Lot 304
  • 304

Mainie Jellett

Estimate
15,000 - 25,000 GBP
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Description

  • Mainie Jellett
  • Two Elements
  • signed and dated l.r.: M.JELLETT.24; further signed and titled on the reverse
  • oil on canvas
  • 85 by 66cm., 33½ by 26in.

Provenance

Whyte's, Dublin, 28 November 2006, lot 76, where purchased by the present owner

Condition

Original canvas. Some wear to the edges and faint signs of craquelure in places of the canvas, not visually distracting; otherwise the work appears in good overall condition. Ultraviolet light reveals a spot of retouching by the centre of the left edge. Held in a simple wood 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."

Catalogue Note

Mainie Jellett holds a distinguished place in the history of twentieth century Irish art, being Ireland's first and most accomplished Cubist painter. In a conservative and at times hostile environment, Jellett defiantly argued the causes of Cubism and through her career became a champion of the modern movement. Only posthumously was her innovation and vital contribution to Irish art given full recognition, and her work is now found in The Hugh Lane Gallery, Irish Museum of Modern Art and the National Gallery of Ireland. 

Having studied in Dublin, London and Paris under the tutelage of Walter Sickert, André Lhote and Albert Gleizes - where she absorbed and accomplished herself in numerous artistic guises - it was with Gleizes, in 1922, that she came to explore the extreme forms of non-representational art. This was a pivotal period and the works of this time, including the present, are considered her most fully realised - the boldness and simplicity of her treatment of abstract form and colour rarely equalled.