Artist: Nano Reid RHA (1905-1981) Title: Tarring the Shed Medium: oil on canvas Size: 48 x 63½cm (19 x 25in) Signature: signed lower right Provenance: Purchased by Robert Workman in 1979 from the Bell Gallery, Belfast Purchased by present owner from the Workman Collection Sale, Ross's, Belfast 2009 Exhibited: XXV Biennale International Art Exhibition Venice 1950 No.64 (label verso) Arts Council of Ireland- Municipal Gallery, Dublin Nov/Dec '74 Catalogue No 35 Ulster Museum, Belfast Jan/Feb '75 Catalogue No 35 Nano Reid and Gerard Dillon Exhibition 2010 - The FE McWilliam Studio & Gallery, Bambridge, Co. Down More info: Click to read more about this lot Everyday life in Drogheda was the subject of several of Nano Reid's paintings. In 'Where the Ships Unload' and 'Old Town by the River', she focused on the dockland area of the town. 'Foundry Chimney' records a structure that once stood on the banks of the Boyne and 'Reid's Bar' is populated by the dockers and foundry men who frequented her family's pub. 'Tarring the Shed', which was exhibited at the Venice Biennale in 1950, is a bird's eye view depicting small figures working on urban rooftops. This focus on the urban working man is relatively unusual in Irish art. While William Conor made the working class people of Belfast his subject, most other twentieth-century Irish artists focused on rural communities. Dillon did paint his fellow decorators in London, but most of his images of Belfast, including 'Three Lovely Lassies', focus on his childhood memories rather than the life of the working man. One exception is 'Belfast Dock Strike', which depicts a group of disgruntled workers. Writing in 1950, the painter Patrick Swift, focused on the formal elements of 'Tarring the Shed' and argued that 'It is essentially a massive conception and captures the structure of her subject. The opposition of the planes of the roofs and the left space of the street create a strong feeling for the actual scene as it existed. It is a profound thought that in getting at the reality of the structure of a scene, one inevitably produces this individual atmosphere of the place'.
Artist: Nano Reid RHA (1905-1981) Title: Tarring the Shed Medium: oil on canvas Size: 48 x 63½cm (19 x 25in) Signature: signed lower right Provenance: Purchased by Robert Workman in 1979 from the Bell Gallery, Belfast Purchased by present owner from the Workman Collection Sale, Ross's, Belfast 2009 Exhibited: XXV Biennale International Art Exhibition Venice 1950 No.64 (label verso) Arts Council of Ireland- Municipal Gallery, Dublin Nov/Dec '74 Catalogue No 35 Ulster Museum, Belfast Jan/Feb '75 Catalogue No 35 Nano Reid and Gerard Dillon Exhibition 2010 - The FE McWilliam Studio & Gallery, Bambridge, Co. Down More info: Click to read more about this lot Everyday life in Drogheda was the subject of several of Nano Reid's paintings. In 'Where the Ships Unload' and 'Old Town by the River', she focused on the dockland area of the town. 'Foundry Chimney' records a structure that once stood on the banks of the Boyne and 'Reid's Bar' is populated by the dockers and foundry men who frequented her family's pub. 'Tarring the Shed', which was exhibited at the Venice Biennale in 1950, is a bird's eye view depicting small figures working on urban rooftops. This focus on the urban working man is relatively unusual in Irish art. While William Conor made the working class people of Belfast his subject, most other twentieth-century Irish artists focused on rural communities. Dillon did paint his fellow decorators in London, but most of his images of Belfast, including 'Three Lovely Lassies', focus on his childhood memories rather than the life of the working man. One exception is 'Belfast Dock Strike', which depicts a group of disgruntled workers. Writing in 1950, the painter Patrick Swift, focused on the formal elements of 'Tarring the Shed' and argued that 'It is essentially a massive conception and captures the structure of her subject. The opposition of the planes of the roofs and the left space of the street create a strong feeling for the actual scene as it existed. It is a profound thought that in getting at the reality of the structure of a scene, one inevitably produces this individual atmosphere of the place'.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
