Christie's in Association with Whyte's of Dublin
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Making Their Mark 17
Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production. -
Jack B. Yeats
JACK B. YEATS Biography 1871 August 29, Jack Butler Yeats born at 23 Fitzroy Road, London, son of John Butler Yeats, artist, and Susan Pollexfen of Sligo 1879 Went to Sligo to live with his grandparents, William and Elizabeth Pollexfen. He went to school there, and stayed with them until 1887 1887 Rejoined his family in London in order to attend art school. His grandmother was strongly in favour of him following a career as an artist. Attended classes at South Kensington School of Art, Chiswick School of Art, Westminster School of Art. Season ticket for the American Exhibition at Earls Court, starring Buffalo Bill 1888 First black and white illustrations accepted for publication in The Vegetarian in April 1891 Illustrating for Ariel and Paddock Life . First book illustrations 1892 Designing posters for David Allen & Sons in Manchester. Illustrated Irish Fairy Tales by his brother W.B.Yeats 1894 Staff Artist on Lika Joko. In August he married Mary Cottenham White, who had been a student with him in Chiswick, and was eight years older that Jack. They rented a house called 'The Chestnuts' on the River Thames, at Chertsey 1895 First exhibited at the Royal Hibernian Academy in Dublin, a watercolour called Strand Races, West of Ireland 1897 Moved to Strete, Devon to live at 'Snail's Castle' (Cashlauna Shelmiddy). Began to concentrate on watercolour painting. Painted his first oil. First one-man show of watercolours in November, at the Clifford Gallery, Haymarket 1898 Jack and Cottie visited Northern Italy, on what seems to have been a belated honeymoon, combined with a celebration of the success of his first solo exhibition the previous year. -
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 -
The Trinity College Dublin Art Collections
The Trinity College Dublin Art Collections Artist: Norah McGuinness Title: Thames Medium: gouache b. 1903, Co. Derry d.1980, Dublin Norah McGuinness’ artistic career began when she was still a school girl while taking life drawing classes at Derry Technical School. In the early 1920s she studied Drawing and Fine Art Printing at the Metropolitan School of Art, Dublin, before studying at the Chelsea Polytechnic, London (1923-24) and at the studio of André l’Hôte in Paris. In addition to working as an artist, McGuinness also earned a living as a graphic designer, illustrator, theatre set designer, costume designer and window dresser (for Altman’s, New York and Brown Thomas, Dublin). McGuinness executed vivid, highly coloured, works in a spontaneous style influenced in part by the colourist Fauvist movement and by the Cubism she learned under l’Hôte. She favoured landscape and still life painting, and to both of these McGuinness brought a sense of design and colour along with the feeling of energy and life that, since the thirties, have been recognised as the hallmarks of her style. McGuinness began showing her work at the Royal Hibernian Academy (RHA) in 1924, and had her first solo show in London in 1933. In 1943 she helped found the Irish Exhibition of Living Art, and succeeded Mainie Jellett as President of the organisation in 1944, where she remained in term until 1970. In 1950, McGuinness represented Ireland at the Venice Biennale with Nano Reid-this was the first time Ireland had participated in the Biennale. Seven years later, she became an honorary member of the RHA. -
Jack B. Yeats (1871-1957) Teacher’S Notes
Jac Jack B. Yeats (1871-1957) Teacher’s Notes Jack Butler Yeats was born in London in 1871. He was the fourth son of the artist John Butler Yeats and the brother of the poet William Butler Yeats. Jack B himself wrote six novels, poetry and many plays. Most of his youth and school days were spent in Sligo with his maternal grandparents Elizabeth and William Pollexfen. His grandfather had been a seaman, and he inspired in the young Yeats boys a great love for the sea and the people who lived by it. Yeats stated later in life that every painting he made had somewhere in it a thought of Sligo. Yeats’ early art education was at the Government School of Design in South Kensington and later at the prestigious Westminster School of Art. His family moved to Devon, by the sea, but Yeats visited Ireland regularly. After a visit to Wolf Tone’s grave in 1898, his subject matter was almost exclusively Ireland and its people. The following year his Sketches of Life in the West of Ireland was shown in Dublin and London. Drawings for journals, magazines and books, posters and theatrical production formed the basis of his early career. His artistic style developed greatly as he matured and he developed a unique style, quite unlike the work of his contemporaries. His techniques were not based on any particular movement or school but were a very personal response to his subject. His drawing style was bold and linear, sometimes caricatured in keeping with the larger than life characters he portrayed. -
Ruth Lane Poole Collection
Ruth Lane Poole collection National Gallery of Ireland: Yeats Archive IE/NGI/Y17 1. Identity statement area ............................................................................................... 3 2. Context area ..................................................................................................................... 3 3. Content and structure area ........................................................................................ 4 4. Conditions of access and use ...................................................................................... 4 5. Allied materials area .................................................................................................... 5 6. Description control area ............................................................................................. 5 1. Embroideries ................................................................................................................................ 6 1.1 Embroideries by Ruth Lane Poole........................................................................ 6 1.2 Embroideries by Lily Yeats ................................................................................... 7 2. Library of Ruth Lane Poole. ..................................................................................................... 8 2.1 Dun Emer and Cuala press publications .............................................................. 8 2.2 Published works by Elizabeth Corbet Yeats ....................................................... 12 2.3 -
Yeats Library: Supplemental Cuala Press Books
Yeats Library: Supplemental Cuala Press Books Last Number First name Title Place Publisher Date Notes name Sixteen Poems by William Allingham: Dun Emer 4001 Allingham William Dublin 1905 Selected by William Press Butler Yeats Translation of Cuala 4002 Be Thou my Vision Dublin [n.d.] an Old Irish Press hymn No. 37 of 450 Seven Winters by Cuala 4003 Bowen Elizabeth Dublin 1942 copies made Elizabeth Bowen Press Uncut Dafydd Ap Gwilym: Selected poems: Dafydd Ap Translated by Nigel Cuala No. 17 of 280 4004 Dublin 1944 Gwilym Heseltine with a Press copies preface by Frank O'Connor Dafydd Ap Gwilym: Selected poems: No. 105 of 280 Dafydd Ap Translated by Nigel Cuala 4004a Dublin 1944 copies made Gwilym Heseltine with a Press Uncut preface by Frank O'Connor Bookplate: Into the Light, and other Elizabeth Cuala 4005 Donaghy Lyle Poems by Lyle Dublin 1934 Corbet Yeats Press Donaghy 200 copies made Cuala 4006 Dowden Edward A Woman's Reliquary Dublin 1913 Uncut Press The Dun Emer Press 4007 and The Cuala Press 1932 1903-1932 250 copies made Uncut Inserted:'Songs by Francis Selections from the Ledwidge', The Cuala 4008 Dunsany Lord Writings of Lord Dublin 1912 Times, Aug Press Dunsany 1919 'To Captain the Lord Dunsany', New Ireland, Aug 18, 1917 Some Essays and Dun Emer 200 copies 4009 Eglinton John Passages by John Dublin 1905 Press made Eglinton; Selected by Yeats Library: Supplemental Cuala Press Books Last Number First name Title Place Publisher Date Notes name William Butler Yeats Love's Bitter-Sweet: Translations from the Irish Poets of the Cuala 500 copies 4010 Flower Robin Dublin 1925 Sixteenth and Press made Uncut Seventeenth Centuries, by Robin Flower 450 copies made Uncut Oliver St. -
To View the Secondary Schools Worksheet
Secondary Schools Worksheet VIEW OF CORK John Butts (1728-1765) John Butts was born in Cork. He was a talented painter of the local landscape. He spent much of his youth sketching and painting scenes of Cork and copying romantic scenes from local works. He taught art in Cork and two of his pupils were Nathaniel Grogan the Elder (to whom this painting was for some time attributed) and James Barry. James Barry later described John Butts as an inspirational teacher. In 1757, Butts moved to Dublin but was not met with success. He had a large family to support and found he had to work at sign painting, copying and any jobs he could find, to sustain himself. He worked as a forger for a time and produced excellent forgeries, but his own, signed work is very rare. He died young and poor in 1765. His work is to be found in Tate Britain and in the Crawford Art Gallery. View of Cork is a panoramic view of the city seen from an elevated position to the north of the River Lee. It was painted in the later half of the eighteenth century. It is actually an almagamation of two separate viewpoints and it is a measure of the artist’s talent as a landscape painter that he managed to weld them together in a convincing way. Two travellers look down at the prosperous city, one pointing out the landmarks and drawing our attention to St Ann’s Tower in Shandon. The painting is an important record of the city’s history, of a time when Cork played an important role in trade with the influential Dutch in the North Atlantic. -
Jack Butler Yeats Letters to J. C. Miles, 1896-1940
Jack Butler Yeats letters to J. C. Miles, 1896-1940 National Gallery of Ireland: Yeats Archive IE/NGI/Y66 1. Identity statement area ................................................................................................ 3 2. Context area ................................................................................................................ 3 3. Content and structure area ........................................................................................... 5 4. Conditions of access and use ........................................................................................ 5 5. Allied materials area .................................................................................................... 5 6. Description control area ............................................................................................... 6 1. Letters from Jack Butler Yeats to J. C. Miles .......................................................................... 6 2. Characters for the play Esmerelda Grande by Jack Butler Yeats ........................................ 13 3. Ephemera relating to Cuala Industries ................................................................................ 13 4. Press clippings relating to Jack Butler Yeats. ....................................................................... 14 5. Miscellaneous items ............................................................................................................ 15 2 1. Identity statement area Reference Code: IE/NGI/Y66 Title: Jack Butler Yeats