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Auktionsarchiv: Los-Nr. 77

Roderic O'Conor (1860-1940) Sur la Cote

Schätzpreis
1.860 € - 1.940 €
ca. 2.457 $ - 2.563 $
Zuschlagspreis:
500.000 €
ca. 660.639 $
Auktionsarchiv: Los-Nr. 77

Roderic O'Conor (1860-1940) Sur la Cote

Schätzpreis
1.860 € - 1.940 €
ca. 2.457 $ - 2.563 $
Zuschlagspreis:
500.000 €
ca. 660.639 $
Beschreibung:

Roderic O'Conor (1860-1940) Sur la Cote, Finistere (1898) Oil on canvas, 72.4 x 92.1cm (28.5 x 36.25'') Signed and dated 1898 Provenance :Roland, Browse & Delbanco, London, 1961;Browse & Darby, London, 1978;Celtic Court and Godolphin Galleries, Dublin, 1978 Literature:Wladyslawa Jaworska, Gauguin and the Pont-Aven School, London 1972, page 223 (reproduced);Jonathan Benington, Roderic O'Conor a Biography with a Catalogue of his Work, Irish Academic Press, Dublin 1992, page 196, no. 56, reproduced plate 24 Exhibited: Paris, Salon des Ind?pendants, 1903, no. 1877;London, Roland, Browse & Delbanco, Roderic O'Conor no. 3London, Roland, Browse & Delbanco, Roderic O'Conor / Norman Adams April-May 1964, no. 6; London, Camden Arts Centre, and tour, Decade 1890-1900, 1967, no. 51 (reproduced);London, Roland, Browse & Delbanco, Roderic O'Conor a selection of his best work, no. 27;London, Browse & Darby, British Paintings, 1978, no. 19;Dublin, Godolphin Gallery, Roderic O'Conor a selection of his best works in Ireland, 1978, no. 3 (reproduced);Pont-Aven, Mus?e de Pont-Aven, Roderic O'Conor 1860-1940 (catalogue by Roy Johnston , 1984, no. 24 (reproduced);London, Barbican Art Gallery, and tour to Ulster Museum Belfast, National Gallery, Dublin and Whitworth Art Gallery, Manchester, Roderic O'Conor 1860-1940, 1985, no. 33 (reproduced);London, Browse & Darby, Roderic O'Conor 1860 - 1940, (catalogue by Jonathan Benington), 1994, no. 10 (reproduced) Sur la C?te (Finist?re) is imbued with the same passion for the untamed forces of nature as the other works in the extended series of seascapes that O'Conor painted in the closing years of the nineteenth century. The fiery colours and painterly approach seen here are dominant characteristics of the series, although this picture uniquely combines a surface that has been densely worked using undiluted pigment with a composition in which the rocky foreshore is the most prominent feature. The painting was clearly conceived as an ambitious and daring work that would stand out from its neighbours when it was exhibited. Finist?re (or 'End of the Earth') spans the western tip of the province of Brittany, from Roscoff in the north to Quimper and Pont-Aven in the south. It is where the Breton language has clung on most tenaciously. The further west one goes in Finist?re, the wilder the coast becomes. Piles of enormous blocks of pink granite sometimes rise as much as 20 metres, as at Ploumanach and Tr?gastel. The stretch of coastline with which O'Conor was most familiar was that at Le Pouldu, the coastal outpost of the Pont-Aven School of painters, which he first visited in 1892. He spent the entirety of the following season in the village, working alongside his friend, the artist Armand Seguin on a series of etchings inspired by the indented coast, with its estuaries, cliffs, wind-blown trees and sand-dunes. The year 1894 saw O'Conor returning to Pont-Aven. The industrious market town provided the setting for his legendary meeting with Gauguin, who had recently returned from his first visit to the South Seas. The friendship served to confirm O'Conor's revolutionary tendencies, but their time together was all too brief because Gauguin was soon to commence preparations for his final departure from France in 1895. The years that followed were difficult ones for O'Conor. He retired to the remote land-locked Breton village of Rochefort-en-terre, where he struggled to maintain the avant garde momentum of his earlier work. All this was to change, however, in 1898. In August of that year he returned to Le Pouldu, where he renewed his friendship with the Symbolist painter Charles Filiger In such familiar surroundings any thought of embarking on landscapes or figure subjects was quickly dismissed in favour of seascapes. O'Conor seems to have consciously set out to produce a series of such pictures, completing at least thirty over a period of not more than two years. As part of his preparation for the series he t

Auktionsarchiv: Los-Nr. 77
Auktion:
Datum:
05.12.2006
Auktionshaus:
Adams's
St Stephens Green 26
D02 X665 Dublin 2
Irland
info@adams.ie
+353-1-6760261)
Beschreibung:

Roderic O'Conor (1860-1940) Sur la Cote, Finistere (1898) Oil on canvas, 72.4 x 92.1cm (28.5 x 36.25'') Signed and dated 1898 Provenance :Roland, Browse & Delbanco, London, 1961;Browse & Darby, London, 1978;Celtic Court and Godolphin Galleries, Dublin, 1978 Literature:Wladyslawa Jaworska, Gauguin and the Pont-Aven School, London 1972, page 223 (reproduced);Jonathan Benington, Roderic O'Conor a Biography with a Catalogue of his Work, Irish Academic Press, Dublin 1992, page 196, no. 56, reproduced plate 24 Exhibited: Paris, Salon des Ind?pendants, 1903, no. 1877;London, Roland, Browse & Delbanco, Roderic O'Conor no. 3London, Roland, Browse & Delbanco, Roderic O'Conor / Norman Adams April-May 1964, no. 6; London, Camden Arts Centre, and tour, Decade 1890-1900, 1967, no. 51 (reproduced);London, Roland, Browse & Delbanco, Roderic O'Conor a selection of his best work, no. 27;London, Browse & Darby, British Paintings, 1978, no. 19;Dublin, Godolphin Gallery, Roderic O'Conor a selection of his best works in Ireland, 1978, no. 3 (reproduced);Pont-Aven, Mus?e de Pont-Aven, Roderic O'Conor 1860-1940 (catalogue by Roy Johnston , 1984, no. 24 (reproduced);London, Barbican Art Gallery, and tour to Ulster Museum Belfast, National Gallery, Dublin and Whitworth Art Gallery, Manchester, Roderic O'Conor 1860-1940, 1985, no. 33 (reproduced);London, Browse & Darby, Roderic O'Conor 1860 - 1940, (catalogue by Jonathan Benington), 1994, no. 10 (reproduced) Sur la C?te (Finist?re) is imbued with the same passion for the untamed forces of nature as the other works in the extended series of seascapes that O'Conor painted in the closing years of the nineteenth century. The fiery colours and painterly approach seen here are dominant characteristics of the series, although this picture uniquely combines a surface that has been densely worked using undiluted pigment with a composition in which the rocky foreshore is the most prominent feature. The painting was clearly conceived as an ambitious and daring work that would stand out from its neighbours when it was exhibited. Finist?re (or 'End of the Earth') spans the western tip of the province of Brittany, from Roscoff in the north to Quimper and Pont-Aven in the south. It is where the Breton language has clung on most tenaciously. The further west one goes in Finist?re, the wilder the coast becomes. Piles of enormous blocks of pink granite sometimes rise as much as 20 metres, as at Ploumanach and Tr?gastel. The stretch of coastline with which O'Conor was most familiar was that at Le Pouldu, the coastal outpost of the Pont-Aven School of painters, which he first visited in 1892. He spent the entirety of the following season in the village, working alongside his friend, the artist Armand Seguin on a series of etchings inspired by the indented coast, with its estuaries, cliffs, wind-blown trees and sand-dunes. The year 1894 saw O'Conor returning to Pont-Aven. The industrious market town provided the setting for his legendary meeting with Gauguin, who had recently returned from his first visit to the South Seas. The friendship served to confirm O'Conor's revolutionary tendencies, but their time together was all too brief because Gauguin was soon to commence preparations for his final departure from France in 1895. The years that followed were difficult ones for O'Conor. He retired to the remote land-locked Breton village of Rochefort-en-terre, where he struggled to maintain the avant garde momentum of his earlier work. All this was to change, however, in 1898. In August of that year he returned to Le Pouldu, where he renewed his friendship with the Symbolist painter Charles Filiger In such familiar surroundings any thought of embarking on landscapes or figure subjects was quickly dismissed in favour of seascapes. O'Conor seems to have consciously set out to produce a series of such pictures, completing at least thirty over a period of not more than two years. As part of his preparation for the series he t

Auktionsarchiv: Los-Nr. 77
Auktion:
Datum:
05.12.2006
Auktionshaus:
Adams's
St Stephens Green 26
D02 X665 Dublin 2
Irland
info@adams.ie
+353-1-6760261)
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