Page 80 - Studio International - April 1968

The Belfast tragedy

Douglas Hall
On October 21, 1967, a fire in a furniture deposi- and with all the problems that might be expected divergent kind, but the general policy remained
tory in Lisburn Road, Belfast, fanned by a strong to follow such a disaster. Their restorer, Lord the same. At the time of the fire the collection of
wind, spread into the adjacent premises hired for Dunluce, is still uncertain about the final fate of a the Arts Council of Northern Ireland had become
storage by the Arts Council of Northern Ireland. few canvases, and until all such points are settled an admirable small-scale collection which could
In these premises were assembled the greater part there can be no final decision on what to do next. represent contemporary British painting anywhere
of the collection of paintings, drawings and prints But already there are indications that the Council with very few reservations. Those who have been
built up by the Arts Council since 1946 and on a will wish to reconstruct the collection on much the concerned with it hope fervently that another even
different basis since 1963. In spite of the full fire same lines. It was still new enough for this to be better collection will take its place, and all who
precautions burning beams from the roof fell broadly possible, although some of the earlier pur- have been aware of the growth of this enterprise
among the pictures and cases while, as is to be chases had already increased considerably in value will be anxious that the grave loss should be
expected in these circumstances, as much damage over the original price. The writer has already had repaired. q
was caused by water from the hoses as by fire. In a generous offer from one painter to replace his
the end, nearly all the paintings in the store were destroyed picture, but the Council has decided List of the British Collection of the Arts Council of Northern
totally destroyed or have since been judged in- that it ought not to take advantage of the good will Ireland at the time of the fire on October 21, 1967.
capable of restoration. The purpose of this article of individual artists in this way. The future com- (Paintings and Drawings)
is to make known the extent of the loss, which position of the collection cannot be determined at Destroyed
Norman Adams
seems to have escaped notice in the British press, this stage, if at all, though no doubt many of the Noli me Tangere
list the destroyed and surviving pictures and give artists formerly represented will be represented oil on canvas, 40 x 40 in.
some account of the formation of the collection. again. One thing is quite certain—the policy itself Destroyed Frank Auerbach
Until 1963 it was the policy of the Arts Council of has been judged a success and it would be unthink- Seated model in studio (1961)
Northern Ireland (or C.E.M.A. as it remained able to all concerned that the development of the oil on paper, 34 x 32 in.
until then) to collect the contemporary art of its policy should be permanently halted. The most Destroyed Gillian Ayres
own country only, as is still the policy of the encouraging feature of the situation is that the Orange
Scottish Arts Council. Naturally it has continued construction of a new Arts Council Gallery was oil on paper
to collect Irish art, and this collection has re- already well advanced and it is due to be opened in Destroyed
Peter Blake
mained relatively intact, for the reason that many the late summer of 1968. The first exhibition in the Miss Pearl Stud
of the paintings in it were on permanent loan to new gallery will be, appropriately, a major survey oil on panel, 48 x 24 in.
public buildings. Of the Irish paintings in the of Ulster Painting Today. The second will be the Destroyed Sandra Blow
store, however, many were destroyed, including Open Painting Exhibition, which has been held Brown and white surfaces
works by William Conor (8), James Dixon, Cecil biennially for some years. The destruction of the oil and plaster on canvas,
King, Colin Middleton (5) and Patrick Scott. To collection is bound to give the exhibition of 1968 a 42 x 36 in.
avoid making the catalogue following this article special significance, and the prize money is being Destroyed John Bratby
too long, the Irish paintings are not listed indi- increased to provide purchase prizes of £1,000 and The sisters
vidually. £600 and eight awards of £100. The new gallery Damaged beyond Michael Buhler
The decision in 1963 to depart from previous will also incorporate storage, thus avoiding the risk repair Figure leaving a landscape
policy and open the collection to British painting inherent in premises in the commercial quarter oil on canvas, 50 x 40 in.
was taken on pragmatic grounds having nothing shared with the Drama Department's props. Damaged beyond Prunella Clough
to do with patriotism or the reverse. Geographical It is in fact from the first Open Painting repair
Gravel bin
separation, the lack of opportunity to see modern Exhibition, held in 1962, that the decision to oil on canvas, 42 x 32 in.
painting in public collections, the small number of extend the collection outside Irish painting stems. •Purchased from Open Painting
painters being trained in the country, are all The Calouste Gulbenkian Foundation made a Exhibition 1962 (guest exhibitor)
relatively more severe restrictions in Ireland than grant to enable works to be bought from that Capable of
Bernard Cohen
in Scotland or Wales. There was also the know- exhibition. When the Council decided in 1963 to restoration Untitled
ledge that some of the most typical and vital paint- build on this foundation and extend their purchas- Drawing, 24 x 34 in.
ing of the past decade was easily accessible in the ing to British art as a whole, they very sensibly Capable of
Harold Cohen
United Kingdom: it was not necessary to look for realized that it would be difficult or impossible to restoration Untiticd
it elsewhere. The modern British collection was do it effectively from Belfast. They therefore asked Drawing, 27+ x 32 in.
deliberately envisaged as an educative unit, distinct Mr Ronald Alley of the Tate Gallery to become Destroyed William Crozier
from the Irish collection, although of course some their buyer for a period of two years. The present Seer
of the latter could hang with it without disharmony. writer then took over for a further two years, but oil on canvas, 48 x 48 in.
It was to show British painting at a time when it in 1966 economic difficulties temporarily suspended Destroyed W. F. Culbert
was becoming an international force, and was to be purchases and not all the money nominally avail- Mercurial
given the widest currency through exhibition in able was spent. After the present difficulties have oil on canvas, 50 x 40 in.
places throughout Northern Ireland. On two occa- been overcome a third buyer will be appointed. First (purchase) prize, Open
sions since 1963 the collection or part of it was The Council's brief to its buyers was to build up Painting Exhibition 1964
brought together into the Arts Council's own small a collection of works typical of the present and Destroyed Alan Davie
but charming gallery in Belfast, and at the time of recent past of British painting, as substantial as Roll on
the disaster it had been assembled once again for could be had for a modest ceiling price but small oil on paper, 11½ x 36 in.
stock-taking and examination and for the begin- enough to be easily transported and hung in places Destroyed Anthony Donaldson
ning of a new phase of its career as a loan collection. with minimal facilities. During Ronald Alley's One for Enzo
It was the intention to extend loans to hospitals, term the foundation was laid of a very representa- oil on board, 25 x 25 in.
schools and other public buildings. tive collection indeed, and very many of the most Destroyed Danny Ferguson
Since October 21 the time and attention of the central painters were purchased at that time. By Lancashire mine shaft
Council's Art Department, under Mr Brian Ferran, asking me to take over from him the Council indi- oil on canvas, 22 x 23 in.
have been taken up with salvage, assessing the cated a wish to include a number of Scottish Purchased from Open Painting
prospects of restoration of many of the pictures, painters and, possibly, other painters of a slightly Exhibition, 1966
204