Harry Clarke Paintings & Artwork for Sale | Harry Clarke Art Value Price Guide

May. 29, 2024
Harry Clarke RHA (Illus.) 'The Year's at the Spring' An Anthology of Recent Poetry compiled by L.D'O. Walters With colour and black & white illustrations by Harry Clarke, with an introduction by Harold Monro. Published by George Harrap & Co L
Est: €300 - €400
Harry Clarke RHA (Illus.) 'The Year's at the Spring' An Anthology of Recent Poetry compiled by L.D'O. Walters With colour and black & white illustrations by Harry Clarke, with an introduction by Harold Monro. Published by George Harrap & Co Ltd, London, 1920, First Edition. With a letter, dated Oct. 7, 1919, attached, and addressed to Miss Quigley from Harry Clarke. Provenance: Albert Ernest Wood KC (1873 - 1941), thence by descent to the current owners.
Adam's
May. 29, 2024
Harry Clarke RHA (Illus.) Selected Poems of Algernon Charles Swinburne, With Illustrations and Decorations by Harry Clarke and an introduction by Humbert Wolfe, Photogravure plates by Nickeloid. Published by John Lane, The Bodley Head Ltd., Lon
Est: €300 - €400
Harry Clarke RHA (Illus.) Selected Poems of Algernon Charles Swinburne, With Illustrations and Decorations by Harry Clarke and an introduction by Humbert Wolfe, Photogravure plates by Nickeloid. Published by John Lane, The Bodley Head Ltd., London and Dodd, Mead and Company, New York. First Edition, 1928, magenta cloth w/water stains. Inscribed in ink: Dear V./This is my very best Blood and Guts manner./Harry C. 28. Provenance: Albert Ernest Wood KC (1873 - 1941), thence by descent to the current owners.
Adam's
Feb. 15, 2024
Irish stained glass.- Clarke (Harry) Cartoon for the 'Assumption Window' at Ashdown park & Notre Dame, Leeds, chalks, [c. 1925]
Est: £5,000 - £7,000
Irish stained glass.- Clarke (Harry) Cartoon for stained glass in The Church of Our Lady and St Richard, Ashdown Park, Leeds, black chalk, conté crayon, watercolour, on thick cream wove paper, sheet 755 x 470 mm (29 3/4 18 1/2 in), old repaired tears within the drawing, notably to the lower centre, laid onto paper support, handling creases and old folds, unframed, [circa 1925] Provenance: Private collection, London *** Powerful original cartoon by the Irish stained glass window designer, Harry Clarke (1889-1931), traditionally understood to be a design for the 'Assumption window' installed in The Church of Our Lady and St Richard, Ashdown Park, Leeds. On the Ashdown Park website, Sister Magdalen who moved to Ashdown Park to join the order of The Sisters of Notre Dame in 1961, discusses the stained glass: "When designing the windows for Ashdown Park, Harry Clarke created full size 'cartoons' of each window, meticulously detailing every aspect of the images and all the coloured pieces of glass required to create the stunningly intricate finished design... The windows were designed with a traditional medieval style in mind, depicting scenes from Mary's life; starting as a child with her own mother St Anne, to Mary being received in heaven by Jesus whilst surrounded by angels. There is however a stylistic nod to the era they were created in is visible - the iconic 1920s/30s bob style haircut can be seen adorning the female characters" [see: https://www.ashdownpark.com/sister-magdalen-talks-about-our-harry-clarke-stained-glass-windows]
Forum Auctions - UK
Dec. 06, 2023
Harry Clarke RHA (1889 - 1931) Hilda Luvia Lady playing a theorbo Watercolour and pencil, 34.5 x 27.5cm (13½ x 10¾) Signed and dated 1921 Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea,
Est: €15,000 - €25,000
Harry Clarke RHA (1889 - 1931) Hilda Luvia Lady playing a theorbo Watercolour and pencil, 34.5 x 27.5cm (13½ x 10¾) Signed and dated 1921 Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea, residence of H.E. The Ambassador of Australia), thence by descent to the current owners. Harry Clarke, perhaps most famous for his intensely coloured jewel-like stained glass and for his dramatic black & white illustrations and graphic work, could also, with consummate ease, create delicate pastel-coloured images such as this illustration. Although the colour palette may be less familiar, the exquisite drawing of the delicate female musician has all the hallmarks of Clarkes finesse. It is thought that this pencil and watercolour image dates to c.1921 and may have been submitted to Hodder and Staunton, though ultimately not used, for the Fairy Tales of Charles Perrault (1922), a publication for which Clarke provided twelve colour plates. The watercolour was exhibited at the sixth exhibition of the Arts and Crafts Society of Ireland in September 1921 and was jokingly titled, in Joycean mode, Hilda Luvia. The leading authority on Clarke, the late Dr Nicola Gordon Bowe, interviewed the artists friend, Victor Wood, who explained that the title was derived from an incident when Clarke, walking across Butt Bridge, saw a barge tied up below with the inscription Hilda I Luv Yer painted on her side. The title of the drawing is a blend of this with Anna Livia, the rivers familiar Dublin name, which reflects not only Clarkes irreverent sense of humour but also his ease with combining disparate references something that is apparent in the imagery of the watercolour itself. Clarke depicts the musician in a vast skirt which occupies a third of the picture, its volume rivaling the mountain peaks behind. The floral details on the skirts fabric recall the designs he had made for sets of handkerchiefs commissioned by Seftons of Belfast a few years earlier. The musician is shown playing a theorbo, a member of the lute family which was popular during the Baroque music era (16001750) as part of a small basso continuo group or as a solo instrument as depicted here. While the instrument may be associated with the Baroque period, the style of skirt came into fashion in the eighteenth century, and the bobbed hairstyle more common in nineteenth or twentieth century though notably the unevenness of the hair cut is at variance to the sophistication of her costume. In the background one can see a fairy tale hilltop town with ogee domes and spires, but the spindly, bleak tree hints at the orient with its Japonisme style. This illustration shows Clarke in eclectic mode, happy to draw on a range of sources, influences and eras, and whip them into a delicate confection. Dr David Caron November 2023 1. See Bowe, Nicola Gordon, Harry Clarke, the Life and Work 2015 ed.), p. 192. 2. Recounted to Nicola Gordon Bowe by Victor Wood in 1976 (Albert Wood, father of Victor, had bought the picture at Clarke's London exhibition in 1925). See Bowe, Nicola Gordon, Harry Clarke, the Life and Work (2015 ed), p. 344.
Adam's
Dec. 06, 2023
Harry Clarke RHA (1889 - 1931) The Colloquy of Monos and Una (1923) Pencil, ink and watercolour, 40 x 29.5cm (15¾ x 11½) Signed with initials Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea
Est: €20,000 - €30,000
Harry Clarke RHA (1889 - 1931) The Colloquy of Monos and Una (1923) Pencil, ink and watercolour, 40 x 29.5cm (15¾ x 11½) Signed with initials Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea, residence of H.E. The Australian Ambassador), thence by descent to the current owners. The title of Edgar Allan Poes collection of stories, Tales of Mystery and Imagination, seems to encapsulate the essence of Harry Clarkes creative vision when it comes to the realm of book Illustration, and so it is no surprise that Clarke was drawn to this volume of strange and macabre tales; his diary entry for 17 March 1914 reveals that as a twenty-five year old he was reading Poes classic, already with a view to illustrating them.[1] In 1919 George G. Harrap and Company of London published an edition of Tales of Mystery and Imagination illustrated by Harry Clarke but only featuring black and white images, however this illustration, The Colloquy of Monos and Una, comes from the expanded edition of 1923 which was released with many more illustrations, including eight colour plates for which Clarke was paid £100 by Harrap.[2] The Colloquy of Monos and Una was conceived as a dialogue or colloquy between two lovers reunited after death; Una had only just joined Monos in the afterlife and her sombre mind still lingered on the mortal world, preoccupied with the thoughts that had filled her last days on earth, specifically how her lover Monos experienced his final hours. The narrative reflects on philosophical themes such as the relationship between knowledge and perception. Poignantly, while Poe was writing The Colloquy of Monos and Una, his young wife contracted tuberculosis which would eventually kill her the same disease that would claim Clarkes life eight years after he created his illustrations for the 1923 edition. Clarke depicts Monos and Una almost as one, with his hand gently supporting her arm, their heads inclined towards each other and almost touching, yet they both seem lost in their individual memories; it is an image that conveys both physical intimacy yet emotional distance. Their wide-eyed features and slender hands, typical of Clarke, emerge from their astonishing Art Deco-influenced costumes reflecting Clarkes interest in theatre with a myriad of pleats, patterns, folds and tassels. Despite the obvious substance of their costumes, the erstwhile lovers hover above the earth, accompanied by a trail of curious companions who disappear into the cosmos. In 1924, a year after the book was published, Harry Clarke sold several of the illustrations he created for Tales of Mystery and Imagination to the Crawford Art Gallery (which acquired them using the Gibson Bequest Fund). Dr David Caron, November 2023 1. Quoted in Bowe, Nicola Gordon, Harry Clarke, the Life and Work (2015 ed.), p. 69 2. Ibid., p. 208
Adam's
Dec. 06, 2023
Harry Clarke RHA (1889 - 1931) The Magic Glasses c.1927-9 Pencil and watercolour, 23 x 7.5cm (9 x 3) Harry Clarkes Geneva Window, created for the International Labour Organization and completed in 1930, was a triumph of Clarkes arti
Est: €8,000 - €12,000
Harry Clarke RHA (1889 - 1931) The Magic Glasses c.1927-9 Pencil and watercolour, 23 x 7.5cm (9 x 3) Harry Clarkes Geneva Window, created for the International Labour Organization and completed in 1930, was a triumph of Clarkes artistry, skill and imagination but also a personal tragedy for him as it was never installed. The rectangular window comprises Clarkes interpretations of fifteen of his favourite excerpts by contemporary Irish writers.[1] This preliminary design is inspired by George Fitzmaurices The Magic Glasses, a short one-act play which had been produced at The Abbey Theatre in 1913, a production Clarke most likely would have seen, not only because he was an avid theatre goer but also because the producer was his close friend, Lennox Robinson. The watercolour, in pinks/reds and blues, is a tell-tale indication that Clarke planned to make this panel like the other panels for the Geneva Window that comprise it from two pieces of flashed glass, one of ruby glass, one of blue glass, which when acided and plated (carefully registered together), would create myriad shades of purples and violets, and with judicious additional application of silver stain would add hues of yellow and green. The title of the play is derived from three sets of glasses which Shanahan received from a mysterious woman (Its the pleasure and diversion of the world youll hear and see in them magic glasses); each set is coloured differently and came with their own properties. Clarke decided to feature the red glasses which show nubile naked females: the purtiest women was ever seen on the globe. As with all preliminary iterations, it is interesting to note what Clarke originally had in mind, and what evolved when the panel was made. In the sketch, the principal figure, curly-haired, angelic Jamoney Shanahan appears mildly inebriated and distracted as he allows his champagne glass gently slip within his slim fingers, whereas in the panel as executed, Shanahan, is rougher-looking, hands planted firmly in pockets, and depicted with his eyes rolling about, drunk and possibly delirious. The sketch design features a total of eighteen naked females, some frolicking in glasses of champagne, some with wild unkempt hair, and one stretching to whisper enticements in his ear decorous nymphs, they are not. One can see from this sketch and the panel as executed, along with some of the other vignettes in the Geneva Window, how the Irish government of the day became uneasy about Clarkes selection of texts and even more so his daring treatment of imagery. Dr David Caron, November 2023 [1] See Bowe, Nicola Gordon, Harry Clarke The Life and Work (1989); also, Kennedy, Róisín, The Geneva Window in Harry Clarke and Artistic Visions of the New State (eds A. Griffith, M. Helmers, R. Kennedy (2019)
Adam's
Nov. 08, 2023
Harry Clarke: Strangest Genius-The Stained Glass of Harry Clarke by Lucy Co
Est: €40 - €60
Harry Clarke: Strangest Genius-The Stained Glass of Harry Clarke by Lucy Costigan and Michael Cullen, 2010; Harry Clarkes illustrations for Hans Christian Andersens Fairy Tales, 2008; Harry Clarke and His Legacy-The Stained Glass in St Josephs Church Terenure by Patricia Curtin-Kelly; harry Clarke, The Eve of St Agnes by Jessica O' Donnell (4)
Purcell Auctioneers
Sep. 27, 2023
***PLEASE NOTE: THIS LOT HAS BEEN SOLD PRIOR TO THE AUCTION***
Est: €1,500 - €2,500
***PLEASE NOTE: THIS LOT HAS BEEN SOLD PRIOR TO THE AUCTION*** Sir William Orpen RA RHA (1878 - 1931) and Harry Clarke RHA (1889 - 1931) A leather bound journal belonging to Miss Norah O'Kelly RHA of Dublin, containing a double page ink drawing by Harry Clarke, signed and dated 1912; a Sir William Orpen self-portrait in ink with a humorous verse, in his hand; together with verses written by artists Letitia and Eva Hamilton, Michael J. Ryan, Percy Oswald Reeves, and others. 19 x 14.5cm (7½ x 5¾) With a loose postcard with self-portrait by Orpen inscribed 'Here's a Bill to Cure Very Ill !'. 11.5 x 8.7cm (4½ x 3½)
Adam's
Jul. 29, 2023
1925 FAUST, ILLUSTRATED BY HARRY CLARKE SIGNED LIMITED 1ST EDITION GOETHE 257/1000
Est: $500 - $1,000
This is a 1925 1st edition of Goethe's "Faust" illustrated by Harry Clarke (Irish 1889-1931). Limited to one thousand copies for England and one thousand copies for the United States, of which this is No. 257 of the English issue. Signed by Harry Clarke. Includes eight full-page color plates by Clarke and intriguing black and white Art Nouveau illustration throughout in full and partial-page designs. Published by George G. Harrap & Co. Ltd of Parker Street, Kingsway, London. Printed by Walter Lewis at the University Press, Cambridge. Hardcover and deckled page edges. Harry Clarke was an Irish stained-glass artist and book illustrator. Born in Dublin, he was a leading figure in the Irish Arts and Crafts Movement. His work was influenced by both the Art Nouveau and Art Deco movements. His stained glass was particularly informed by the French Symbolist movement. 10 3/4 x 8 1/2"
Mark Lawson Antiques, Inc.
Jun. 15, 2023
HARRY CLARKE (1889-1931) TITANIA ENCHANTING BOTTOM, 1922 The box: 10 1/4 in
Est: $5,000 - $7,000
HARRY CLARKE (1889-1931) TITANIA ENCHANTING BOTTOM, 1922 The box: 10 1/4 in. (26 cm.) high, 13 5/8 in. (34.5 cm.) wide, 11 1/4 in. (28.6 cm.) deep. The panel: 6 3/4 in. (17 cm.) tall, 11 3/4 in. (29.8 cm.) wide
Christie's
May. 10, 2023
Clarke, Harry. Andersen?s Fairy tales. 1931. Harrap.4to, 18 full colour pla
Est: €200 - €300
Clarke, Harry. Andersen?s Fairy tales. 1931. Harrap.4to, 18 full colour plates and many b/w. Green cloth, black titles. V. Good condition. V.G DJ.
Purcell Auctioneers
Mar. 01, 2023
***THIS LOT IS WITHDRAWN***Harry Clarke RHA RHA (1889 - 1931) Angel of Peace and Hope (Lloyd memorial), (1918) cartoon designed for the Church of Ireland, Killiney, Co. Dublin, 1918 Charcoal and conté on paper, 206 x 58.5cm (18 x 23) Provenance
Est: €20,000 - €30,000
***THIS LOT IS WITHDRAWN***Harry Clarke RHA RHA (1889 - 1931) Angel of Peace and Hope (Lloyd memorial), (1918) cartoon designed for the Church of Ireland, Killiney, Co. Dublin, 1918 Charcoal and conté on paper, 206 x 58.5cm (18 x 23) Provenance: From the Collection of Patrick MacEntee SC In 1918, concurrent with designing the 2-light OKeefe memorial for the Catholic Church in Wexford town, Harry Clarke was also designing a single lancet for the Church of Ireland in Killiney. Previously thought to have been a memorial for a young soldier who died in WWI as was the case of Lieutenant OKeefes window it was commissioned in memory of a local solicitor, Clifford Bartholomew Lloyd (died 1915), by his widow, Edith.(1) The Lloyds lived in the distinctive castellated Killiney residence, Victoria Castle (since renamed Ayesha Castle), and it is almost certain that Edith was introduced to the work of Harry Clarke by the Lloyds near neighbour, Lawrence (known as Larky) Waldron of Marino (since renamed Abbey Lea). Waldron was an early champion of Clarkes stained glass and illustrations, and Clarke became a close friend and regular guest at Larkys legendary Sunday luncheons. Clarke made a stunning series of nine small stained glass panels inspired by J. M. Synges poem Queens (1917) for the prominent bay window of Waldrons study which was the largest reception room in the house and one can assume that Edith saw these exquisite panels and was smitten. As usual, after discussions with Mrs Lloyd and having inspected the south-facing location for the proposed window, Harry Clarke produced a small scale coloured design for Mrs Lloyds approval before proceeding to the full-scale monochrome cartoon. Being a single-light window, Clarkes estimate for Mrs Lloyds window was considerably less than that for the 2-light OKeefe window (£70 compared with £125), however the outcome is equally exquisite. Clarke referred to this window as both the Angel of Peace and the Angel of Hope, and his biographer, Dr Nicola Gordon Bowe, appropriately conflated the two versions so that it is now known as the Angel of Peace and Hope. Clarke and his friend, the art critic Thomas Bodkin (later director of the National Gallery), also informally referred to the Lloyd memorial window as Clarkes Beardsley window, acknowledging the likeness of the angel to the ethereal figures in profile drawn by the popular English illustrator, Aubrey Beardsley, who worked in crisp black and white.(2) Although Clarke made his stained glass windows in his fathers studio in North Frederick Street by 1918 he and his wife, the artist Margaret Crilly, had moved from the flat above the stained glass studio to a rented house on Mount Merrion Avenue, Blackrock; this came with a garden studio and it was here where Harry Clarke drew the Killiney cartoon between 14 and 22 November.(3) The sumptuously robed and winged angel stands on a little grassy island possibly meant to represent Ireland in sandalled feet and holds a standard attached to which is Flag of the Resurrection, gently rippling in the sea breeze. The angel gazes at a haloed dove, her exquisitely fine, profiled features set against a relatively simple backdrop of a diamond-patterned grid, which when Clarke made the actual window would comprise of pale translucent quarries. Although the window is not a war memorial as such, the dove with an olive sprig in its beak may represent the prospect of peace at the end of the Great War, and indeed by the time the window itself was completed in February 1919, the war had ended. Among the border of the windows cartoon are, in addition to abstract designs, some tiny vignettes, most but not all of which ended up in the window itself; two that did are of lighthouses, probably to represent beacons of hope connecting with the Angel of Hope idea but also perhaps a nod to Killineys coastal location. As with the Wexford cartoon, this one was selected by Dr Gordon Bowe due to its superb quality it was in the collection of David Clarke, son of the artist for inclusion in the important exhibition of Harry Clarkes work at Trinity Colleges Douglas Hyde Gallery which she organized in 1979. The inscription reads that it was erected in memory of Clifford B. Lloyd who died on 27 January 1915, and although there was a soldier, Clifford H. Lloyd who fought in WWI (a nephew of the solicitor), he survived the war. Nicola Gordon Bowe, Harry Clarke (monograph and catalogue of exhibition in Douglas Hyde Gallery, TCD, 1979), p. 104. Ibid. Dr David Caron, January 2023
Adam's
Mar. 01, 2023
Harry Clarke RHA (1889 - 1931) Our Lady and Child adored by St Aidan of Ferns and St Adrian (O'Keefe memorial), (1918), cartoon designed for the Catholic Church of the Assumption, Bride Street, Wexford Town A pair, Charcoal and conté on paper, 202
Est: €30,000 - €50,000
Harry Clarke RHA (1889 - 1931) Our Lady and Child adored by St Aidan of Ferns and St Adrian (O'Keefe memorial), (1918), cartoon designed for the Catholic Church of the Assumption, Bride Street, Wexford Town A pair, Charcoal and conté on paper, 202 x 48.5 (79½ x 19) & 204 x 48.5cm (80 x 19) Provenance: From the Collection of Patrick MacEntee SC Following the rapturous reception of Harry Clarkes series of windows for Honan Hostel chapel (191517), located on the campus of UCC the commission which was largely responsible for propelling his stained glass career forward individuals began to seek him out for memorial windows. Two such commissions which arrived in 1918 were for the Church of Ireland, Killiney, County Dublin and the Catholic Church of the Assumption in the heart of Wexford town; Clarke worked on both jobs concurrently and in fact on one day in September he had a meeting with the Killiney donor in the morning and the Wexford donor in the afternoon.(1) The latter was ordered by a Matilda, wife of William OKeefe who was a merchant and maltster of Faythe House, Wexford town and the window was in memory of their second son, Lieutenant William Henry OKeefe. William Jnr was a graduate of Castleknock College and had entered the Royal College of Science, Dublin with the intention of becoming an engineer before obtaining a commission in the Royal Field Artillery. In August 1915 he went on active service in France and was killed by a German shell aged twenty-one in May 1917 at Arras where he is buried.(2) Worth noting is that his memorial window represents one of a very small number in Catholic churches to soldiers who fell in WWI compared with a significant amount in Protestant churches. For Harry Clarke, meeting a client and visiting the location was very important so that each work would be truly individual and would respond to the wishes of the donor, as well as the more practical and aesthetic considerations: the orientation of the window within the church, its height from ground level, the style of architecture, etc. A small-scale, though very precise, preliminary design, usually executed in pencil and watercolour, would then be prepared. Amendments were made if requested by the patron and the next stage was for Clarke to create a cartoon, a full-scale monochrome plan, usually drawn mainly in charcoal on a single sheet cut from a roll of paper which would accurately show the lead-lines and the key elements of the design. Clarkes cartoons from this period are remarkably detailed and indisputably works of art in their own right. Perhaps surprisingly for an artist who excelled in crisp black and white illustrations which he made in parallel with his stained glass career, his cartoons for stained glass windows are distinctly tonal and indicate how he intended to paint the different pieces of glass which would comprise the completed window. The only significant absence from these cartoons were the inscriptions though a designated space was clearly assigned for them as this was an aspect of the window which Clarke did not enjoy doing, and usually the inscriptions were executed by other artists in the studio under his direction. Details of the OKeefe coat of arms and family moto are likewise left blank on the Wexford cartoon but fully realised in the window as executed. Clarke created his cartoon for Our Lady and Child adored by St Aidan of Ferns and St Adrian in November and December 1918, and the stained glass window itself was completed in early May 1919. When the leading expert on Harry Clarke, Dr Nicola Gordon Bowe, was assembling an exhibition of his work for the Douglas Hyde Gallery, Trinity College in 1979 which was responsible for reigniting interest in Clarke she selected several of his finest cartoons from the collection of the artists son, David Clarke, and among those she chose for exhibition were his cartoons for Killiney and Wexford. In her catalogue notes accompanying the exhibition Dr Gordon Bowe eloquently wrote of the Wexford window: the alert Child sits on the lap of the demure and neat little Madonna, whose silken cloak is strewn with stars and jewels and whose pompomd slippers rest on a tasselled cushion. They hover over the coastline of Ireland, adored by the kneeling, devout Aiden of Ferns (with tiny replica of the early Cathedral and settlement he founded and a splendid crozier), while behind him the proud, graceful St Adrian stands with a jewelled and chased cross in a Burne-Jones helmet. The sea, at whose edge they worship and the sky around them are lightly inscribed with a wealth of tiny symbolic motifs, amongst which are tiny perfectly detailed scenes of a Crucifixion and the Ascension, a chalice set in a flaming aureole, an exquisite tiny galleon, one of Clarkes favourite motifs, another chalice, symbolic of the young mans sacrifice after great suffering, one triangle set with an eye, another struck by lightning, the young mans initials (W.O.K.) and a delightful vignette of Bride Street Church as seen across Wexford Harbour When he had time, his personal deeply religious, poetic and unique vision permeated in intricate detail everything he touched. (3) Dr David Caron Nicola Gordon Bowe, Harry Clarke the Life and Work (second edition, 2012), p. 146. I am grateful to Reiltín Murphy for information on the OKeefe family. Nicola Gordon Bowe, Harry Clarke (monograph and catalogue of exhibition in Douglas Hyde Gallery, TCD, 1979), pp. 10607.
Adam's
Dec. 06, 2022
Harry Clarke, Illustrator:Â Â Selected Poems of Algernon Charles Swinburne, with Introduction by
Est: €400 - €600
Harry Clarke, Illustrator: Selected Poems of Algernon Charles Swinburne, with Introduction by Humber Wolfe. roy 8vo Lond. (John Lane & Bodley Head) & N. York 1928. First Edn. Stamped Presentation Copy. Hf. title, decor. title, 111 full page illus. (include. frontis), unopened, gilt decor. purple cloth, & orig. d.w. (1)
Fonsie Mealy Auctioneers
Sep. 28, 2022
Harry Clarke RHA (1889 - 1931) Sketch for the Drinking Scene in the Geneva Window Pencil and watercolour, 23 x 7.5cm (9 x 3)
Est: €3,000 - €5,000
Harry Clarke RHA (1889 - 1931) Sketch for the Drinking Scene in the Geneva Window Pencil and watercolour, 23 x 7.5cm (9 x 3)
Adam's
Jun. 01, 2022
Harry Clarke RHA (1889-1931) St Hubert, St Luke and St George (1927) Colour Scheme for the memorial window, St. Brigid's Church of Ireland, Castleknock Watercolour, 34.5 x 22cm (13½ x 8¾'') Provenance: With Grants Fine Art Gallery, label verso
Est: €6,000 - €10,000
Harry Clarke RHA (1889-1931) St Hubert, St Luke and St George (1927) Colour Scheme for the memorial window, St. Brigid's Church of Ireland, Castleknock Watercolour, 34.5 x 22cm (13½ x 8¾'') Provenance: With Grants Fine Art Gallery, label verso; with The Fine Art Society, label verso. Exhibited: 'The Stained Glass of Harry Clarke', The fine Art Society, 1988, catalogue no.46. In May 1927 when the commission for the Brooke memorial window for St Brigids Church of Ireland, Castleknock had been confirmed Harry Clarke noted in his diary bear in mind to give the maximum light and rich colour. Excellent light and position. Will stand rich colour and treatment Subjects in base could be seen.(1) When Harry Clarke and other stained glass artists of the period were in the process of designing a window, a key aspect was the creation of small-scale designs (usually made at the scale of one inch to the foot) to establish the composition and to determine the colour scheme; this example falls into the latter category. Raymond Brooke had commissioned Clarke to create a window to commemorate military, hunting and artistic members of his family. Three male saints were selected: St Hubert is depicted in the centre light and is in memory of Sir George Frederick Brooke, 1st Baronet of Summerton (the name of their home in Castleknock) who although a wine merchant and banker preferred to spend his time hunting, maintaining a prestigious pack of harriers that later became the North Kildare Harriers, and hence the choice of St Hubert, patron saint of hunters (note also Clarkes inclusion of a poised hunting dog in profile). According to his daughter Rose Brooke, Sir George was a great admirer of Harry Clarkes work and often used to go into his studio.(2) The left light depicts St George, and it was in memory of the only son from Sir Georges first marriage, also named George, who was a member of the Irish Guards and who died at the Battle of Aisne in 1914. The choice of St George being appropriate not only as it is the deceased soldiers name but also of course as he is a notable soldier saint, who along with St Michael, is one of the most popular saints for war memorial depictions. The right light was erected in memory of Sir Georges second wife Emily Alma (née Barton) a deeply religious and artistic individual who died several years ahead of both her husband and step-son. In addition to the full-length depictions of the three saints, each of the lights contain a predella panel at the base, and the one beneath St Luke shows the saint in his role as patron saint of artists, standing at an easel painting a portrait of the Virgin and Child. The apex of each light accommodates an angel bearing an heraldic shield, and behind and above them, in the three spandrels which comprise the tracery, is what the late Dr Nicola Gordon Bowe (the leading authority on Harry Clarke), referred to as a deep blue sky threaded with gossamer and brightly coloured galactic phenomena, a visual device she noted that Clarke had employed in his previous window for Tullycross Church but used here, in her opinion, to even greater effect.(3) Dr David Caron Quoted in Nicola Gordon Bowe, Harry Clarke 18891931: His Life and Work, PhD thesis, University of Dublin, 1991, vol. 2, p. 743. Ibid, vol. 2, p. 769 (quoting a letter from Rose Brooke to Nicola Gordon Bowe, 24 February 1974). Nicola Gordon Bowe, Harry Clarke, The Life and Work (Dublin: The History Press, 2018), p. 268.
Adam's
Sep. 29, 2021
HARRY CLARKE
Est: €150 - €200
The Lady of the Decoration. Print.
Sheppards
Sep. 27, 2021
Studio of Harry Clarke RHA (1889-1931) UNTITLED (ASIAN THEME)
Est: €4,000 - €6,000
Studio of Harry Clarke RHA (1889-1931) UNTITLED (ASIAN THEME) stained glass panel h:16 w:6.75 in. Provenance: Given to Peter Brennan, potter, when working in the Clarke Studio while at art school, on esummer, mid 1930s; Thence by descent.
Whyte's
May. 31, 2021
Harry Clarke RHA (1889-1931) THE GOLD BUG [THERE FLASHED UPWARD A GLOW AND A GLARE]
Est: €5,000 - €7,000
Harry Clarke RHA (1889-1931) THE GOLD BUG [THERE FLASHED UPWARD A GLOW AND A GLARE] ink signed with initial lower left; titled on reverse h:8.50 w:7 in. Literature: Poe, Edgar Allan, Tales of Mystery and Imagination illustrated by Harry Clarke, G.G. Harrap, London, Brentano's, New Yor, 1923, p. 284
Whyte's
Sep. 22, 2020
STUDIO OF HARRY CLARKE (IRISH, 1889-1931)
Est: €500 - €700
Figures conversing in an interior. Ink on card signed with monogram and dated '1914', lower-left
Sheppards
Aug. 10, 2020
HARRY CLARKE (1889 - 1931) Original pencilled design for a three light stained glass window with smaller openings above, 15 x 27cm), hard and soft pencils on cream paper The windows with inked outlines, mounted, showing Christ crucified on a circul
Est: €800 - €1,200
HARRY CLARKE (1889 - 1931) Original pencilled design for a three light stained glass window with smaller openings above, 15 x 27cm), hard and soft pencils on cream paper The windows with inked outlines, mounted, showing Christ crucified on a circular ground, flanked on either side by a bishop with crook, with lightly sketched vignettes including an eagle and a round tower, the foot of the cross with Celtic patterns, the upper central opening showing God the father with outstretched hands, a radiant triangle behind his crowned head. The vignette in the upper opening, overlooking the design, is very like the similarly placed vignette in Clarke's Coronation of the Blessed Virgin window in Glasgow (also a three-light window), both showing a deity with outstretched hands, wearing a stepped crown, with a triangular form behind the head (see Costigan & Cullen, Strangest Genius, colour plate opposite p. 255). The similarity is surely more than coincidental, although the remainder of the design does not match the Glasgow window. The present design may therefore be an earlier version, or a sketch for a different and uncompleted project, one part of which went into the finished design for the Glasgow window. In either case it is an attractive and desirable item.
Adam's
Aug. 10, 2020
HARRY CLARKE (1889 - 1931) Original pencilled design for a single light stained glass window in nine panels, 29.5 x 7cm, hard and soft pencils on cream paper The panels with inked outlines, mounted, showing the bearded figure of the adult Christ hol
Est: €800 - €1,200
HARRY CLARKE (1889 - 1931) Original pencilled design for a single light stained glass window in nine panels, 29.5 x 7cm, hard and soft pencils on cream paper The panels with inked outlines, mounted, showing the bearded figure of the adult Christ holding a staff, standing below a circular vignette showing figures attending an old man in bed, over a matching vignette showing the Virgin and Child on a donkey, flanked by angels with long hair, their gowns with Celtic ornamentation, the entire composition headed by an angel with long hair and crossed hands, over ranks of faces in profile looking in from left and right, hatched in freehand and elaborately ornamented throughout in the style of Harry Clarke. The vignette showing the Virgin on donkey is reminiscent of Clarke's illustration to Chesterton's 'The Donkey' in The Year's At The Spring. An attractive design, apparently executed freehand except for the circular forms, the composition full of the minute detail characteristic of Clarke. Taken as a whole, the design does not appear to match any of Clarke's published windows. It may be a sketch for an uncompleted project
Adam's
Dec. 11, 2019
Harry Clarke (Irish, 1889-1931) Marguerite, 1927
Est: $2,000 - $4,000
Harry Clarke (Irish, 1889-1931) Marguerite, 1927 pen and watercolor on paper signed Harry Clarke and dated (verso) 8 ¼ x 6 inches. We would like to thank Paul Donnelly, Trinity College Dublin, for his assistance with research and cataloguing this work.
Freeman’s | Hindman
Sep. 16, 2019
Harry Clarke RHA (1889-1931) THE SLEEPING BEAUTY IN THE WOOD, 1922
Est: €6,000 - €8,000
signed lower right; signed, dated, titled and inscribed ["I will have it so," replied the queen, "and will eat her with sauce Robert"] on reverse
Whyte's
Sep. 16, 2019
Harry Clarke RHA (1889-1931) ORIGINAL BORDER ILLUSTRATION FOR PAGE 1 OF IRELAND'S MEMORIAL RECORDS 1914 - 1918, PRINT FEATURED IN AL..
Est: €3,000 - €5,000
signed and dated on reverse
Whyte's
Sep. 16, 2019
Harry Clarke RHA (1889-1931) UNTITLED (QUEEN AND CANDELABRUM), c. 1912
Est: €4,000 - €6,000
signed lower left
Whyte's
May. 27, 2019
Studio of Harry Clarke RHA (1889-1931) SPECIMEN DESIGN
Est: €800 - €1,200
signed [Clarke Studios, Dublin] lower right; inscribed with title on affixed card lower centre
Whyte's
Feb. 05, 2019
HARRY CLARKE | A Musician
Est: £4,000 - £6,000
stained glass in lead frame
Sotheby's
Sep. 04, 2018
Harry Clarke [illust.], L Walters, The Year's at the Spring, George Harrap
Est: £100 - £150
Harry Clarke [illust.], L Walters, The Year's at the Spring, George Harrap & Co, London, 1920, 24 plates, tooled and embossed leather boards
Gildings Auctioneers
Jun. 09, 2018
HARRY CLARKE (1889-1931, IRELAND), MIXED MEDIA
Est: $3,000 - $5,000
DRAWING ON GOODALL BRISTOL BOARD, SIGHT SIZE 12" X 9". OVERALL 15 1/4" X 12 1/2". SIGNED LOWER LEFT, ALSO SIGNED AND REMARKED ON VERSO "THE GNOME", UNPUBLISHED AND UNREPRODUCED. HARRY CLARKE". COMES WITH A PERIOD FRAME AND MAT. PHOTOGRAPHED OUT OF THE FRAME. PROVENANCE: BOKARA LEGENDRE ESTATE, PARK AVE, NYC.
Marion Antique Auctions
May. 28, 2018
Harry Clarke RHA (1889-1931) STATIONS OF THE CROSS: JESUS CARRIES HIS CROSS and JESUS FALLS FOR THE FIRST TIME, 1927
Est: €8,000 - €10,000
Harry Clarke RHA (1889-1931) STATIONS OF THE CROSS: JESUS CARRIES HIS CROSS and JESUS FALLS FOR THE FIRST TIME, 1927
Whyte's
Jun. 07, 2017
CLARKE, HARRY. 1889-1931. GOETHE, [JOHANN WOLFGANG VON]. Faust. New York:
Est: $500 - $700
CLARKE, HARRY. 1889-1931. GOETHE, [JOHANN WOLFGANG VON]. Faust. New York: Dingwall Rock Ltd., [1925]. 4to (265 x 210 mm). 255 pp. 8 tipped-in color plates and 14 black and white illustrations. Original half vellum over boards, decorated and lettered in gilt, t.e.g. Lacking jacket, spine just starting, small loss to paper on lower board, covers lightly thumbed. DELUXE EDITION, no 689 of 1000 copies, signed by Clarke.
Bonhams
Nov. 28, 2016
Harry Clarke RHA (1889-1931) FAUST BY GOETHE
Est: €600 - €800
George G. Harrap, London, 1925. Quarter Vellum. 4to. 255pp. Harry Clarke (illustrator). First of this edition. One quarter vellum gilt over grey paper boards. 1000 copies for UK and 1000 copies for USA only, this being the UK edition. Number 892 signed by Harry Clarke. 21 full page illustrations (8 in colour). Decorated endpapers. In dust jacket and celluloid wrapper.
Whyte's
Nov. 28, 2016
Harry Clarke RHA (1889-1931) PREFACE ILLUSTRATION TO FAUST BY GOETHE, FROM THE GERMAN BY JOHN AUSTER, 1925
Est: €4,000 - €6,000
Harry Clarke RHA (1889-1931) PREFACE ILLUSTRATION TO FAUST BY GOETHE, FROM THE GERMAN BY JOHN AUSTER, 1925
Whyte's
May. 30, 2016
Harry Clarke RHA (1889-1931) and others LEATHER BOUND SKETCHBOOK OF ILLUSTRATIONS, POEMS AND DRAWINGS, 1910-1914 [13 WORKS]
Est: €2,000 - €3,000
Harry Clarke RHA (1889-1931) and others LEATHER BOUND SKETCHBOOK OF ILLUSTRATIONS, POEMS AND DRAWINGS, 1910-1914 [13 WORKS] watercolour; (5); ink; (5); charcoal; (2); pencil; (1) variously signed, inscribed and dated; including 'The Spirit of the Black Raven Pipers of Lusk' signed in Irish by Thomas Ashe [Tomás Ághas] (1885-1917) h:8.25 w:5.75 in. Provenance: Private collection, Dublin; Thence by family descent to the present owner Dimensions of sketchbook given. The sketchbook comprises 13 illustrations and poems - variously dated from 1910 to 1914 - by a range of contributors, some represented by their initials alone others include the celebrated stained glass artist Harry Clarke, cartoonist Gordon W. Brewster (1889-1946), a William M. Gibson, a John Dyer Winmdermere and a J.K. Ryan. Brewster was editorial cartoonist for the Irish Independent group of newspapers. A large collection of his cartoons (mainly on economic matters) for the Evening Herald and Irish Independent newspapers in the 1920s and 1930s can be found in the collection of the National Library of Ireland. Among the varied subjects are: Old Houses, St. Mary's, Drogheda, Portraits include: H. Beerbohm Tree [by Gibson], an unidentified gentleman [Clarke, April 1910], Kathleen Clarke [13 October 1911] possibly the widow of Thomas Clarke and a Mr Kelly [16 July 1913]. A delightful cartoon entitled 'A Night at a Fancy Dress Carnival' [Brewster, 1913] a comical depiction of 'The Spirit of the Black Raven Pipers at Lusk' (est. 1910) and a topographical scene of a location Near Painswick, Gloucestershire [1912] are among the other works included.
Whyte's
May. 25, 2016
Attributed to HARRY CLARKE RHA (1889-1931) Irish The Withered Old Man Pen a
Est: £600 - £800
Attributed to HARRY CLARKE RHA (1889-1931) Irish The Withered Old Man Pen and ink Inscribed with artist details to verso Image 13 x 24.5 cm, mounted
Rowley Fine Art Auctioneers and Valuers
Jun. 24, 2014
Studio of Harry Clarke, Irish 1889-1931- Studies
Est: £600 - £800
Studio of Harry Clarke, Irish 1889-1931- Studies for stained glass windows; gouache and watercolour, four, in matching mounts with arch tops, one in a glazed ebonised frame, each inscribed on the mount Clarke Dublin 1933, 32.5x9.5cm., ea., (4) (part unframed)
Roseberys
May. 07, 2014
(CLARKE, HARRY.) Walters, L.d' O.; compiler. The Year's at the Spring: An Anthology of Recent Poetry.
Est: $1,000 - $1,500
(CLARKE, HARRY.) Walters, L.d' O.; compiler. The Year's at the Spring: An Anthology of Recent Poetry. Introduction by Harold Monro. Illustrations, head- and tail-pieces, and 24 plates of which 12 are in color, by Clarke. 4to, publisher's vellum decoratively stamped in gold with yellow and violet details on diaphanous robe of girl on front cover, slightly bowed; scattered offsetting from plates at rear, 2-mm short clean marginal tears to frontispiece and page 87. scarce first limited edition. number 141 of 250 copies bound in vellum and signed by clarke./span New York, 1920
Swann Auction Galleries
May. 07, 2014
(CLARKE, HARRY.) Goethe, Johann Wolfgang von. Faust.
Est: $500 - $750
(CLARKE, HARRY.) Goethe, Johann Wolfgang von. Faust. Translated by John Auster. Illustrated by Harry Clarke with 22 plates including 8 in color, plus many decorative head- and tail-pieces. 4to, publisher's gilt-stamped vellum-backed boards, some toning and and nicks along edges, spine foxed, pictorial endpapers. first limited edition. number 25 of 1000 copies signed by clarke/span, of the American issue. New York: Dingwall-Rock, (1925)
Swann Auction Galleries
Dec. 11, 2013
CLARKE, HARRY, illustrator. - GOETHE, JOHANN WOLFGANG VON.- Faust. New York: Dingwall Rock Limited, [1925].
Est: $400 - $600
GOETHE, JOHANN WOLFGANG VON. Faust. New York: Dingwall Rock Limited, [1925]. 4to (265 x 210 mm). 253, [3] pp. With 21 full page plates (8 in color). Original quarter vellum and grey boards, uncut. Edges lightly rubbed, light soiling to extremities. FIRST EDITION , number 88 of 1000 copies of the American issue, signed by Clarke on the limitation page.
Bonhams
Dec. 10, 2013
Harry Clarke (1889-1931)
Est: £3,000 - £5,000
Harry Clarke (1889-1931) 'The Decadents' signed and dated 'Harry/ Clarke/1914' (lower right) and inscribed 'THE DECADENTS' (upper left) pencil, pen and black ink and watercolour, on one sheet of an album 8 x 6¼ in. (20.3 x 15.9 cm.)
Christie's
Sep. 30, 2013
Harry Clarke RHA (1889-1931) HARRY CLARKE: HIS GRAPHIC ART by NICOLA GORDON BOWE [1983]
Est: €150 - €200
signed by the author and numbered on editions page
Whyte's
Sep. 25, 2013
Harry Clarke RHA (1889-1931) ''Has no copy been
Est: €6,000 - €8,000
Harry Clarke RHA (1889-1931) ''Has no copy been taken?'' (for Tales of Mystery and Imagination) Pen, Indian ink and wash on card, 27.3 x 21cm (10¾ x 8¼'') Provenance: Thomas Montgomery, Solicitor, to whom the drawing was presented by the artist; two letters from Clarke are affixed to the backing board, dated June 1927, addressed to Mr. Montgomery regarding the drawing; thence by decent Literature: Tales of Mystery and Imagination by Edgar Allen Poe, illustrated by Harry Clarke, The Minerva Press, London, 1919, illustrated opposite p.34 *********DB DO NOTE**********
Adam's
Dec. 18, 2012
Harry Clarke RHA, Irish 1889-1931- "Romance"; pen
Est: £2,000 - £4,000
Harry Clarke RHA, Irish 1889-1931- "Romance"; pen and black ink and wash, signed in pen, titled, signed and inscribed with address in pencil on the reverse, 33x44cm
Roseberys
Nov. 20, 2012
CLARKE, Harry (1889-1931, illustrator) - Edgar
Est: £70 - £100
CLARKE, Harry (1889-1931, illustrator) - Edgar Allen POE (1809-49). Tales of Mystery and Imagination. London: George G. Harrap, January 1928. 4to (267 x 203mm). Half title, 24 plates by Harry Clarke (some very light spotting, slightly heavier to corner of title). Reprint. Original grey textured cloth gilt. With 2 other books, both attractively bound in morocco. (3)
Chiswick Auctions
Apr. 30, 2012
Harry Clarke (1889-1931) Garden Romance signed
Est: €2,500 - €3,500
Harry Clarke (1889-1931) Garden Romance signed lower right. Provenance: Whytes, Lot 97, 28 April 08 Medium: pen and wash Dimension: (25.5 x 20.25 cm) (10 x 8 in)
Morgan O'Driscoll
Apr. 25, 2012
Harry Clarke, RHA (Irish, 1889-1931) The shepherdess-"She walks-the lady of my delight-a shepherdess of sheep" sheet: 14 3/4 x 12 1/2in (37.5 x 31.8cm); image: 8 x 5 7/8in (20.3 x 15cm) unframed
Est: $5,000 - $7,000
The shepherdess-"She walks-the lady of my delight-a shepherdess of sheep" signed with monogram (lower left); titled, signed and dated '1920' on verso gouache on card sheet: 14 3/4 x 12 1/2in (37.5 x 31.8cm); image: 8 x 5 7/8in (20.3 x 15cm) unframed
Bonhams
Dec. 11, 2011
Harry Clarke RHA (1889-1931) DUBLIN DRAMA LEAGUE PROGRAMME FOR "THE FOUNTAIN" by Eugene O'Neill
Est: €100 - €150
Harry Clarke RHA (1889-1931) DUBLIN DRAMA LEAGUE PROGRAMME FOR "THE FOUNTAIN" by Eugene O'Neill Medium: Signature: May 6-8, 1928 Dimensions: 23 by 14cm., 9 by 5.5in. Provenance Exhibited: Literature: Notes: With a superb cover illustration by Harry Clarke. Rare
Whyte's