Wilhelmina Geddes (1887 – 1955)
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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. -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
The Life and Works of Beatrice Elvery, 1881-1920
Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin. -
THS NEWSLETTER No. 1
THS NEWSLETTER No. 1 n TULSK HISTORY SOCIETY NEWSLETTER No. 1 July 2021 THS NEWSLETTER No. 1 Tulsk History Society [email protected] Members: Cathal McCormack (Chair), Mary Kelly, Deirdre Jones, John Higgins, Mike Lennon (Secretary), Pauline Jones, Catherine McGuire, Eileen Beirne, Noel Sheerin (Archivist), Maeve Hanley, Jim Dockery, Jody Moylan (PRO), Darragh Kelly, Therese Hanley (Treasurer), Fergus Moffitt, Michael Jones. WELCOME IT IS WITH great enthusiasm that we welcome our readers to Tulsk History Society’s very first newsletter. We hope this will be the first of many, in the Society’s aim of celebrating the rich history of the parish. From our initial steps only a few short months ago we have built up an enthusiastic membership and committee. We hope to push on to even better things as the year progresses. As we have mentioned elsewhere (in our constitution and on social media) the aim of the society is to pursue and promote all aspects of local history, be it social, cultural, political or economic, as well as our archaeological heritage, traditions, folklore, arts, crafts and games. The newsletter is our first venture into having our own publication, which will cover the broad range of history that is on our doorsteps. A collection of archival material is already gathering pace with contributions, and we hope our newsletters will form a central part of that archive going forward. We hope you enjoy reading, and please feel free to drop us a line through our email above. Membership details are included at the end. In this month’s edition our cover story, by Cathal McCormack, looks at the Cloonyquinn origins of the famous French family, while Mary Kelly takes a deep dive into the Dúchas Folklore Collection, of 1935, and its many contributions from the schools of the parish. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
Stained Glass in Ireland
Stained Glass in Ireland By Coral - Daphne – Sofie – Uta Participant teachers in English Matters’ Programme Dublin, Ireland What? • art form • coloured glass • mosaic stained glass art can be: • Classic • Modern • Smooth • Painted • Rough • … A little bit of history… • Real origins of stained glass are lost • Egyptians and the Romans • 7th century churches and monasteries in Britain • Medieval times: western churches & mosques • 19th-20th century: revival Stained Glass in Ireland St Theresa’s, Dublin National Library, Dublin (Harry Clarke) Bewley’s Café, (Harry Clarke) Grafton Str., Dublin The An Túr Gloine ("Tower of Glass") cooperative studio • 1901 throughout the first half of the 20th century. • artists included Michael Healy, Evie Hone, Beatrice Elvery, Wilhelmina Geddes and founder Sarah Purser. • hoped to provide an alternative to the commercial stained glass imported from England and Germany • "perhaps the most noteworthy example of the newly- awakened desire to foster Irish genius" • Influences: Arts and Crafts Movement, Irish revivalism and the artistic tradition of Celtic manuscript illumination. Influences Design for Trellis Wallpaper, William Morris, 1862 Proserpine, Dante Gabriel Rossetti Harry Clarke (1889-1931) • studied at Belvedere College and the Dublin Metropolitan School of art. • commissions even outside Ireland (Australia, US) • also an illustrator • fine detail of his drawing use of rich colours (especially deep blues) an innovative integration of the window leading • influenced by the Art Nouveau and Art Deco movements the French Symbolist movement the Arts and Crafts movement and the Pre-Raphaelites in Britain the revival of the Celtic tradition Medieval as well as Gothic art Clarke’s Famous Works The Geneva Window St. -
The Baptistery Window at St Mary's
The Baptistery Window at St Mary’s We are fortunate in St Mary’s in having what is widely regarded to be one of the most beautiful churches in Dublin. It is very much appreciated by the many visitors who come here, particularly during the summer months. In our visitors’ book one finds expressions of appreciation both for the spirit of our community Eucharist and the beauty of our church. This is something that we are proud of and is worth celebrating. Central to the interior of the church is the stained glass. One author has noted that: ’St. Mary’s is fortu- nate to have such a rich variety of stained glass and it provides parishioners and visitors alike with an opportunity to see and appreciate European and Irish stained-glass side by side.’ One of the more hidden pieces of stained glass of St Mary’s church is in the baptistery, near the front door, on the left as one enters the church. This is The Baptism of the Lord by Beatrice Elvery, which is one of four very beautiful, interesting and historically important pieces of Irish stained glass in the church, the others being A.E. Child’s ( 875-1939) St Cecilia, created in 1910, and the two very impres- sive windows by the Earley company, Christ the King, a work that dates to the 1920s and the great Rose Window, created in 1940. Beatrice Elvery (1881-1970), later known a Lady Glenavy, was a painter, stained glass artist and sculp- tor. She was the second daughter of the Dublin businessman, William Elvery, whose family originated from Spain where they were silk merchants. -
Arts & Crafts Stained Glass
Event Review: Summer lecture Friday 19 June : ‘Exploring Arts & Crafts Stained Glass: a 40-year adventure in light and colour – an illustrated lecture’ by Peter Cormack he lecture was an introduction to some of the main themes Tof the speaker’s newly-published book, Arts & Crafts Stained Glass (Yale University Press for the Paul Mellon Centre for Studies in British Art). He began by saying that his discovery of this rich field of research had begun when he was a student at Cambridge in the 1970s, and had developed particularly during his thirty years working as a curator at the William Morris Gallery in London. He paid tribute to the work of other scholars in the field, especially Martin Harrison’s V ictorian Stained Glass , Birkin Haward’s two books on 19th-century glass in Norfolk and Suffolk and Nicola Gordon Bowe’s studies of Irish stained glass. He also emphasized the critical importance of ‘field-work’ – actually going to the places where windows are located to see them in their architectural context. He felt that the internet, with its wealth of images, could sometimes deter people from studying stained glass properly. This was why the BSMGP’s conferences, with their focussed study-visits to churches and other sites, were such a valuable exercise. He then took us through the main narrative of his book, beginning with the pioneers who, from the late 1870s onwards, had championed stained glass as a modern and expressive art form, instead of the formulaic and imitative productions of firms like C. E. Kempe. Henry Holiday was one of the most effective campaigners against commercialism and historicism: his windows Christopher Whall: detail of window in Gloucester Cathedral Lady Chapel, 1901 feature superb figure-drawing combined with a real knowledge of his craft. -
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. -
Download Our 2021 Catalogue
Contents Customer Service Information 2 Medieval Studies 3–11 Trinity Medieval Ireland Series 6–7 Dublin City Council Series 12 Early Modern Studies 12, 14 Local History 15 Modern Studies 13–23 Irish Legal History Society Series 8, 14, 20 20th-Century Studies 24–31 Media Studies 28 Science 29 The Making of Dublin City Series 31 Music 32 Folklore 33 National University of Ireland Publications 33 Select Backlist 34–5 Order Form 36 2 7 Malpas Street Dublin 8, D08 YD81 Four Courts Press Four Courts Ireland Tel.: International + 353-1-4534668 Web: www.fourcourtspress.ie Four Courts Press Email: [email protected] Well our 50th anniversary year (2020) didn’t go exactly to plan . and for a myriad of covid reasons our schedule of publications fell somewhat behind. So as we head out into a new year, with a little more hope now perhaps, some of our ‘friends’ from last year are to be found among an exciting new list of books for 2021. We embark on our journey this year in the company of Adomnán and Columba, and meet along the way William Marshal, Prior John de Pembridge and the swashbuckling Captain Cuéllar. After a sojourn along the streets of medieval Dublin we visit the Elizabethan Quadrangle at Trinity College, before surveying the final stand of the rebels on Vinegar Hill. We chart the rise and fall of the Orange Order during the Great Famine, examine the lavish contents of country houses, and chronicle the remarkable career of Teresa Ball, founder of the Loreto schools. Along the way we review the changing fortunes of Henrietta Street in Dublin, the politics and political culture of the long eighteenth century in Ireland, a new history of the city and county of Limerick, and we hear harp music from around the world. -
Irish Glass Biennale 2019
Kevin Killen: LUX, 2018, neon installation, photo: Brendan Bell and Luca Piffaretti Irish Glass Biennale 2019 Was fällt Ihnen spontan ein, wenn Sie an irisches Glas What immediately comes to mind when you think of denken? Einige sehen vor ihrem geistigen Auge sofort Irish glass? For some it’s still the image of tableware in Festtafeln in feudalen georgianischen Salons oder splendid Georgian drawing rooms or the ecclesiastical die von führenden Vertretern der irischen Arts-and- stained glass created by leading exponents of the Crafts-Bewegung wie Harry Clarke und Wilhelmina Irish Arts & Crafts movement such as Harry Clarke and Geddes geschaffenen Kirchenfenster. Andere denken Wilhelmina Geddes. For others it might be Ireland’s vielleicht an Irlands Geschichte der Glasproduktion history of production glass in the twentieth century, in im 20. Jahrhundert und dabei insbesondere an die particular Waterford Crystal’s dominance as a global Dominanz von Waterford Crystal als Marktführer. brand. elche Zeit auch immer, es scheint, dass, hatever the period, it seems that Ireland’s past sprechen wir von Glas, Irlands Vergangen- is still very much present when we talk about W heit allgegenwärtig ist. „Unsere Geschichte W glass. ‘Our history is still on the mindset of a lot steckt noch immer in den Köpfen vieler Leute“, bestä- of people’, suggests Dr Audrey Whitty, Head of Collections tigt Dr. Audrey Whitty, Leiterin der Abteilung Samm- and Learning at the National Museum of Ireland. But lungen und Kunstvermittlung am National Museum of she also believes that modern and contemporary glass Ireland. Dennoch ist sie überzeugt, dass auch Irlands practice in Ireland is well respected internationally, 18 NEUES GLAS – NEW GLASS: art & architecture mentioning artists such as Debbie Dawson and Peadar Lamb, who have successfully developed new audiences for stained glass, and Northern Ireland artist Alison Lowry who uses glass as a medium to explore serious societal issues such as child abuse and domestic violence. -
Irish Studies Burns Library Bc-Ireland Irish Studies Burns Visiting Scholar, Spring 2016 Semester
center for irish programs irish studies burns library bc-ireland irish studies Burns Visiting Scholar, Spring 2016 Semester and Devotion in Medieval Ireland (with Salvador Ryan and Rachel Moss, Dublin: Four Courts Press, 2006), and, most recently, Soldiers of Christ: The Knights Templar and Knights Hospitaller in Medieval Ireland (with Martin Browne, Dublin: Four Courts Press, 2015). His monograph The Friars in Ireland, 1224–1500 (Dublin: Four Courts Press, 2012) was awarded the 2013 National University of Ireland Prize for Irish Historical Research. Apart from these book-length publications, Ó Clabaigh has contributed articles, reviews, and editions of documents to numerous Irish and international journals. He has lectured and taught courses for institutions and organizations in Ireland, Great Britain, Italy, and Nigeria and comes to Boston College having completed a semester as visiting professor at the School of Theology, St. John’s University, Collegeville, Minnesota. His current research focuses on popular religion in Medieval Ireland and, while serving as the Burns Visiting Colmán Ó Clabaigh Scholar in Irish Studies, he will teach a course on religion and society in Ireland, c. 1215 to 1526, in the Colmán Ó Clabaigh is a Benedictine monk of Boston College Department of History. Glenstal Abbey, Co. Limerick, and a medievalist specializing in the history of monasticism and religion in Late Medieval Ireland. He was awarded a B.A. in 1989 at NUI Galway, and after undertaking research in Italy, Belgium, and Oxford, received his A Time of Transition ... doctorate in 1998 from the National University of If you would like to continue to receive Ireland.