We found 228098 price guide item(s) matching your search
There are 228098 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
228098 item(s)/page
Lot 1797
A very attractive 'Bavaria'' Tazza having a perimeter frieze with twelve Vignettes depicting polychrome romantic scenes, and a sky blue circle within centred by a scene with a young man playing a guitar to a lady in elegant dress in a classical garden, highlighted profusely in gold, 12 5/8'' diameter, 4 7/8'' tall
Lot 38
A 19th century miniature on ivory Depicting a young lady wearing a white dress with ringlets in her hair, housed in its original leather folding case. The miniature 7.5 cms wide. CONDITION REPORTS: Picture slipped in case, some paint loss and wear, scuffing to case, front and back each with old label stuck on.
Lot 66
Gerard Dillon (1916-1971) HOME WITH THE CATCH oil on canvas signed lower right 23 by 23.5in., 57.5 by 58.75cm. L Waddington Galleries, Dublin;Where purchased by the present owner`s father Four Ulster Painters`, Victor Waddington Galleries, Dublin, September, 1947;`Four Ulster Painters`, Heals Mansard Gallery, London, May to June 1948, catalogue no. 36 (a joint exhibition with Daniel O`Neill, George Campbell and Neville Johnson);`Gerard Dillon, Art and Friendship Summer Loan Exhibition`, Adam`s, Dublin, 2-26 July 2013 (travelled to Ava Gallery, Clandeboye, 1-29 August 2013) catalogue no. 39 Gerard Dillon, Art and Friendship Summer Loan Exhibition`, Adam`s, Dublin, 2013, catalogue no. 39, p.41 (illustrated) Gerard Dillon was born in West Belfast in 1916 but spent much of his life in London where he earned a living as a painter and decorator. Many of his most popular, and important, paintings depict scenes of everyday life on the west coast of Ireland. He first visited the west in 1939 and became enchanted with the landscape and the people, making them the major theme of his work throughout the 1940s and 1950s. Home with the Catch is a western scene where a young family make their way through the village with their daily catch of fish. Fish were both a staple of their diet and a commodity that they could trade. Their clothing is recognisable as the traditional dress once common in Connemara and the Aran Islands. The woman`s red skirt and white woollen jumper along with the man`s baggy woollen trousers and waistcoat and their simple leather shoes, known as pampooties, locate this image in a particular time and place. Stylistically similar to Irish Peasant Children (c.1949), this work also resembles the young couple carrying fish depicted in Dillon`s textile work Gentle Breeze, which he hand stitched in 1952. Recalling his first experience of the western seaboard, Dillon wrote that the west was `a great strange land of wonder to the visitor from the red-brick city`.(1) Like many artists and writers before him, he held a romantic view of the west as both the locus of an authentic Irish culture and a `primitive` place, free from many of the restraints of wider Irish society. Writing in 1955, he claimed that Connemara is `the place for a painter` and eulogising about the variety of the rugged landscape, the quality of the light and the simplicity of daily life, concluded: `one could live here forever but being neither a fisherman nor farmer, but only a painter, I`m forced to come back to city life to sell work - and hope to save enough to come back to Connemara`.(2) Although Dillon recognised that he was an outsider in Connemara, during the period he spent living on Inishlacken in 1950, he adopted elements of traditional dress, travelled back and forth to the mainland in a currach and embraced the way of life wholeheartedly. As James White pointed out: `For a nationalist Catholic like Gerard Dillon, living in London and desperately wanted to belong to a Republican nation called Ireland ... Connemara with its remoteness, its delightful stonewall fields, mountains, lakes and seacoast and above all islands like Inishlacken where he could cut himself off for a spell and live in a tiny cottage, with no social life to speak of and a boat journey away from barracks, church or pub - all this gave him the feeling of having found a land free of all the restrictions of oppression which he had come to accept as being there to offend him`.(3) Dillon`s initial interest in painting the west and its inhabitants was sparked by Seán Keating`s illustrations for Playboy of the Western World. William Conor`s focus on the daily lives of working people in Ulster was another early influence. In Home with the Catch, Dillon brings these influences together to create an original vision of the west which combines romance and realism. Dr Riann CoulterApril 20141 Gerard Dillon, `The Artist Speaks`, Envoy, 4 February, 1951, p.39.2 Gerard Dillon, `Dear Tourist`, Ireland of the Welcomes, Bord Fáilte, Dublin, May/June, 1955, p.30.3 White, James, Gerard Dillon: An Illustrated Biography, Dublin: Wolfhound Press, 1994, p.10.
Loading...-
228098 item(s)/page