Alice Maher

The sheet appears to be sound and the work in excellent original condition, ready to hang. Float mounted in a black wood frame under glass; unexamined out of 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."

Alice Maher emerged in the early 90’s as one of a generation of Irish artists who lived through startling changes in the fabric of their society.  Her multi-faceted work has both tested and reflected that inconstant fabric ever since.  In 2007 she embarked on a  series of densely patterned charcoal drawings with the collective title of ‘Bestiary’.  These large works were inspired by a close study of one of her favourite paintings of all time, The Garden of Earthly Delights by Hieronymous Bosch. This image embodied for her the meeting of Medieval and Modern, of fantastical and quotidian, a confluence which is emblematic of her own practice as well as a reflection of her changing society.  Maher took certain details from Bosche’s scene of carnal, vegetal and mineral communion and made of these details, silhouettes of negative space. Into these negative profiles she introduced a whole plethora of decorative motifs from antique as well as from everyday sources, all hand drawn, all retaining the evidence of the artists labour in their dark rain of charcoal dust.  In Union, we are presented with Adam and Eve, from the creation panel of the famous painting.  However in Maher's version of the scene, the Creator is not visible, and the first lovers come together as one silhouette, united by a lattice of teratomorphic creatures and patterns.