Mainie Jellett

The Dawson Gallery, Dublin;
Private collection

Dublin, Irish Museum of Modern Art, Mainie Jellett, 1992, no.81;
Dublin, Irish Museum of Modern Art, The Moderns, 2011;
Dublin, Irish Museum of Modern Art, Analysing Cubism: Mainie Jellett, Evie Hone, Mary Swanzy and Masters of European Modernism, 2013

Original canvas. It undulates slightly, there is a diagonal ridge in upper left corner and a vertical ridge from centre of upper edge each approx. 10cm. There are vertical lines of craquelure across the surface which partly result from the coarse nature of the canvas. It is slightly dirty and may benefit from a light clean. Under ultraviolet light there do not appear to be any signs of retouching. Held in a silver slip frame and float mounted in a wooden box frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This wonderful Cubist work derives from the modernist spirit of Paris at the turn of the twentieth century, and within this radical environment, comfortably holds its own. It is thus all the more compelling that it was painted by a female artist from Ireland, a country traditionally reticent to the avant-garde at this time. However with adventurous spirit Jellett, alongside her artist-friend Evie Hone, travelled to Paris to absorb and explore directly the modern movements in France. In 1922 they began tuition with Albert Gleizes and fell under the spell of Cubism. The body of work that resulted, including the present example, form the pivotal period of her career - a triumphant and fully developed response to the radical forms of non-representational art. Composition is testament to Jellett's brave position as Ireland's first and most accomplished Cubist painter.