite on paper Image: 37.7 × 29.6 cm Presented, 2019 Unframed: 17 × 14 cm Presented, Estate of Evelyn Hofer, 2019 NGI.2019.228 Framed: 44 × 32 cm NGI.2019.234 ERICH HARTMANN, 1922–1999 Purchased, 2019 NGI.2019.240 Returning from Hurling Match, 1964 Sean Scully, b.1945 Vintage silver gelatin print JOHN COMERFORD, 1770–1832 Aran Portfolio, 2006 Unframed: 15 × 22 cm Portfolio of 24 black and white Francis Rawdon, Earl of Moira, c.1809 Presented, 2019 photographs and one title page signed by Graphite on paper the artist NGI.2019.229 Unframed: 17 × 14 cm Sheet (each): 40.6 × 50.8 cm Framed: 44 × 32 cm Image (each): 34.9 × 48.3 cm Purchased, 2019 Presented, Sean Scully, 2019 NGI.2019.241 NGI.2019.235.1-24 92 Annual Report 2019
JOHN COMERFORD, 1770–1832 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
John Egan, Esq K.C., c.1809 Scylla and Charybdis, 1978 Turm (Ulysses l), 1963 Graphite on paper Etching Etching Unframed: 17 × 14 cm Sheet: 53.4 × 53 cm Sheet: 38.5 × 53.8 cm Framed: 44 × 32 cm Plate: 40.1 × 39.6 cm Plate: 29.7 × 39.8 cm Purchased, 2019 Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 NGI.2019.242 NGI.2019.248 NGI.2019.254 George Wallace, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 1920–2009 Bloom Gassenjunge, 1977 Ulysses, God, 1963 Etching Etching Wexford Ledger with Sketches Sheet: 37.9 × 53.4 cm Sheet: 76 × 53.8 cm Book Plate: 19.8 × 29.8 cm Plate: 49.3 × 39.6 cm Ink on paper Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, Object: 37.7 × 25.4 cm 2019 2019 Presented, the Wallace Estate, 2019 NGI.2019.249 NGI.2019.255 NGI.2019.243 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Bloom ‑Peristaltik, 1978 Ulysses IV, 1963 Günter Schöllkopf, Etching Etching 1935–1979 Sheet: 58.5 × 53.4 cm Sheet: 38 × 54 cm Ulysses Bloom, 1962 Plate: 39.6 × 39.7 cm Plate: 29.5 × 39.6 cm Etching Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Sheet: 54 × 38.4 cm NGI.2019.250 NGI.2019.256 Plate: 39.8 × 29.8 cm Presented, Heidrun Schöllkopf‑Schober, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 2019 Ulysses Metamorphoses, 1977 Teacher I (Stephen Hero), 1962 NGI.2019.244 Etching Etching GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 38 × 53.3 cm Sheet: 38.1 × 53.5 cm Ulysses 12 (Family), 1963 Plate: 19.8 × 29.7 cm Plate: 29.5 × 39.7 cm Etching Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Sheet: 54 × 37.5 cm NGI.2019.251 NGI.2019.257 Plate: 49.5 × 32.7 cm Presented, Heidrun Schöllkopf‑Schober, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 2019 Two Persons in Dublin (Dädalus Mulligan), Stephen teacher, 1977 NGI.2019.245 1963 Ink and graphite on paper GÜNTER SCHÖLLKOPF, 1935–1979 Etching Unframed: 26.7 × 38.4 cm Sheet: 54.5 × 76.4 cm Bloom, 1977 Presented, Heidrun Schöllkopf‑Schober, Plate: 40.7 × 49.3 cm 2019 Etching Presented, Heidrun Schöllkopf‑Schober, NGI.2019.258 Sheet: 53.4 × 37.8 cm 2019 Plate: 29.9 × 19.5 cm GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.252 Presented, Heidrun Schöllkopf‑Schober, Dädalus teacher (Ulysses teacher), 1977 2019 GÜNTER SCHÖLLKOPF, 1935–1979 Etching NGI.2019.246 Leichenbegängnis, 1963 Sheet: 37.9 × 53.4 cm GÜNTER SCHÖLLKOPF, 1935–1979 Etching Plate: 29.7 × 40 cm Sheet: 55 × 53.2 cm Ulysses XXII, 1963 Presented, Heidrun Schöllkopf‑Schober, Plate: 39.3 × 39.6 cm 2019 Etching Presented, Heidrun Schöllkopf‑Schober, NGI.2019.259 Sheet: 46 × 65.2 cm 2019 Plate: 39.7 × 49.2 cm NGI.2019.253 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.247 Annual Report 2019 93
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Molly Bloom, 1964 Phoenix Park, 1971 The Mass, 1971 Etching Ink Watercolour, graphite, gouache and metallic paint on paper Sheet: 69.9 × 50.1 cm Unframed: 29.5 × 41.9 cm Unframed: 44.5 × 47.2 cm Plate: 49.5 × 33 cm Presented, Heidrun Schöllkopf‑Schober, 2019 Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 NGI.2019.266 NGI.2019.273 NGI.2019.260 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Borstal Boy, 1971 Martello ‑tower, 1977 Traum im Bordell, 1964 Ink and graphite on paper Etching Etching Unframed: 29.5 × 41.9 cm Sheet: 37.8 × 53.2 cm Sheet: 56 × 53.5 cm Presented, Heidrun Schöllkopf‑Schober, 2019 Plate: 29.5 × 39.7 cm Plate: 39.2 × 39.8 cm NGI.2019.267 Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.274 NGI.2019.261 Hark!, 1971 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Graphite on paper O’Neill, 1977 Nausikaa, 1977 Unframed: 29.6 × 42 cm Etching Etching Presented, Heidrun Schöllkopf‑Schober, 2019 Sheet: 53.5 × 37.9 cm Sheet: 37.9 × 53.3 cm NGI.2019.268 Plate: 30.2 × 19.5 cm Plate: 19.8 × 24.9 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, GÜNTER SCHÖLLKOPF, 1935–1979 2019 2019 Borstal Boy, 1971 NGI.2019.275 NGI.2019.262 Ink and gouache on paper GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Unframed: 29.5 × 41.9 cm Baudelaire, 1977 Dubliners, 1977 Presented, Heidrun Schöllkopf‑Schober, 2019 Etching Ink and graphite on paper NGI.2019.269 Sheet: 26.7 × 22.5 cm Unframed: 38.4 × 53.5 cm Plate: 13 × 8.7 cm Presented, Heidrun Schöllkopf‑Schober, GÜNTER SCHÖLLKOPF, 1935–1979 2019 Presented, Heidrun Schöllkopf‑Schober, Attentat im Phoenix Park, 1976 2019 NGI.2019.263 Etching NGI.2019.276 GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 35.3 × 53.2 cm GÜNTER SCHÖLLKOPF, 1935–1979 The Oxen, 1977 Plate: 19.5 × 39.9 cm O Tell Me, 1971 Crayon Presented, Heidrun Schöllkopf‑Schober, 2019 Etching Unframed: 38.3 × 53.4 cm NGI.2019.270 Sheet: 53.3 × 68.5 cm Presented, Heidrun Schöllkopf‑Schober, 2019 GÜNTER SCHÖLLKOPF, 1935–1979 Plate: 34.7 × 49.2 cm NGI.2019.264 Presented, Heidrun Schöllkopf‑Schober, Mulligan, 1971 2019 GÜNTER SCHÖLLKOPF, 1935–1979 Etching NGI.2019.277 Eccles Street, 1977 Sheet: 38.2 × 54 cm GÜNTER SCHÖLLKOPF, 1935–1979 Crayon, graphite, ink and gouache on Plate: 29.8 × 39.5 cm paper The Tower, 1971 Presented, Heidrun Schöllkopf‑Schober, Unframed: 38.1 × 53.4 cm 2019 Etching Presented, Heidrun Schöllkopf‑Schober, NGI.2019.271 Sheet: 37.9 × 42.6 cm 2019 Plate: 19.8 × 29.7 cm GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.265 Presented, Heidrun Schöllkopf‑Schober, Disputation, 1974 2019 Etching NGI.2019.278 Sheet: 46.5 × 60 cm Plate: 29.6 × 39.5 cm Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.272 94 Annual Report 2019
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
J.J. O. Molloy, 1971 Brendan Behan, (Das Narrenschiff), 1977 Tearoom, 1963 Etching Ink Ink on paper Sheet: 38.1 × 54.2 cm Unframed: 29.7 × 39.7 cm Unframed: 29.5 × 40.3 cm Plate: 29.7 × 40.1 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.285 NGI.2019.292 NGI.2019.279 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Bloom Shopping, 1963 Tryptychon I (Anfang Zreuzweg), 1963 Evangelisten, 1977 Ink Ink on paper Etching Unframed: 30.5 × 42.8 cm Unframed: 30.5 × 42.9 cm Sheet: 38 × 53.5 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Plate: 29.8 × 40 cm NGI.2019.286 NGI.2019.293 Presented, Heidrun Schöllkopf‑Schober, 2019 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.280 Dublin Business, 1962 Der Kelch, 1963 GÜNTER SCHÖLLKOPF, 1935–1979 Ink Ink on paper The Big Four, 1977 Unframed: 29.6 × 41.8 cm Unframed: 30.3 × 43 cm Crayon and graphite on paper Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Unframed: 38.3 × 53.4 cm NGI.2019.287 NGI.2019.294 Presented, Heidrun Schöllkopf‑Schober, 2019 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 NGI.2019.281 Bloomsday Bloom Annoncenaquisiteur, 1964 Dädalus Theseus, 1963 GÜNTER SCHÖLLKOPF, 1935–1979 Ink Ink on paper The Big Four, 1978 Unframed: 29.6 × 41.9 cm Unframed: 29.6 × 41.8 cm Etching Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Sheet: 31.7 × 31.2 cm NGI.2019.288 NGI.2019.295 Plate: 19.7 × 20 cm Presented, Heidrun Schöllkopf‑Schober, GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 2019 Bloom I, 1968 Matthew Dillon, 1963 NGI.2019.282 Watercolour on paper Ink, watercolour and gouache on paper GÜNTER SCHÖLLKOPF, 1935–1979 Unframed: 29.4 × 41.8 cm Unframed: 29.6 × 41.9 cm To Bed, 1971 Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Etching NGI.2019.289 NGI.2019.296 Sheet: 46.1 × 53.6 cm Plate: 34.8 × 40.2 cm GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Presented, Heidrun Schöllkopf‑Schober, The King and I, 1970 Waiting Daedallus II, 1964 2019 Graphite on paper Ink on paper NGI.2019.283 Unframed: 29.7 × 41.9 cm Unframed: 21.2 × 30.2 cm GÜNTER SCHÖLLKOPF, 1935–1979 Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Eccles Street, 1976 NGI.2019.290 NGI.2019.297 Watercolour, graphite and metallic paint on paper GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Unframed: 39.5 × 29.6 cm Bloom als..., 1977 Mother Cries, 1964 Presented, Heidrun Schöllkopf‑Schober, 2019 Ink on paper Ink on paper NGI.2019.284 Unframed: 38.4 × 53.4 cm Unframed: 31.2 × 43.9 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 NGI.2019.291 NGI.2019.298 Annual Report 2019 95
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Stephen’s Mutter, 1963 Alp Telling Her Story (Triptychon Alp), 1976 Dying Paloola!!!, 1971 Ink on paper Blue and black ink and graphite on paper Ink on paper Unframed: 29.5 × 41.6 cm Unframed: 29.6 × 20.5 cm Unframed: 29.5 × 42 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 2019 NGI.2019.299 NGI.2019.306 NGI.2019.313
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Triptychon, 1976 Oxen des Sonnengotts, 1976 Mattheehew, Markeehew, Lukeeehw, Johneehewheehew, 1971 Blue, green and black ink on paper Graphite and metallic gold paint on paper Ink on paper Unframed: 29.6 × 40 cm Unframed: 41.5 × 59 cm Unframed: 29.5 × 42 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.300 NGI.2019.307 NGI.2019.314 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Miss Kennedy’s Apples, 1971 Attentat im Phoenix Park, 1972 Morning, 1976 Ink, graphite and watercolour on paper Graphite and ink on paper Ink on paper Unframed: 29.6 × 42 cm Unframed: 29.6 × 42 cm Unframed: 42 × 56.7 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.301 NGI.2019.308 NGI.2019.315 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 The Prison Gate Girls, 1971 Eccles Street I, 1971 To Bed I, 1977 Ink and gouache on paper Graphite on paper Black ink and graphite on paper Unframed: 29.5 × 42 cm Unframed: 29.5 × 42 cm Unframed: 38 × 53.4 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.302 NGI.2019.309 NGI.2019.316 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Nausikaa, 1979 Mulligan Prayer, 1972 Ulysses (Tiere, Bäume), 1965 Ink on paper Ink, watercolour and gouache on paper Ink etching Unframed: 29.3 × 42 cm Unframed: 35.7 × 47.7 cm Unframed: 29.5 × 41.9 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.303 NGI.2019.310 NGI.2019.317 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Nausikaa, 1976 Hearasay, 1964 Ulysses (Nutten Eccles Street) Black ink on paper Ink on paper Ink and graphite on paper Unframed: 29.6 × 39.6 cm Unframed: 42.8 × 29.8 cm Unframed: 29.5 × 42 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.304 NGI.2019.311 NGI.2019.318 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Triptychon Alp, 1976 Hoke!, 1963 Finnegans Wake Black ink on paper Ink on paper Ink, crayon and graphite on paper Unframed: 29.6 × 20.4 cm Unframed: 29.5 × 41.7 cm Unframed: 53.3 × 38.3 cm Presented, Heidrun Schöllkopf‑Schober, Presented, Heidrun Schöllkopf‑Schober, 2019 2019 Presented, Heidrun Schöllkopf‑Schober, 2019 NGI.2019.305 NGI.2019.312 NGI.2019.319 96 Annual Report 2019
GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979
Ulysses (Komiss. Room) Kreuzweg V, 1964 Kreuzweg XII, 1964 Ink on paper Etching Etching Unframed: 29.6 × 39.6 cm Sheet: 53.3 × 38 cm Sheet: 53.3 × 38.1 cm Presented, Heidrun Schöllkopf‑Schober, Plate: 33.1 × 20.8 cm Plate: 32.8 × 19.6 cm 2019 Purchased, 2019 Purchased, 2019 NGI.2019.320 NGI.2019.322.5 NGI.2019.322.12 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Ulysses Vegetation, 1961 Kreuzweg VI, 1964 Kreuzweg XIII, 1964 Etching Etching Etching Unframed: 29.5 × 41.8 cm Sheet: 53.2 × 38 cm Sheet: 53.3 × 37.8 cm Presented, Heidrun Schöllkopf‑Schober, Plate: 32.8 × 19.8 cm Plate: 32.7 × 19.7 cm 2019 Purchased, 2019 Purchased, 2019 NGI.2019.321 NGI.2019.322.6 NGI.2019.322.13 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 GÜNTER SCHÖLLKOPF, 1935–1979 Kreuzweg (‘Way of the Cross’) (I–XIV), 1964 Kreuzweg VII, 1964 Kreuzweg XIV, 1964 Etchings Etching Etching Purchased, 2019 Sheet: 53.2 × 38 cm Sheet: 53.7 × 37.9 cm NGI.2019.322 Plate: 33 × 20.9 cm Plate: 32.8 × 19.8 cm GÜNTER SCHÖLLKOPF, 1935–1979 Purchased, 2019 Purchased, 2019 Kreuzweg I, 1964 NGI.2019.322.7 NGI.2019.322.14 Etching GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 53.3 × 38 cm Kreuzweg VIII, 1964 Ruth Lyons, b.1983 Plate: 33.5 × 19.8 cm Etching Salarium, 2014 Purchased, 2019 Sheet: 53.4 × 38 cm Irish rock salt NGI.2019.322.1 Plate: 32.7 × 19.8 cm Object (1): 10 × 12 × 15 cm GÜNTER SCHÖLLKOPF, 1935–1979 Purchased, 2019 Object (2): 22 × 8 × 22 cm Kreuzweg II, 1964 NGI.2019.322.8 Object (3): 14 × 22 × 38 cm Etching Purchased, 2019 GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 53.3 × 38 cm NGI.2019.323 Kreuzweg IX, 1964 Plate: 32.8 × 19.7 cm Etching Purchased, 2019 Sheet: 53.1 × 38 cm Samuel Laurence NGI.2019.322.2 Plate: 32.9 × 19.9 cm Cunnane, b.1989 GÜNTER SCHÖLLKOPF, 1935–1979 Purchased, 2019 Yew Trees, 2016 Kreuzweg III, 1964 NGI.2019.322.9 Hand ‑printed C‑type print on archival Etching photo paper GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 53.1 × 37.8 cm Unframed: 16.8 × 25.4 cm Kreuzweg X, 1964 Plate: 32.9 × 19.8 cm Framed: 39.7 × 48.1 × 3 cm Etching Purchased, 2019 Purchased, 2019 Sheet: 54.4 × 37.1 cm NGI.2019.322.3 NGI.2019.324 Plate: 32.7 × 19.3 cm GÜNTER SCHÖLLKOPF, 1935–1979 Purchased, 2019 Caoimhe Kreuzweg IV, 1964 NGI.2019.322.10 Etching Kilfeather, b.1979 GÜNTER SCHÖLLKOPF, 1935–1979 Sheet: 53.3 × 37.8 cm in life (i), 2016 Kreuzweg XI, 1964 Plate: 32.7 × 19.4 cm Black and white photograph Etching Purchased, 2019 Unframed: 60 × 90 cm Sheet: 53.4 × 37.9 cm NGI.2019.322.4 Framed: 85 cm × 57 cm Plate: 32.7 × 19.7 cm Purchased, 2019 Purchased, 2019 NGI.2019.325 NGI.2019.322.11 Annual Report 2019 97
CAOIMHE KILFEATHER, B.1979 Vaida Varnagiene, Colin Martin, in life (ii), 2016 Black and white photograph b.1971 b.1973 From Overseas, 2018 Neural Lace, 2019 Unframed: 60 × 90 cm Etching Etching Framed: 85 cm × 57 cm Sheet: 46 × 38 cm Sheet: 46 × 38 cm Purchased, 2019 Image: 30.5 × 24.5 cm Image: 23 × 23 cm NGI.2019.326 Purchased, with the support of Mr Peter Purchased, with the support of Mr Peter Woods and Mr Francis Ryan, 2019 Woods and Mr Francis Ryan, 2019 NGI.2019.328.3 NGI.2019.329.2 Yousuf Karsh, 1908–2002 Julie Ann Haines, Niamh McGuinne, George Bernard Shaw, 1943 b.1966 b.1967 Vintage silver print Block D, 2018 Mind’s Eye, 2019 Unframed: 27.7 × 22.1 cm Etching Etching Purchased, 2019 Sheet: 46 × 38 cm (print: 30.5 × 24.5 cm) Sheet: 46 × 38 cm (print: 23 × 23 cm) NGI.2019.327 Purchased, with the support of Mr Peter Purchased, with the support of Mr Peter Woods and Mr Francis Ryan, 2019 Woods and Mr Francis Ryan, 2019 Various Artists NGI.2019.328.4 NGI.2019.329.3 Graphic Studio Dublin Sponsors’ Portfolio 2018, 2018 Maser, b.1981 Clare Henderson, Portfolio Untitled, 2018 Purchased, with the support of Mr Peter b.1981 Carborundum; photo intaglio Woods and Mr Francis Ryan, 2019 Witness to an Interrogation, 2019 Sheet: 46 × 38 cm NGI.2019.328 Etching Image: 30.5 × 24.5 cm Sheet: 46 × 38 cm Purchased, with the support of Mr Peter Image: 23 × 23 cm Paul Muldoon, Woods and Mr Francis Ryan, 2019 Purchased, with the support of Mr Peter NGI.2019.328.5 b.1951 Woods and Mr Francis Ryan, 2019 Likely to Go Unnoticed, 2018 NGI.2019.329.4 Letterpress Various Artists Sheet: 46 × 38 cm Graphic Studio Dublin Sponsors’ Portfolio 2019, 2019 Marc Reilly, b.1956 Purchased, with the support of Mr Peter 23.6.18, 2019 Woods and Mr Francis Ryan, 2019 Portfolio Etching NGI.2019.328.1 Purchased, with the support of Mr Peter Woods and Mr Francis Ryan, 2019 Sheet: 46 × 38 cm NGI.2019.329 Image: 23 × 23 cm Ailbhe Barrett, Purchased, with the support of Mr Peter b.1978 Woods and Mr Francis Ryan, 2019 Anne Enright, NGI.2019.329.5 Towards Errigal, 2018 Etching b.1962 Indelible, 2019 Sheet: 46 × 38 cm Julia Margaret Letterpress Image: 30.5 × 24.5 cm Sheet: 46 × 38 cm Cameron, 1815– Purchased, with the support of Mr Peter Woods and Mr Francis Ryan, 2019 Purchased, with the support of Mr Peter 1879 Woods and Mr Francis Ryan, 2019 NGI.2019.328.2 Browning’s Sordello (Henry John Stedman NGI.2019.329.1 Cotton and Mary Ryan), 1867 Albumen print Image: 33.3 × 25.7 cm Mount: 61 × 50.8 cm Purchased, 2019 NGI.2019.330 98 Annual Report 2019 Loans from the National Gallery of Ireland to Temporary Exhibitions in 2019
To the exhibition: To the exhibition: To the exhibition: Renaissance in Mary Swanzy: Art & Empire: The Venice: Painting in Voyages Golden Age of the Age of Titian At: Crawford Art Gallery, Cork Spain 15 ‑Mar‑2019 to 03‑Jun‑2019 At: Städelsches Kunstinstitut, Frankfurt At: The San Diego Museum of Art NGI.2006.10 Mary Swanzy 13 ‑Feb‑2019 to 26‑May‑2019 18 ‑May‑2019 to 02‑Sep‑2019 Propellers, 1942 NGI.75 Titian, Ecce Homo, 1558–1560 NGI.4538 Diego Velázquez Kitchen Maid NGI.4699 Mary Swanzy Returned with the Supper at Emmaus, c.1617‑1618 Self ‑Portrait with a Candle, c.1940 NGI.4720 Mary Swanzy To the exhibition: Allegory, c.1945–1949 To the exhibition: Making the To the exhibition: Renoir: The Body, Difference: The Senses Picasso et la Vermeer and At: The Sterling and Francine Clark Art Guerre Institute, Williamstown, Massachusetts 08 ‑Jun‑2019 to 22‑Sep‑2019 Dutch Art At: Musée de l’Armée, Paris NGI.8011 Pierre-Auguste Renoir & Richard At: Osaka City Museum of Fine Arts 05 ‑Apr‑2019 to 28‑Jul‑2019 Guino Pendule, Hymne à la Vie, 1914 16 ‑Feb‑2019 to 12‑May‑2019 NGI.1314 Pablo Picasso A Bottle and NGI.4535 Johannes Vermeer Newspaper, 1913 Woman Writing a Letter, with her Maid, c.1670 To the exhibition: NGI.4536 Gabriel Metsu Man Writing a To the exhibition: Life above Letter, 1664–1666 NGI.4537 Gabriel Metsu Woman Reading a Utrecht, Caravaggio Everything: Lucian Letter, 1664–1666 and Europe Freud and Jack B. At: Alte Pinakothek, Munich Yeats 16 ‑Apr‑2019 to 21‑Jul‑2019 To the exhibition: At: Irish Museum of Modern Art, Dublin NGI.980 Orazio Gentileschi David and Moroni: The Riches Goliath, c.1605–1607 27 ‑Jun‑2019 to 19‑Jan‑2020 of Renaissance NGI.4595 Jack B. Yeats June Night, 1929 NGI.3319 Jack B. Yeats Self ‑Portrait, c.1920 Portraiture NGI.3828 Jack B. Yeats Gathering Seaweed, At: The Frick Collection, New York c.1912 21 ‑Feb‑2019 to 02‑Jun‑2019 NGI.3829 Jack B. Yeats The Country Shop, c.1912 NGI.105 Giovanni Battista Moroni NGI.3830 Jack B. Yeats The County of Mayo, Portrait of a Gentleman and his two Children, 1903 c.1572–1575 NGI.6317 Jack B. Yeats The Man from Aranmore, 1905 Annual Report 2019 99
To the exhibition: To the exhibition: To the exhibition: Seen, not Heard Masterpieces of The Highlights of At: Crawford Art Gallery, Cork Dutch Landscape Vincent Van Gogh: 28 ‑Jun‑2019 to 28‑Oct‑2019 NGI.797 Stephen Slaughter Lady and Child, from the National His Life through 1745 Gallery of Ireland Art NGI.1053 Walter Frederick Osborne A Boy Blowing Bubbles At: Ulster Museum, Belfast At the: The Ueno Royal Museum, Tokyo NGI.3129 Harry Aaron Kernoff Portrait of a 13 ‑Sep‑2019 to 26‑Jan‑2020 11 ‑Oct‑2019 to 13‑Jan‑2020 Girl, 1952 NGI.173 Ludolf Bakhuizen The Arrival of the NGI.2007.2 Vincent van Gogh Rooftops in NGI.3150 Harry Aaron Kernoff Portrait of a Kattendijk at Texel, 22 July 1702, 1702 Paris, 1886 Returned Boy, 1951 NGI.496 Hendrick Avercamp Scene on the NGI.6413 Michael Healy RHA Two Children Ice, c.1620 Seated on the Grass NGI.507 Salomon van Ruysdael The Halt, To the exhibition: NGI.6414 Michael Healy RHA Two Sisters 1661 James Tissot, Holding Hands NGI.4531 Jacob van Ruisdael The Castle of NGI.6476 Michael Healy RHA A Small Girl Bentheim, 1653 1836–1902 with Her Hands in Her Pockets At: Legion of To the exhibition: Honor Museum, To the exhibition: Cost of Revolution: Oidhreacht: San Francisco The Life and Death 12 ‑Oct‑2019 to 09‑Feb‑2020 Transforming NGI.4280 James Jacques Tissot Marguerite of an Irish Soldier in Church, c.1861 Tradition At: Museum of the American Revolution, At: Highlanes Gallery, Drogheda Philadelphia 13 ‑Jul‑2019 to 14‑Sep‑2019 26 ‑Sep‑2019 to 17‑Mar‑2020 To the exhibition: NGI.4585 Hugh Douglas Hamilton Portrait of Lieutenant Richard Mansergh Saint George Van Dyck at the NGI.166 Joseph Patrick Haverty The Blind Approved(1756/9–1798), c.1796 Piper, 1841 Alte Pinakothek NGI.2374 George Petrie Saint Laurence’s At: Alte Pinakothek, Munich Gate, Drogheda, County Louth, 1819 To the exhibition: 25 ‑Oct‑2019 to 02‑Feb‑2020 NGI.4122 Trevor Thomas Fowler Children NGI.275 Anthony van Dyck Study of a Dancing at the Crossroads, c.1835 Rembrandt’s Light Naked Youth, c.1615‑1618 NGI.4520 Gerard Dillon The Little Green At the: Dulwich Picture Gallery, London Fields, c.1946–1950 04 ‑Oct‑2019 to 02‑Feb‑2020 NGI.6028 George Petrie Gougane Barra NGI.215 Rembrandt van Rijn Landscape To the exhibition: Lake with the Hermitage of Saint Finbarr, with the Rest on the Flight into Egypt, 1647 County Cork, c.1831 Returned Renoir: NGI.6036 Frederic William Burton Paddy The Body, The Conneely, (d.1850), a Galway Piper To the exhibition: NGI.6315 Daniel Maclise The Marriage of Senses Strongbow and Aoife, c.1854 Pieter de Hooch: At: Kimbell Art Museum, Texas From the Shadow 27 ‑Oct‑2019 to 26‑Jan‑2020 NGI.8011 Pierre-Auguste Renoir & Richard of Vermeer Guino Pendule, Hymne à la Vie, 1914 At: Museum Prinsenhof Delft 11 ‑Oct‑2019 to 16‑Feb‑2020 NGI.322 Pieter de Hooch Players at To the exhibition: Tric ‑trac, c.1652–1655 Young Rembrandt At: Stedelijk Museum De Lakenhal, Leiden 01 ‑Nov‑2019 to 09‑Feb‑2020 NGI.439 Rembrandt van Rijn Interior with Figures, c.1628 100 Annual Report 2019 Staff List 2019
DIVISION DEPARTMENT TITLE NAME
Directors Office Director's Office Director Sean Rainbird Director's Office Executive Assistant Georgia Gannon Director's Office Legal & Compliance Manager Jane Brennan Development Development Head of Development Maria Noonan Development Fundraising & Sponsorship Manager Claire McDonagh Development Development Assistant Erin McNulty Development Development Officer Orla O'Brien Friends Friends of the National Gallery of Manager - Friends of the National Gallery of Sarah Conroy Ireland Ireland Friends of the National Gallery of Membership Services - Retention Coordinator Mary Dowling Ireland Corporate Corporate Services Director of Corporate Services Patricia Golden Services Corporate Services Executive Assistant Jacinta Benetti Human Resources Head of HR Ann Travers Human Resources Senior HR Partner Laura Malone Human Resources HR Partner Ben Doyle Human Resources HR Partner Rebecca Dunne Human Resources HR Partner Deirdre Horgan Corporate Contracts and Contracts & Procurement Manager Vivienne Lynch Procurement Commercial Department Commercial Manager Gillian De Marco Commercial Department Corporate Engagement & Events Manager Sarah Thomas Commercial Department Gallery Assistant Aislinn Lynch Commercial Department Gallery Assistant Aneta Kolaska Commercial Department Gallery Assistant Deirdre Stacey Commercial Department Events Administrator Sinead Leahy Commercial Department Events Administrator Melanie Murtagh Retail Shop Manager Jean Lambe Retail Shop Supervisor Niamh Deane Retail Shop Assistant Joe Palmer Retail Shop Assistant Hannah O'Brien Moller Retail Shop Assistant Grace Kristensen Retail Bookshop Stores Person David Dardis Retail Shop Assistant Iain Wynn-Jones Retail Shop Assistant Julie Duhy Retail Shop Assistant Ann Marie Barrett Retail Shop Assistant Leonora Ferguson Retail Shop Assistant Rosa Nutty Operations Head of Operations Christiaan Clotworthy Operations Security & Safety Manager Noel Giles Operations Security Supervisor Andrew Kelly Operations Security Supervisor Mark McQuillan Operations Security Supervisor Alan Proctor Operations Security Supervisor Jorg Mayr Operations Security Supervisor Sean Kerr Annual Report 2019 101
DIVISION DEPARTMENT TITLE NAME
Operations Security Supervisor Paul Irwin Operations Acting Security Supervisor Darijus Brizgys Operations Facilities Supervisor Richard French Operations Facilities Assistant Brian McGuckin Operations Maintenance Attendant Michael Carberry Operations Maintenance Attendant David Marry Operations Service Attendant / Cleaner Part Time Alice Cadwell Operations Service Attendant / Cleaner Frances Donnelly Operations Service Attendant / Cleaner Patrick Donohoe Operations Service Attendant / Cleaner Part Time Richard Dudley Operations Assistant Security Officer Tony Walsh Operations Assistant Facilities Manager Tadhg Condon Operations Attendant Grade Security Staff Paul McGeough Operations Attendant Grade Security Staff Jeffery Doyle Operations Attendant Grade Security Staff Brendan Cusack Operations Attendant Grade Security Staff John Gibson Operations Attendant Grade Security Staff Martin Buckley Operations Attendant Grade Security Staff Patrick Thompson Operations Attendant Grade Security Staff Stephen Keating Operations Attendant Grade Security Staff Paul Kelly Operations Attendant Grade Security Staff Tony Eady Operations Attendant Grade Security Staff Ronan Martin Operations Attendant Grade Security Staff Desmond Martin Operations Attendant Grade Security Staff Conor McCartney Operations Attendant Grade Security Staff Conor Cleary Operations Attendant Grade Security Staff Aidan O'Donovan Operations Attendant Grade Security Staff Keith Gorman Operations Attendant Grade Security Staff Matthew Bannon Operations Attendant Grade Security Staff Michael Dunne Operations Attendant Grade Security Staff Ian Fleming Operations Attendant Grade Security Staff Robert Smith Operations Attendant Grade Security Staff Sarah Douglas Operations Attendant Grade Security Staff Clifford Rowe Operations Attendant Grade Security Staff Emmett Byrne Operations Attendant Grade Security Staff Michael Stapleton Operations Attendant Grade Security Staff Frank McKenna Operations Attendant Grade Security Staff Jimmy Kavanagh Operations Attendant Grade Security Staff Bernadette Tansey Operations Attendant Grade Security Staff Cathal Power Operations Attendant Grade Security Staff Paul O'Brien Operations Attendant Grade Security Staff David Mulligan Operations Attendant Grade Security Staff John Bird Operations Attendant Grade Security Staff Lee Boylan Operations Attendant Grade Security Staff Joseph McEneaney Operations Attendant Grade Security Staff Malgorzata Szewc Operations Attendant Grade Security Staff Ellis Dolan Operations Attendant Grade Security Staff Tony Quilty Operations Attendant Grade Security Staff Jeffrey Crosdale Operations Attendant Grade Security Staff Marina Azzaro 102 Annual Report 2019
DIVISION DEPARTMENT TITLE NAME
Operations Attendant Grade Security Staff Anthony Hyland Operations Attendant Grade Security Staff Michelle Mc Carron Operations Attendant Grade Security Staff John Rafter Operations Attendant Grade Security Staff Nigel Weber Operations Attendant Grade Security Staff Damien Long Operations Attendant Grade Security Staff Richard Crosdale Operations Attendant Grade Security Staff Sabina-Luciana Zapodeanu Operations Attendant Grade Security Staff Alessandra Stortoni Operations Attendant Grade Security Staff Ken Nicoletti Operations Attendant Grade Security Staff Patrick Doyle Operations Attendant Grade Security Staff Derek Prior Operations Attendant Grade Security Staff Michael Coyne Operations Attendant Grade Security Staff Richard Macken Operations Attendant Grade Security Staff Rachel Tierney Operations Attendant Grade Security Staff Colm Croke Operations Attendant Grade Security Staff Paul Doyle Operations Attendant Grade Security Staff Michael Lambe Operations Attendant Grade Security Staff Peter Vicidomina Operations Attendant Grade Security Staff John Tomlin Operations Attendant Grade Security Staff Tina Shone Operations Attendant Grade Security Staff John Shaw Operations Attendant Grade Security Staff Sarah Fagan Operations Attendant Grade Security Staff John McDonnell Operations Attendant Grade Security Staff Gerard Kennedy Operations Attendant Grade Security Staff Eoin O'Sullivan Operations Attendant Grade Security Staff Wayne Sugg Operations Attendant Grade Security Staff John Morrissey Operations Attendant Grade Security Staff John Breslin Finance Finance Business Partner June Cusack Finance Accounts Payable Specialist Maria Armas Finance Accounts Payable Specialist Brian Callinan Finance Finance Requisition Assistant Katie Haverty Finance Payroll Supervisor Orla Burrell Finance Finance Business Partner Bernadette Kenny IT Head of IT Will Brien IT IT Manager Niamh Gogan IT IT Support Technician Michael Paterson IT IT Support Officer Daniel Marsden Collections & Collections & Research Head of Collections & Research Kim Smit Research Conservation Head of Conservation Simone Mancini Conservation Preventative Conservator Noureen Qureshi Conservation Painting Conservator Letizia Marcattili Conservation Paintings Conservator Elline Von Monschaw Conservation Paper Conservator Niamh McGuinne Conservation Paper Conservator Ewelina Bykuc Conservation Paper Conservator Mathilde Renauld Conservation Paintings Conservator Muirne Lydon Conservation Paintings Conservator Maria Canavan Annual Report 2019 103
DIVISION DEPARTMENT TITLE NAME
Curators Head Curator Brendan Rooney Curators Curator of Prints and Drawings Anne Hodge Curators Curator of British and Dutch Paintings Adrian Le Harivel Curators Curator of the Prints & Drawings Study Room Niamh MacNally Curators Curator of Italian and Spanish Art Aoife Brady Curators Curator of European Art 1850-1950 Janet McLean Exhibitions and Collection Services Art Handling & Loans Manager Lynn McGrane Exhibitions and Collection Services Art Handling Coordinator Chris Harbidge Exhibitions and Collection Services Senior Art Handler Kevin Kelly Exhibitions and Collection Services Art Handler Graham Cahill Exhibitions and Collection Services Art Handler Shane Power Exhibitions and Collection Services Art Handler Luke O'Callaghan Exhibitions and Collection Services Project Manager - Exhibition Design Susan O'Connor Exhibitions and Collection Services Collection Registrar Caroline Clarke Exhibitions and Collection Services Documentation & Digitisation Assistant Raffaella Lanino Exhibitions and Collection Services Exhibition Coordinator Mia Shirreffs Exhibitions and Collection Services Exhibition Coordinator (Acting Up Secondment) Niamh Keaveney Library & Archives Head of Library and Archives Andrea Lydon Library & Archives H.W. Wilson Foundation Fellow Mary Clare O'Brien Library & Archives Assistant Archivist Sir Denis Mahon Library & Claire Doohan Archive Library & Archives ESB Centre for the Study of Irish Art (CSIA) Donna Rose Fellowship Library & Archives ESB Centre for the Study of Irish Art Fellow Grace O'Boyle Library & Archives Archivist Leah Benson Library & Archives Assistant Librarian Iain Wynn Jones Library & Archives Library Assistant Aoife Lyons Library & Archives CSIA Curator Donal Maguire Library & Archives Library Assistant Andrew Moore Library & Archives Assistant Librarian Catherine Sheridan Publications and Images Publications and Images Manager Marie McFeely Publications and Images Senior Photographer Roy Hewson Publications and Images Assistant Images & Licensing Officer Brendan Maher Publications and Images Assistant Images & Licensing Officer Louise Morgan Publications and Images Assistant Photographer Chris O'Toole Publications and Images Digital Media & Publishing Assistant Sean Mooney Public Public Engagement Head of Public Engagement Catherine Griffin Engagement Communications, Marketing and Manager - Communications, Marketing and Kate O'Leary Digital Engagement Digital Engagement Communications, Marketing and Press and Communications Assistant Emma Pearson Digital Engagement Communications, Marketing and Digital Engagement Coordinator Catherine Ryan Digital Engagement Communications, Marketing and Digital Media Assistant Claire Crowley Digital Engagement Education Department Education Manager Sinéad Rice Education Department Education Officer - Teachers, Schools and Young Catherine O'Donnell People Education Department Apollo Fellow Jessica Supple Education Department Education Administrator Jennie Taylor 104 Annual Report 2019
DIVISION DEPARTMENT TITLE NAME
Education Department Tours Administrator Kate Drinane Education Department Education Officer - Outreach Brina Casey Education Department Education Officer - Administrator Joanne Drum Education Department Education Assistant: Access and Facilitation Caomhán Mac Con Iomaire Visitor Experience Visitor Experience Manager Sile Boylan Visitor Experience Visitor Experience Coordinator Barry Carroll Visitor Experience Visitor Experience Administrator Louise Donnelly Visitor Experience Visitor Experience Administrator Kate Jameson Annual Report 2019 105 Credits
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