Emigration Once Again

Athy Mace
The Ceremonial Mace of Athy, County Kildare made in Dublin by John Wilme in 1746. This splendid example of mid-18th century Irish silversmithery was presented to the town in the year of its production by James FitzGerald, twentieth Earl of Kildare (and later first Duke of Leinster). It remained in the town until c.1840 when reform of municipal government caused the abolition of the local borough. The mace eventually returned to the Leinsters before being auctioned by Sotheby’s in March 1982 after which it crossed the Atlantic. Today it is part of what is considered the finest collection of antique Irish silver in the world, in the San Antonio Museum of Art, Texas.
You can read more about this and many other Irish treasures now in the American collections in an article I have written for the March issue of Apollo magazine.

A Swift Connection

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A crimson morocco case holding five George II steel forks due to be sold next Wednesday 25th February by Fonsie Mealy in Castlecomer, County Kilkenny. The forks have stained ivory handles, each bearing the same initials and crest as those of Jonathan Swift, Dean of St Patrick’s Cathedral, Dublin from 1713 until his death in 1745. Might these therefore have belonged to him, and was it perhaps during his lifetime that the prongs of the left-most fork were first filed down, presumably because one of them broke or was bent? Before passing to the vendor’s family the set belonged to the 19th century archaeologist and antiquarian John Ribton Garstin, one-time President of the Royal Society of Antiquaries of Ireland. It is expected to make  €2,000- €3,000.

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That’s Amore

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A white marble statue of Amorino commissioned in Rome from Antonio Canova in 1789 by John La Touche. Scion of Ireland’s wealthiest banking family, La Touche was then on a year-long Grand Tour through Italy, during which he was taken to Canova’s studio by the Irish painter Hugh Douglas Hamilton. There he saw two versions of the same figure, one of which is now in Anglesey Abbey, Cambridgeshire. Not long before leaving Rome and returning home, La Touche requested his own copy which was duly delivered to Dublin in the summer of 1792. It remained in the family’s possession until the last century but both artist and provenance were forgotten until the statue was rediscovered in the back garden of an English house in 1996. It was then bought by the Bank of Ireland, appropriately since John La Touche’s father David had been that institution’s first governor, and presented to the National Gallery of Ireland.
The Irish Aesthete wishes a happy Valentine’s Day to all readers.

The Colossus of Castlemartyr

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As painted by Sir Joshua Reynolds in 1759, this handsome gentleman is Richard Boyle, second Earl of Shannon whose Dublin residence has featured here before (see From Townhouse to Tenement – and Back, September 16th). A direct descendant of Richard Boyle, the great Earl of Cork, Lord Shannon owed his own title to his father, Henry Boyle who served as Speaker of the Irish House of Commons for almost quarter of a century before accepting a peerage. His son was less politically astute but still managed to acquire a large number of rotten boroughs, allowing him to control election to parliament and thus to become known as the ‘Colossus of Castlemartyr’ (this being the name of his country seat in County Cork). Strangely Lord Shannon voted in favour of the 1800 Act of Union, even though it meant a loss of power for himself. On the other hand, he held onto the title of First Lord of the Irish Treasury, only relinquishing the position in 1804 in return for an annual pension of £3,000; he would die just three years later. His great-grandson sold this picture through Christie’s in June 1889 when it fetched 215 guineas. The work then passed through a number of different hands before coming up at Christie’s again last July when it went for £73,875. The photograph here was taken earlier this month at an art fair in Dallas, Texas: the Colossus of Castlemartyr has travelled…

September 2013

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September 1913
William Butler Yeats

What need you, being come to sense,
But fumble in a greasy till
And add the ha’pence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone;
For men were born to pray and save?,
Romantic Ireland’s dead and gone,

It’s with O’Leary in the grave.
Yet they were of a different kind,
The names that stilled your childish play,
They have gone about the world like wind,
But little time had they to pray
For whom the hangman’s rope was spun,
And what, God help us, could they save?
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

Was it for this the wild geese spread
The grey wing upon every tide;
For this that all that blood was shed,
For this Edward Fitzgerald died,
And Robert Emmet and Wolfe Tone,
All that delirium of the brave?
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

Yet could we turn the years again,
And call those exiles as they were
In all their loneliness and pain,
You’d cry ‘Some woman’s yellow hair
Has maddened every mother’s son’:
They weighed so lightly what they gave.
But let them be, they’re dead and gone,
They’re with O’Leary in the grave.

Inspired by Dublin Corporation’s refusal to provide financial assistance to Sir Hugh Lane for the building of a modern art gallery in the city, Yeats’ poem was published in The Irish Times 100 years ago today. The picture above shows one of the designs prepared by Edwin Lutyens for the projected gallery, not that of a bridge spanning the river Liffey but more conventionally sitting within the western railings of St Stephen’s Green.
You can discover more about the events behind the writing of September 1913 by watching: http://www.youtube.com/watch?v=62C1sbgKVk4

A Clement Vision

These three small oil panels, each measuring just 15×20 cms, are from Clement McAleer’s current Coastal Series. McAleer (b.1949) is one of the artists breathing new life into that potentially moribund genre: Irish landscape painting. His work manages to be both meditative and emotional since, as has been noted, he is concerned not so much with capturing the specifics of place ‘but rather the restless, shifting aspects of nature where cloud or water, land or sea transform themselves atmospherically, one into another.’
On Thursday evening I shall be opening an exhibition of Clement McAleer’s new work at the Hamilton Gallery, Castle Street, Sligo; the show continues until December 1st.