WHYTE'S IRISH & INTERNATIONAL ART 9 MARCH 2020

IRISH & INTERNATIONAL ART ·9 MARCH 2020 AT 6PM 127 Crookshank and Glin noted that the correct identification of the Waterloo picture had changed ‘our whole concept of his painting’. (4) Sadler is now coming to be seen as a more substantial and complex artist than previously thought. In another context Dr Brendan Rooney describes Sadler’s pictures as offering a microcosm of society: ‘merchants, soldiers, sailors, tradesmen, mothers and children’. He is the painter of the everyday, of the quotidian, whose eye is caught by the humdrum anecdotal detail that would be passed by other artists. Sadler’s is an all-encompassing - and very humane - vision of society. Taken as a whole his oeuvre documents Dublin of the early decades of the nineteenth century, its architecture, topography, vehicles, costumes, manners and mores. James Joyce once suggested that his Dublin of a century later could be reconstructed from his books, much the same can be said of Sadler’s art which evokes Regency Dublin in all its splendour and corruption and this set piece occasion, when all classes, from gentry to beggars, are assembled, gives a magnificent panoramic view of Dunleary’s Harbour 1821. (5) We are grateful to the Gorry Gallery for their kind permission to reproduce their catalogue entry from their 2012 exhibition. Footnotes: 1. Anne Crookshank and the Knight of Glin, Ireland’s painters (New Haven and London, 2002) p. 195; Brendan Rooney, Sadler’s Wall (Bathesda, Maryland, 2004) pp. 8 & 1. 2. For the subject generally see William Laffan (ed.), Painting Ireland, Topographical Views from Glin Castle (Tralee, 2006) pp. 190-97. 3. Ibid. 4. op. cit. 5. Renamed Kingstown to commemorate King George IV’s departure. €12,000-€18,000 (£10,170-£15,250 approx.) Click Here for Large Images & To Bid Lot 98