Harry Clarke

Two wonderful illustrations by Irish artist Harry Clarke joined the collection in 2025. 

Born in Dublin on St Patrick’s Day in 1889, Harry Clarke is one of Ireland’s best known and most beloved artists. He achieved significant acclaim in his short lifetime, working across different media including book illustration. His principal career was in the production of stained glass windows, mainly for churches and religious houses across Ireland, as well as in the UK, US and Australia.

In 1913 at aged 24, Clarke was given his first major book illustration commission by Harrap’s of London to design plates for a luxury edition of Hans Christian Andersen’s Fairy Tales (1914), launching his career as a book illustrator. He subsequently provided designs for Poe’s Tales of Mystery and Imagination (1919), The Fairy Tales of Perrault (1922) and Anster’s translation of Goethe’s Faust (1925). Despite his success in this arena, Clarke focused his abilities on stained glass design, eventually taking over his father’s business in North Frederick Street, Dublin. Notable works by Clarke in stained glass include windows for the Honan Chapel (University College Cork), and the Geneva Window (Wolfsonian Institute, Miami). In our own collection, we have a number of his stained glass works, including The Song of the Mad Prince (1917) and The Mother of Sorrows (1926). 

The Lady of the Decoration, 1914

This large-scale illustration, drawn in pen and ink with watercolour was made for reproduction as a colour lithograph on a calendar for a paint supplier, John Duthie of Glasgow. Drawn with confidence, the flowing composition incorporates Harry Clarke’s characteristic fantastical figures and decorative elements. It is a masterwork, a brilliantly realised work on paper that draws attention to both Clarke’s skill as a draughtsman and his unique vision of the world. The subject may have been inspired by a popular novel written by Frances Little, entitled The Lady of the Decoration, first published in 1907. The story relates the experiences of a young American woman travelling through Japan and her journey from uncertainty to self-discovery. In Clarke’s drawing, the maximalist areas of overlaid pattern and colour are balanced by areas plainer passages, for example in the blue patterned white train and the vivid lemon yellow background. The artist’s name, in readable capital letters points to its function to promote his work more widely.

Faust, 1924/25

This exquisitely detailed drawing relates to Clarke’s final commission from the London publisher Harrap, to provide illustrations for John Anster’s English translation of Goethe’s Faust, published in 1925. Although finely detailed and richly coloured, this drawing was not included in the final version of the book and was never published. Clarke paid much attention to the clothing of the two characters, Faust and Marguerite. The different weights and textures of the velvets, pattered silks and lace are represented through finely graduated colour and line. The figures stand proud from the background which is painted in muted colours and echoes the grisaille sometimes used for theatrical backdrops.

These works were both purchased with the support of the Friends of the National Gallery of Ireland (Patrons of Irish Art Funds), 2025.