42
Gerard Dillon (1916-1971)
HANDS ACROSS THE BORDER
woolen tapestry mounted on raw linen
62 by 44in. (157.48 by 111.76cm)
Provenance:
The artist’s family by descent;
deVere’s, 30 March 2004, lot 168;
Private collection
Exhibited:
‘Nano Reid & Gerard Dillon’, Highlanes Gallery, Drogheda, 6 November 2009 to 10 January 2010
Framed in pitch pine recycled from the pews of Burnfoot Presbyterian Church, Co. Donegal.
The earliest documented tapestry of Dillon’s is the large work titled Gentle Breeze, now in the collection
of Bord Fáilte. Gentle Breeze was begun in 1950 and exhibited three years later at the Irish Exhibition of
Living Art (no. 61), where it was widely recognised as the outstanding entry in that year’s show. James
White discusses the piece at some length in his monograph on Dillon, drawing attention in particular to
the element of painstaking manual labour involved in such a project: “Most modern painters and tapes-
try designers send their cartoons to the great tapestry factories to be woven there, but Gerard started his
own in Roundstone, at a time when he ran out of painting materials and perhaps adequate cash; obtain-
ing a large canvas base and able to acquire wool ends in different colours locally, he set out to master
the handcraft practised in cottages around the world for many hundreds of years” (James White, Gerard
Dillon: An Illustrated Biography, Wolfhound Press, 1994, page 61).
Dillon evidently enjoyed the work, for he is known to have executed at least two other tapestries: Island
Tapestry (IELA, 1953, no. 9) and the present work, Hands Across the Border. In subject and composition
Hands Across the Border is typical of Dillon’s consummate creativity; the flattened shapes of the two
figures at once intertwine and flare outwards in a decorative design redolent of folk art. White considered
the work to “represent Dillon’s feeling for his country, a man born and brought up in Ulster yet totally at
home in the West of Ireland”
€5,000-€7,000 (£4,550-£6,360 approx.)
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