National Gallery of Ireland acquires two Harry Clarke works for national collection

• The Lady of the Decoration, 1914, and Faust, 1924/25 on display now
• The acquisition is supported by the National Gallery of Ireland’s Patrons of Irish Art and the Department of Culture, Communications and Sport

Two of Irish artist Harry Clarke’s illustrations have become part of the national collection at the National Gallery of Ireland. Faust, 1924/25, and The Lady of the Decoration, 1914, now belong to the Irish public and are free for Gallery visitors to view in Room 20. The acquisitions were supported by the Patrons of Irish Art of the National Gallery of Ireland, whose membership fees support acquisitions of Irish art.

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). Clarke’s work, in whatever media, displays a refined handling and exceptional technical skill.

The Lady of the Decoration, 1914
Clarke produced The Lady of the Decoration for reproduction as a colour lithograph on a calendar. It was commissioned by John Duthie of Glasgow, a paint supplier and friend of Clarke’s father Joshua. The work is a large-scale masterwork, featuring characteristic fantastical figures, sophisticated decorative elements and a vibrant colour range. It seems certain, from the distinctive nature of the title and detail of the illustration itself, that Clarke derived the subject from a popular novel of the same name by Frances Little, first published in New York in 1907. The book recounts the experiences of a young woman travelling in Japan and outlines her journey from uncertainty to self-discovery. Clarke balances areas of overlaid pattern and colour with calmer sections, including the blue patterned white train and the unembellished, vivid lemon yellow area in the centre.
This superb example of Harry Clarke’s graphic work complements his illustrations made for Harrap’s 1914 publication of Hans Christian Andersen’s Fairy Tales, which are already in the national collection at the Gallery.

Faust, 1924/25
This exquisitely detailed drawing relates to Clarke’s final commission from the London publisher Harrap’s to provide illustrations for John Anster’s English translation of Goethe’s Faust, published in 1925. Although this piece did not feature in the final edit of the book, it is as richly coloured and exquisitely detailed as the other works in the series. In the drawing, the book’s protagonist Faust walks through the garden of the wealthy Dame Schwerdtlein with Marguerite, the innocent subject of his affection. The two appear as if on stage, standing out against a background reminiscent of the popular theatre backdrops with which Clarke was familiar. The artist pays typical attention to the characters’ clothing, highlighting the various patterns and weights of velvet, silk and lace through the use of finely graduated colour and precise line.
This watercolour shows Clarke at the height of his powers as an illustrator. The subject, the same as that chosen by Frederic William Burton for his iconic watercolour Faust’s First Sight of Marguerite, also part of the national collection, shows how certain works of literature were revisited and reworked by visual artists over generations.

Dr Caroline Campbell, Director of the National Gallery of Ireland, said: “As the holiday season approaches, it is wonderful to add these beautiful illustrations by Harry Clarke to the national collection. The works we hold by Harry Clarke are some of the most popular objects in our collection, so we know that our visitors – from home and afar – will love ‘Faust’ and ‘The Lady of the Decoration’. I’m thrilled that we have been able to acquire these exquisite drawings, and I thank our Patrons of Irish Art for their generous contributions to these acquisitions, and the Department of Culture, Communications and Sport for their ongoing support.”

Through new acquisitions and conservation, the National Gallery of Ireland develops and preserves the nation’s art collection and is committed to collecting high quality work by key figures in the story of Irish art. With extensive exhibitions, public programmes, community engagement, education and outreach work, the Gallery further commits to its role as a caretaker of creativity and imagination. The Gallery thanks and celebrates the role of its supporters, including the Patrons of Irish Art.

There are five opportunities for those who would like to support us as a Patron of the National Gallery of Ireland. Each level of patronage offers a unique and personalised Gallery experience, fantastic benefits and dedicated events. Our Patrons can also enjoy all the privileges of our Friends of the National Gallery of Ireland programme. Every Patron will be contributing to the acquisition of Irish works of art. For further information, please visit https://www.nationalgallery.ie/join-and-give/patrons-programme.

The Gallery would like to thank the Department of Culture, Communications and Sport for its ongoing support.

Find out more at www.nationalgallery.ie.

ENDS

Notes to the editor: 

• Dr Caroline Campbell, Director of the National Gallery of Ireland, is available for interview.

Media contacts: 

Sam Hardiman, Communications Coordinator: Press & Advertising, [email protected]

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Monday: 11am – 5.30pm 
Tuesday – Wednesday: 9.15am – 5.30pm 
Thursday: 9.15am – 8.30pm 
Friday – Saturday: 9.15am –5.30pm 
Sunday: 11am – 5.30pm

About the artist: 

Harry Clarke (1889-1931) was a leading exponent of the Celtic Revival and of the Irish Arts and Crafts movement at the beginning of the 20th century. Attracted by the artistic language of the Symbolists, he created in that style innumerable beautiful images derived from literature, medieval legends and religious sources. Extremely talented, his ability was equally impressive in different media, but his greatest success was achieved as a book illustrator and stained-glass artist.

Harry Clarke left school early and began working for his father’s business, meanwhile taking night classes in stained glass at the Dublin Metropolitan School of Art. Clarke worked as a book illustrator, publishing his first designs in 1916, illustrations for Fairy Tales by Hans Christian Anderson (of which the National Gallery of Ireland holds ten original colour drawings). His reputation as an artist of considerable talent was established when in 1919 he published his black and white illustrations for Edgar Allen Poe’s Tales of Mystery and Imagination.

His principal career was in the production of stained glass windows and he fulfilled forty commissions for churches and religious houses throughout Ireland, beginning with the windows for the Honan Chapel in Cork (1915-1917) and fifteen commissions for the UK, the US and Australia. Upon the death of his father in 1921, he inherited the stained glass business at North Frederick Street, renaming it ‘Harry Clarke Studios’. In addition to ecclesiastical design, Clarke undertook secular commissions often inspired by literature, the most famous being The Geneva Window (1926-1930).

In 1929 Clarke was struck down by tuberculosis and travelled to a sanatorium in Davos, Switzerland, to attempt to recuperate. Conscious of his deteriorating physical state and fearful that he would die abroad, he attempted to make his way back to Ireland. He died on 6 January 1931 in Chur, Switzerland, where he is buried. Beloved husband of Margaret (Crilly) Clarke (1884-1961), the Harry Clarke Studios continued under Margaret’s helm and operated until 1973.

About the National Gallery of Ireland:
The National Gallery of Ireland is one of the country’s most popular visitor attractions housing the nation’s collection of European and Irish art from about 1300 to the present day, and an extensive Library & Archive. Entry to the collection is free for all to enjoy, learn and be inspired.

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