Crawford Art Gallery Annual Report 2018 1 Preface
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Moving Ahead with the Stevens Competition
the WORSHIPFUL COMPANY of GLAZIER S & PAINTERS OF GLASS Issue Number 63 Spring 20 21 the 2020 competition or do it differently. Then came lockdown two! No problem, Moving ahead We chose the latter. we have been here before. We reintroduced Firstly, we delayed the entry date by four the Design Only category and sat back. with the Stevens months in the hope that lockdown would be Inevitably, lockdown three arrived, so the eased in time for participants to complete entry date has been delayed to July and Competition their work. This worked. Secondly, we Prizegiving until October. Judging will be introduced a new type of entry, Design Only, virtual again and we have a panel of judges BRIAN GREEN reports: Organising the which allowed competitors to submit their who are looking forward to the challenge. Stevens Competition in 2020 and 2021 has design but removed the need to produce a The delay has been used to widen the been quite a game! So far, the Glaziers are sample panel. This worked; roughly 40% of potential field of entry; translations of the in the lead and we intend to keep it that way. the entries fell into this category. Thirdly, the brief have been circulated in Spanish, French The original game plan for Stevens 2020 decision was taken to judge the competition and German. had to be abandoned when the country online. This worked surprisingly well. We hope Stevens 2022 will be more went into the first lockdown in March 2020 At the end of the day the Prizegiving was straightforward. -
Homage to Fra Angelico (1928) Oil on Canvas, 183 X 152.5Cms (72 X 60’’)
38 31 Mainie Jellett (1897-1944) Homage to Fra Angelico (1928) Oil on canvas, 183 x 152.5cms (72 x 60’’) Provenance: From the Collection of Dr. Eileen MacCarvill, Fitzwilliam Square, Dublin Exhibited: Mainie Jellett Exhibition, Dublin Painters Gallery 1928 Irish Exhibition of Living Art, 1944, Cat. No. 91 An Tostal-Irish Painting 1903-1953, The Hugh Lane Municipal Gallery, Dublin 1953 Mainie Jellett Retrospective 1962, Hugh Lane Gallery Cat. No. 38 Irish Art 1900-1950, Cork ROSC 1975, The Crawford Gallery, Cork, 1975, Cat. No. 65 The Irish Renaissance, Pyms Gallery, London, 1986, Cat. No. 39 Mainie Jellett Retrospective 1991/92, Irish Museum of Modern Art Cat. No. 89 The National Gallery of Ireland, New Millennium Wing, Opening Exhibition of 20th Century Irish Paintings, January 2002-December 2003 The Collectors’ Eye, The Model Arts & Niland Gallery, Sligo, January-February 2004, Cat. No. 12; The Hunt Museum, Limerick, March-April 2004 A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, June- September 2011, Cat. No 21 Analysing Cubism Exhibition Irish Museum of Modern Art Feb/May 2013, The Crawford Gallery Cork June / August 2014 and The FE Mc William Museum September/November 2013 Irish Women Artists 1870 - 1970 Summer loan exhibition Adams Dublin July 2014 and The Ava Gallery , Clandeboye Estate August/September Cat. No. 70. Literature: The Irish Statesman, 16th June 1928 Stella Frost, A Tribute to Evie Hone & Mainie Jellett, Dublin 1957, pp19-20 Kenneth McConkey, A Free Spirit-Irish Art 1860-1960, 1990, fig 58 p75 Dr. S.B. Kennedy, Irish Art & Modernism, 1991, p37 Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, 1991, full page illustration p120 Mainie Jellett, IMMA Cat, No. -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
Peoples College Lectures 2015.Pdf
Dublin City Gallery The Hugh Lane Peoples College Lectures 2015/2016 AVENUES INTO MODERN AND CONTEMPORARY ART Course programmed by Jessica O’Donnell Commencing Saturday 3rd October 2015 Avenues into Modern and Contemporary Art Inspired by the Hugh Lane Gallery’s renowned collection, this series of slide illustrated art history lectures delivered by guest lecturers and Gallery curators will look at a diverse range of influences and subject matter explored by some of the most interesting and innovative artists from the 19th to the 21st centuries. There will also be the opportunity of exploring the Gallery’s temporary exhibitions including Sir Hugh Lane: Dublin’s Legacy and Loss; Jesse Jones: Laugh a Defiance; The Artist as Witness: John Lavery and the Appeal of Roger Casement. Venue: Dublin City Gallery The Hugh Lane, Charlemont House, Parnell Square North, Dublin 1 Time: 11.00am - Noon 20 classes OCTOBER 2015 Saturday 3 October 2015/11.00am Irish artists and France: Nathaniel Hone (1831-1917) and John Lavery Lecturer: Dr Sinead Furlong-Clancy Saturday 10 October 2015/11.00am Artist in Focus: Augustus John Lecturer: Aoife Flynn Saturday 17 October 2015/11.00am Sir Hugh Lane: Dublin’s Legacy and Loss Lecturer: Ciaran Woods Saturday 24 October 2015 / 11.00am No lecture – Bank Holiday weekend Saturday 31 October 2015/11.00am William Orpen and the New English Art Club Lecturer: Ciaran Woods NOVEMBER 2015 Saturday 7 November 2015/11.00am John Butler Yeats, W.B. Yeats, Jack B. Yeats and the Municipal Gallery of Modern Art Lecturer: Yvonne Pettit -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC OCCASIONAL LIST: NEW YORK ANTIQUARIAN BOOK FAIR 2020 P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. WITH AN ORIGINAL PHOTOGRAPH 1. [ART – BURCKHARDT] KATZ, Vincent & Rudy BURCKHARDT. Boulevard Transportation. Tall 8vo, illustrated with photographs by Rudy Burkhardt, original pictorial wrappers. N.Y.: Tibor de Nagy Editions, 1997. First edition. One of 26 lettered copies signed by the artist and poet, and with an original photographic print by Burckhardt, signed with the title “Rain Pavement” and dated 1995 in pencil on the back, tipped in as a frontispiece. The image “Rain Pavement” is not one of the images reproduced in the book. A fine copy. $3,500.00 2. [ART – CELMINS] CELMINS, Vija. Drawings of the Night Sky. Oblong folio, illustrated, original linen, in publisher’s card slipcase. London: Anthony d’Offay, (2001). First edition. Limited to 480 copies signed by Celmins. Comprises portraits of the artist by Hendrika Sonnenberg and Leo Holub, reproductions of drawings by Celmins, and an essay entitled “Night Skies: The Distance Between Things” and an interview with the artist by Adrian Searle. Laid in is a separately printed insert with a portrait of the artist by James Lingwood and, on the verso, William Butler Yeats’s poem “The Lake Isle of Inisfree.” As new. $500.00 INSCRIBED BY KANDINSKY TO JAMES JOHNSON SWEENEY 3. -
Whyte Sarah Gates BA Managing Director Director This Catalogue
, WHY TE S SINCE 1783 IRISH & BRITISH ART 12 MARCH 2012 IRISH & BRITISH ART MONDAY 12 MARCH 2012 VIEWING Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 9 March, opening reception and gallery talks 6pm to 8pm Saturday 10 March 10am to 6pm (Gallery Talk 3pm) Sunday 11 March 10am to 6pm (Gallery Talk 3pm) Monday 12 March 10am to 6pm AUCTION Monday 12 March at 6pm Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 ENQUIRIES Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] BIDS Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] On-line bids: www.whytes.ie Front cover: lot 43, Charles Edward Perugini, Lovers In A Garden Inside front cover: lot 135, Patrick Hennessy, The Fledgling Page 8, 9: lot 52, Thomas James Mulvany, Coast Scene - Noon: Peasants Winnowing Corn, 1838 Page 90: lot 41, Grace Henry, Coming Home, Achill Island, c.1915 Page 92: lot 42, Sarah Henrietta Purser, Woman With Fan Page 94: lot 96, Study For “The Blue Window”, 1961 Back cover: lot 29, Jack Butler Yeats, On The Courthouse Steps, 1946 PLEASE NOTE The exhibition of works from this sale will take place at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE Friday 9 March 6pm to 8pm Saturday 10 March 10am to 6pm Sunday 11 March 10am to 6pm Monday 12 March 10am to 6pm The auction will be held on Monday 12 March at 6pm at ROYAL DUBLIN SOCIETY, CLYDE HALL, ANGLESEA ROAD, BALLSBRIDGE BALLSBRIDGE MERRION OAD ROAD R WHYTE ,S R D S M A I N HALL ENTER HERE ANGLESEA COLLECTION OF PURCHASES Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 13 March from Clyde Hall. -
Mphil Dissertations 2004-18
MPHIL IN IRISH ART HISTORY DISSERTATIONS-2004-2015 Victoria Browne, William Osborne: A Painter of Dogs , 2004, supervisor: Dr Yvonne Scott Anne Fox Mills, Hiding in Plain Sight: Ray Carroll; Ireland’s Unknown Sculptor, 2004, supervisor: Dr Rachel Moss Gerard Kavanagh, The Religious Works of Patrick Pye, R.H.A.: Apostasy, Incarnation, Transfiguration, Sacrifice, 2004, supervisor: Dr Yvonne Scott Niamh Moran, An Art to Reflect Life: The Significance of German Expressionism and the Legacy of the Independent Artists in the Work of Patrick Graham, Brian Maguire and Michael Kane, 2004, supervisor: Dr Yvonne Scott Denise O’ Connor, The Baggage Handlers: Emergency and War, Censorship and Consensus as Observed by Irish Cartoonists, 1939-45, supervisor: Dr Rachel Moss, 2004 Jill Unkel, Faced with Faces: The head capital in Medieval Ireland, 2004, supervisor, Dr Rachel Moss Fiona Bailey, The Art and Politics of Eviction Imagery, 1840-1890, 2005, supervisor: Dr Yvonne Scott Hayley Brooke Humphrey, The St John Evangelist Portraits: Insular Identity in terms of iconography, Style and Influences, 2005, supervisor: Dr Rachel Moss Frances Byrne, The Mother Image in 20th Century Irish Art, 2005, supervisor: Dr Yvonne Scott Isabella Evangelisti, The Nude in Irish art: A study of some of the major influences on the Development of the nude as a subject in Irish art, c. 1900-1937, 2005 supervisor: Dr Yvonne Scott Rosemary Kitchin, Galleries without Walls: The Site Specificity of Contemporary Public Sculpture in county Sligo, 2005, supervisor: Dr Yvonne Scott -
(1899±1901) Cre- Was Small, with a Shallow Stage Which Dictated Ated by W.B
A Abbey Theatre The opening of the Abbey from a conversion of the Mechanics' Hall in Theatre on 27 December 1904 followed from Lower Abbey Street and a disused morgue, the Irish Literary Theatre (1899±1901) cre- was small, with a shallow stage which dictated ated by W.B. Yeats and Lady Gregory, with simple sets. But though poorly equipped, the Edward Martyn and George Moore, to pro- early Abbey was aesthetically innovative. duce a `school of Celtic and Irish dramatic Robert Gregory and Charles Ricketts literature'. When Yeats joined forces with the designed for it, Gordon Craig's screens were self-trained Fay brothers ± William the stage first used on its stage, and Ninette de Valois manager and comedian, and Frank the verse- set up a ballet school for theatre use. In 1905 a speaker ± their company (augmented import- permanent salaried company was established antly by Synge and the talented Allgood and controlling powers were given to the sisters) had the potential to create an entirely directors (some actors seceded, thinking the new kind of Irish theatre, one which aimed, changes contrary to nationalist principles). as a later Abbey playwright, Thomas Kilroy, The Abbey's claim to be a national theatre put it, to `weld the fracture between the was aggressively tested by Catholics and Anglo-Irish and Gaelic Ireland'. The Irish nationalists in their audiences. The peasant National Theatre Society became in 1904 drama was the field where cultural interests the National Theatre Society (NTS) Ltd, clashed most spectacularly. Lady Gregory familiarly known from its inception as the popularized the genre with one-act comedies Abbey Theatre. -
Important Irish Art Wednesday 3Rd December 2014
1 Important Irish Art Wednesday 3rd December 2014 Important Irish Art, wednesday 3rd December 2014 at 6pm t 2 Front Cover Paul Henry Lot 60 Page 1 Walter Osborne Lot 69 Page 2 Frank McKelvey Lot 56 Page 4/5 Louis le brocquy Lot 82 Page 7 Colin Middleton Lot 87 Inside Back Cover Camille Souter Lot 93 Back Cover Jack B. yeats Lot 61 Important Irish Art Auction Wednesday 3rd December 2014 at 6pm Important Irish Art, wednesday 3rd December 2014 at 6pm 4 5 IMPORTANT IRISH ART AUCTION Wednesday 3rd December 2014 at 6.00pm VENUE Adam’s Salerooms 26 St Stephen’s Green, Dublin 2. Ireland Viewing HighLights NoveMBER 13TH - 20TH At The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRN Monday - Friday 11.00am - 5.00pm Saturday 15th november 2.00pm - 5.00pm Sunday 16th November 2.00pm - 5.00pm FULL SALE Viewing NoveMBER 30TH - DeceMBER 3RD At Adam’s, 26 St Stephen’s Green, Dublin 2. Sunday 30th November 2.00pm - 5.00pm Monday 1st December 10.00am - 5.00pm Tuesday 2 nd December 10.00am - 5.00pm Wednesday 3rd December 10.00am - 5.00pm Important Irish Art, wednesday 3rd December 2014 at 6pm 6 7 Important Irish Art, wednesday 3rd December 2014 at 6pm 8 Brian Coyle FSCSI FRICS James O’Halloran BA FSCSI FRICS Stuart Cole MSCSI MRICS David Britton BBS ACA Eamon O’Connor BA CHAIRMAN MANAGING DIRECTOR DIRECTOR DIRECTOR DIRECTOR [email protected] [email protected] [email protected] [email protected] Nick Nicholson Kieran O’Boyle BA Hdip ASCSI Ronan Flanagan Karen Regan BA Abigail Bernon BA FINE ART DEPARTMENT MANAGER FINE ART DEPARTMENT FINE ART DEPARTMENT IMPORTANT INFORMATIONCONSULTANT FOR PURCHASERS FINE ART DEPARTMENT [email protected] [email protected] [email protected] [email protected] [email protected] CREATE A ‘MY ADAM’S’ ACCOUNT You can now create your own account with us by signing up and registering your particulars online at www.adams.ie The process involves uploading identification by way of passport or driving licence and supplying valid credit card information. -
Analysing Cubism
Mary Swanzy, Le Village, c. 1920s Analysing Cubism 20 February – 19 May 2013 IMMA, New Galleries, Royal Hospital, Kilmainham Including artists, Mainie Jellett, Evie Hone, Mary Swanzy, Norah McGuinness, Andre Lhote, Albert Gleizes, Juan Gris and Pablo Picasso EXHIBITION NOTES FOR PRIMARY SCHOOL TEACHERS (Words highlighted in yellow are included in Glossary at end) General Information The term ‘Analytic Cubism’ has been used to describe work made by Pablo Picasso and Georges Braque in Paris between 1909 and 1912 and includes iconic paintings such as Picasso’s Ma Jolie (1911-1912) from the collection of MoMA in New York. The exhibition Analysing Cubism takes as its point of origin the principles of early or Analytic Cubism and outlines the various directions taken by different artists, though with a focus on Irish artists Mainie Jellett and Evie Hone. Rather than taking one position on Cubism, the exhibition presents several different viewpoints on the subject which are one-sided and even conflicting. Analysing Cubism does not propose that the notion of Cubism is contested; rather, it points out that many different scholars and artists have taken the principles of Cubism and translated them in different ways. The model of the exhibition fits with wider programming ideas at IMMA and the Crawford Art Gallery. It also signals ways in which Cubism and cubist artists remain relevant to many contemporary artists. Analysing Cubism will shift the focus away from Picasso and Braque (who quickly abandoned this form of abstraction) to identify the centrality of Albert Gleizes in the development of the movement. Gleizes was the teacher of Mainie Jellett and Evie Hone. -
Mainie JELLETT (Dublin 1897 - Dublin 1944)
Mainie JELLETT (Dublin 1897 - Dublin 1944) Waterfall Pencil and gouache on buff paper, laid down on board. Signed M. Jellett in pencil at the lower left. 302 x 191 mm. (11 7/8 x 7 1/2 in.) This gouache drawing can likely be dated to the second half of the 1930s, and may be grouped with a number of works of this period which study the effects of flowing water. In 1935 Mainie Jellett visited an exhibition of Chinese art at the Royal Academy in London, and came away greatly inspired by the Chinese tradition of landscape painting: ‘It was a way of portraying the landscape in a semi-abstract manner...Chinese art contained elements of interest to her, especially the emphasis on pattern and rhythm developed from the forms of nature.’ As the artist herself later recalled of the Chinese Art exhibition, ‘This made a profound impression upon me and helped to form an approach to landscape painting, which I have used in varied forms ever since.’ Comparable gouache drawings on paper by Jellett include a Waterfall and two studies of Waves, all in private collections. Provenance: Bart O’Connor Thence by descent. Artist description: A leading figure in 20th century Irish art, Mary Harriet (known from childhood as Mainie) Jellett was born into a Protestant, Anglo-Irish family in Dublin in 1897. She studied at the Dublin Metropolitan School of Art, where she trained with William Orpen, and later at Westminster School in London, were she came under the tutelage and influence of Walter Sickert, and where she met her close friend Evie Hone.