Albert G. PowerRHA (1881-1945) HEAD OF CONSTANCE GORE BOOTH, COUNTESS MARKIEVIC (1868 - 1927) marble h:10 w:5 d:5 in.
Provenance: Mrs Albert Power; Mr John Lane to Mrs Maurice MacGonigal; Victor Waddington; Declan O'Dwyer, Cork; Private collection, Northern Ireland; Adam's & Mealy's, Independence Sale, 12 April 2006, lot 412; Private collection
Following the practice in the 19th century by sculptors, of making mirror pieces, initially led by Camille Claudel, and then by her lover, August Rodin, all of the figurative Irish sculptors made mirror pieces. A 'Mirror Piece' is one intended to rest on an over-mantel or a mantelpiece reflected in the mirrored surfaces. Small busts of important,or decorative figures were in vogue with Jerome Conor, Andrew O'Connor, Oliver Sheppard, Albert Power and Rosamund Praeger. The head and neck are modelled or carved so that the piece is seen in the round, obviating the need to feel the piece.
The present work is highly finished with the detail of the hair treated in the antique manner, only the hand drill marks on the back of the Herm is left rough, but this work is clearly intended to be seen from all sides,which is why so many sculptors used the Herm format of a square base and a fully realised carved detailed surface.
Unsigned, it is given to Albert Power for stylistic and technical reasons, as well as the relationship between Power and the Nationalists of the period and with those artists such as Maurice MacGonigal who were members of the Republican movement.
Here the artist has shown Constance Markievicz in the well known formula of the Roman Virtuous Matron. The stylised treatment of her hair and the suggestion of a tunic or dalmatic collar is one which many artists used since the days of the Roman Republic of pre Tarquinian rule to indicate an heroic and virtuous matron who makes exemplary sacrifices, usually leading to death, for her city or nation, resisting tyranny or corrupt rulers.
Madam Markievicz, as she was known, was born to the family of Gore Booth who owned the great house of Lissadell, Co. Sligo. She studied painting in London and Paris, and, in 1900 married a UkranianPolish Count, Casimir Markievicz a fellow painter. After the failure of her marriage she settled in Dublin after 1903 where she associated with the members of the Gaelic League and the founders of the Abbey Theatre. In 1908 she joined Sinn Féin, and a year later she and Bulmer Hobson founded Na Fianna Éireann, an organisation for boys - a Republican vesrsion of the Boy Scouts. She joined Maud Gonne's Inghinídhe na hÉireann (Daughters of lreland) and contributed to Suffragette and Nationalist Newspapers. In 1913 she aided James Larkin in the great Dublin lockout; in 1914 she became an Officer in the Irish Citizen Army. She fought in 1916 and was sentenced to death, but the sentence was commuted to penal servitude for Life. Released in 1917, she was the first woman elected to Parliament at Westminster in 1918, but did not take up her seat owing to the abstentionist policies of Sinn Féin She was Minister for Labour in the first Dáil. Vehemently opposed to the Anglo Irish Treaty she supported the anti-treaty forces in the Civil War. In 1923 she was arrested for campaigning for the release of Republican prisoners and went on hunger strike. She joined the newly formed Fianna Fáil in 1926 and was re-elected to Dáil Éireann in 1927. She died a month later of post operative complications, malnutrition and general debilitation. With her sister, Eva, she was a noted supporter of the poor; both are the subjects in W.B. Yeats's great poem on Lissadell, a threnody on the irrevocable changes in the fortunes of the Patriotic Anglo Irish and their great houses. The double portrait of Constance and her sister is to be seen in the Merrion Hotel in Dublin having been acquired by the Naughton Family from the dispersal sale of the Gore Booth household effects at Lissadell in 2004.
Ciaran MacGonigal, April 2007.
We are grateful to Adam's for permission to reprint the above note from their catalogue.
Mrs Albert Power;
Mr John Lane to Mrs Maurice MacGonigal;
Victor Waddington;
Declan O'Dwyer, Cork;
Private collection, Northern Ireland;
Adam's & Mealy's, Independence Sale, 12 April 2006, lot 412;
Private collection
Notes
Following the practice in the 19th century by sculptors, of making mirror pieces, initially led by Camille Claudel, and then by her lover, August Rodin, all of the figurative Irish sculptors made mirror pieces. A 'Mirror Piece' is one intended to rest on an over-mantel or a mantelpiece reflected in the mirrored surfaces. Small busts of important,or decorative figures were in vogue with Jerome Conor, Andrew O'Connor, Oliver Sheppard, Albert Power and Rosamund Praeger. The head and neck are modelled or carved so that the piece is seen in the round, obviating the need to feel the piece.
The present work is highly finished with the detail of the hair treated in the antique manner, only the hand drill marks on the back of the Herm is left rough, but this work is clearly intended to be seen from all sides,which is why so many sculptors used the Herm format of a square base and a fully realised carved detailed surface.
Unsigned, it is given to Albert Power for stylistic and technical reasons, as well as the relationship between Power and the Nationalists of the period and with those artists such as Maurice MacGonigal who were members of the Republican movement.
Here the artist has shown Constance Markievicz in the well known formula of the Roman Virtuous Matron. The stylised treatment of her hair and the suggestion of a tunic or dalmatic collar is one which many artists used since the days of the Roman Republic of pre Tarquinian rule to indicate an heroic and virtuous matron who makes exemplary sacrifices, usually leading to death, for her city or nation, resisting tyranny or corrupt rulers.
Madam Markievicz, as she was known, was born to the family of Gore Booth who owned the great house of Lissadell, Co. Sligo. She studied painting in London and Paris, and, in 1900 married a UkranianPolish Count, Casimir Markievicz a fellow painter. After the failure of her marriage she settled in Dublin after 1903 where she associated with the members of the Gaelic League and the founders of the Abbey Theatre. In 1908 she joined Sinn Féin, and a year later she and Bulmer Hobson founded Na Fianna Éireann, an organisation for boys - a Republican vesrsion of the Boy Scouts. She joined Maud Gonne's Inghinídhe na hÉireann (Daughters of lreland) and contributed to Suffragette and Nationalist Newspapers.
In 1913 she aided James Larkin in the great Dublin lockout; in 1914 she became an Officer in the Irish Citizen Army. She fought in 1916 and was sentenced to death, but the sentence was commuted to penal servitude for Life. Released in 1917, she was the first woman elected to Parliament at Westminster in 1918, but did not take up her seat owing to the abstentionist policies of Sinn Féin She was Minister for Labour in the first Dáil. Vehemently opposed to the Anglo Irish Treaty she supported the anti-treaty forces in the Civil War. In 1923 she was arrested for campaigning for the release of Republican prisoners and went on hunger strike. She joined the newly formed Fianna Fáil in 1926 and was re-elected to Dáil Éireann in 1927. She died a month later of post operative complications, malnutrition and general debilitation. With her sister, Eva, she was a noted supporter of the poor; both are the subjects in W.B. Yeats's great poem on Lissadell, a threnody on the irrevocable changes in the fortunes of the Patriotic Anglo Irish and their great houses. The double portrait of Constance and her sister is to be seen in the Merrion Hotel in Dublin having been acquired by the Naughton Family from the dispersal sale of the Gore Booth household effects at Lissadell in 2004.
Ciaran MacGonigal, April 2007.
We are grateful to Adam's for permission to reprint the above note from their catalogue.
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(g) Any lot listed as a "collection, range, portfolio etc." or stated to comprise or contain a collection or range of items which are not described shall be put up for sale not subject to rejection and shall be taken by the purchaser with all (if any) faults, lack of genuineness and errors of description and numbers of items in the lot, and the purchaser shall have no right to reject the lot; except that, notwithstanding the foregoing provisions of this sub-clause, where before a sale a person intending to bid at the sale gives notice in writing to, and satisfies the auctioneer that any such lot contains any item or items undescribed in the sale catalogue and that person specifically describes that item or those items in that notice, then that item or those items shall, as between the auctioneer and that person, to be taken to form part of the description of the lot. Clause 6 The respective rights and obligations of the parties shall be governed and interpreted by Irish law, and the buyer hereby submits to the exclusive jurisdiction of the Irish Courts. SPECIAL CONDITIONS (a)The buyer shall pay the Auctioneer a commission at the rate of 24.6% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable.
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