Bidding on this item has ended.
Donald Teskey
COASTLINE NARRATIVE III
Lot 36
Price Realised:
€30,000
Estimate:
€30,000 - €50,000
Donald Teskey RHA, b.1956
COASTLINE NARRATIVE III
Oil on canvas, 71" x 90 1/2" (180 x 230cm), signed; signed, inscribed and dated 2006 verso
Provenance: Rubicon Gallery, Dublin (label verso)
One of the more extraordinary achievements of Donal... Read more
Lot 36
Donald Teskey
COASTLINE NARRATIVE III
COASTLINE NARRATIVE III
Oil on canvas, 71" x 90 1/2" (180 x 230cm), signed; signed, inscribed and dated 2006 verso
Provenance: Rubicon Gallery, Dublin (label verso)
One of the more extraordinary achievements of Donal... Read more
Lot 36
Donald Teskey
COASTLINE NARRATIVE III
Estimate:
€30,000 - €50,000
Donald Teskey RHA, b.1956
COASTLINE NARRATIVE III
Oil on canvas, 71" x 90 1/2" (180 x 230cm), signed; signed, inscribed and dated 2006 verso
Provenance: Rubicon Gallery, Dublin (label verso)
One of the more extraordinary achievements of Donald Teskey's paintings is that, for all the uproar, the booming din that is part and parcel of their topics, their effect on us is one of calm. If we were to think of them as freeze-frames of a film, it would be one without sound, or with the sound turned down.
I believe Donald Teskey's finest works so far are his large-scale acts of attention to the ferocious clash of land and ocean, a series of masterpieces - yes, masterpieces - he extends in Coastline Narratives. Exact and evocative, these paintings enact every detail of the drama of the waves' assault on the shore's abrupt edge and, by pitting such elemental powers against each other, they conjure that conundrum of physics - the unstoppable force and the immovable object. And yet they display no over-awed, dispassionate detachment.
Donald Teskey has spoken about his art as 'chasing the light', he follows it into the nooks and crannies of the rocks, tracing the fault lines and defects which reveal their ultimate character. The precise whereabouts of Teskey's tidal and coastline narratives are declared only through the paintings' titles or through the artist's specific report. We couldn't ever say we recognize or could pinpoint their map position. That's not what's important.
Teskey's signature pieces are distinguished, first, by the expert confidence of their composition. Many of these Coastline Narratives are etched in a way that we might see a score and hear its notes. They are underpinned by grids and graphs the paints will fill, layer on layer, as they're scratched and scraped into being. Others are inscribed with lines that direct our eyes and instruct us like ogam (modern Irish, ogham prounounced om), that ancient system of markings cut into stone, which served as memorials and territorial boundaries. Land's ends, you might say. Secondly, they are remarkable for the economy and efficiency of their coloration, the artist's variation on themes within a narrow spectrum, the delicate balance of whites, greys and light blues offset only by the occasional stain of minerals deep in the monoliths or by earth tones of a distant backdrop. The colour range contributes to his works' sense of lull or interlude. His is an assuaging art. His paintings have what Ted Hughes called 'the authentic fingerprint of experience'. They begin in a place, in the world, in fact - and end in glorious art. And yet for all the quietness I've emphasised, the silent opera of what Donald Teskey has already accomplished, there is in his work a hushed insistence.
Ref: Extracts taken from the publication 'Coastline Narratives', 17 Oct 2006, by Peter Fallon, written in 2006. Peter Fallon is editor and publisher of The Gallery Press.
COASTLINE NARRATIVE III
Oil on canvas, 71" x 90 1/2" (180 x 230cm), signed; signed, inscribed and dated 2006 verso
Provenance: Rubicon Gallery, Dublin (label verso)
One of the more extraordinary achievements of Donald Teskey's paintings is that, for all the uproar, the booming din that is part and parcel of their topics, their effect on us is one of calm. If we were to think of them as freeze-frames of a film, it would be one without sound, or with the sound turned down.
I believe Donald Teskey's finest works so far are his large-scale acts of attention to the ferocious clash of land and ocean, a series of masterpieces - yes, masterpieces - he extends in Coastline Narratives. Exact and evocative, these paintings enact every detail of the drama of the waves' assault on the shore's abrupt edge and, by pitting such elemental powers against each other, they conjure that conundrum of physics - the unstoppable force and the immovable object. And yet they display no over-awed, dispassionate detachment.
Donald Teskey has spoken about his art as 'chasing the light', he follows it into the nooks and crannies of the rocks, tracing the fault lines and defects which reveal their ultimate character. The precise whereabouts of Teskey's tidal and coastline narratives are declared only through the paintings' titles or through the artist's specific report. We couldn't ever say we recognize or could pinpoint their map position. That's not what's important.
Teskey's signature pieces are distinguished, first, by the expert confidence of their composition. Many of these Coastline Narratives are etched in a way that we might see a score and hear its notes. They are underpinned by grids and graphs the paints will fill, layer on layer, as they're scratched and scraped into being. Others are inscribed with lines that direct our eyes and instruct us like ogam (modern Irish, ogham prounounced om), that ancient system of markings cut into stone, which served as memorials and territorial boundaries. Land's ends, you might say. Secondly, they are remarkable for the economy and efficiency of their coloration, the artist's variation on themes within a narrow spectrum, the delicate balance of whites, greys and light blues offset only by the occasional stain of minerals deep in the monoliths or by earth tones of a distant backdrop. The colour range contributes to his works' sense of lull or interlude. His is an assuaging art. His paintings have what Ted Hughes called 'the authentic fingerprint of experience'. They begin in a place, in the world, in fact - and end in glorious art. And yet for all the quietness I've emphasised, the silent opera of what Donald Teskey has already accomplished, there is in his work a hushed insistence.
Ref: Extracts taken from the publication 'Coastline Narratives', 17 Oct 2006, by Peter Fallon, written in 2006. Peter Fallon is editor and publisher of The Gallery Press.
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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