Bidding on this item has ended.
Gerard Dillon
LITTLE GIRLS WONDER
Lot 13
Price Realised:
€55,000
Estimate:
€50,000 - €80,000
Gerard Dillon RHA, RUA, 1916-1971
LITTLE GIRLS WONDER
Oil on board, 25" x 30" (63.5 x 76.2cm), signed; inscribed verso.
Provenance: The Artists Family: Whytes, Dublin, 19th September 2006 (lot 32); Private Collection.
Exhibited: Irish ...
Read more
Lot 13
Gerard Dillon
LITTLE GIRLS WONDER
Lot 13
Gerard Dillon
LITTLE GIRLS WONDER
Estimate:
€50,000 - €80,000
Gerard Dillon RHA, RUA, 1916-1971
LITTLE GIRLS WONDER
Oil on board, 25" x 30" (63.5 x 76.2cm), signed; inscribed verso.
Provenance: The Artists Family: Whytes, Dublin, 19th September 2006 (lot 32); Private Collection.
Exhibited: Irish Exhibition of Living Art, Dublin, 1955, catalogue no 107 (60-0-0); Possibly also exhibited as 'Child's Wonder' in a joint show with George Campbell, Piccadilly Gallery, London, June 1955, catalogue no. 66.
There are many qualities to encourage slow looking in this painting by Gerard Dillon, including the skewed perspective, unusual viewpoint, and the psychological nature of the interaction between its two figures. Specific details add to the slightly surreal air, such as the Madonnas mismatched shoes and the unexpected inclusion of modern elements the painted artworks on the walls within a traditional setting.
The interiors purple-toned floor rises up to form a triangle that marks the centre of the image, with the seated woman and barefoot child arranged either side. An unseen ceiling pitch, painted in complementary yellow, and the rising wall to the right help to define the paintings spatial layout, while a brush leaning against the wall counterbalances the weight of the figures.
The title suggests that the Madonna may be an apparition, which would explain the girls wary expression as she glances sidelong from behind a vernacular chair. Celtic overtones are suggested by spiral motifs on the womans clothing, and the cat, which ostensibly takes the place of an infant, introduces further symbolism.
Recalling the unorthodox handling of space and synthesis of elements associated with early modernists such as Paul Gauguin, Little Girls Wonder is in keeping with the nave style and strong use of colour for which Dillon is known. Its subject is drawn from the landscapes and modes of life he encountered in the West, which resonated strongly and became a channel through which to express his creative concerns. The artworks on the wall bear witness to his involvement with the Irish modernist movement.
The youngest within a large Catholic family in Belfast, Dillon left school at fourteen to work as a decorator, moving to London in the mid-thirties where he pursued his interest in art. He was largely self-taught, evidencing Marc Chagall and Nano Reid as among his influences. During WWII, he lived between Belfast and Dublin, visiting Connemara numerous times, and although based in London from the end of the war until his later years, he continued to visit the West to paint. In addition to solo shows, Dillon exhibited at the RHA and Oireachtas annual events, and contributed, with works such as Little Girls Wonder, to the Irish Exhibition of Living Art. The latter was set up in 1943 to promote modernism in Ireland, Dillon serving on the committee for twenty years. He also exhibited internationally, twice representing Ireland at the Guggenheim International.
Dr. Susan Campbell
LITTLE GIRLS WONDER
Oil on board, 25" x 30" (63.5 x 76.2cm), signed; inscribed verso.
Provenance: The Artists Family: Whytes, Dublin, 19th September 2006 (lot 32); Private Collection.
Exhibited: Irish Exhibition of Living Art, Dublin, 1955, catalogue no 107 (60-0-0); Possibly also exhibited as 'Child's Wonder' in a joint show with George Campbell, Piccadilly Gallery, London, June 1955, catalogue no. 66.
There are many qualities to encourage slow looking in this painting by Gerard Dillon, including the skewed perspective, unusual viewpoint, and the psychological nature of the interaction between its two figures. Specific details add to the slightly surreal air, such as the Madonnas mismatched shoes and the unexpected inclusion of modern elements the painted artworks on the walls within a traditional setting.
The interiors purple-toned floor rises up to form a triangle that marks the centre of the image, with the seated woman and barefoot child arranged either side. An unseen ceiling pitch, painted in complementary yellow, and the rising wall to the right help to define the paintings spatial layout, while a brush leaning against the wall counterbalances the weight of the figures.
The title suggests that the Madonna may be an apparition, which would explain the girls wary expression as she glances sidelong from behind a vernacular chair. Celtic overtones are suggested by spiral motifs on the womans clothing, and the cat, which ostensibly takes the place of an infant, introduces further symbolism.
Recalling the unorthodox handling of space and synthesis of elements associated with early modernists such as Paul Gauguin, Little Girls Wonder is in keeping with the nave style and strong use of colour for which Dillon is known. Its subject is drawn from the landscapes and modes of life he encountered in the West, which resonated strongly and became a channel through which to express his creative concerns. The artworks on the wall bear witness to his involvement with the Irish modernist movement.
The youngest within a large Catholic family in Belfast, Dillon left school at fourteen to work as a decorator, moving to London in the mid-thirties where he pursued his interest in art. He was largely self-taught, evidencing Marc Chagall and Nano Reid as among his influences. During WWII, he lived between Belfast and Dublin, visiting Connemara numerous times, and although based in London from the end of the war until his later years, he continued to visit the West to paint. In addition to solo shows, Dillon exhibited at the RHA and Oireachtas annual events, and contributed, with works such as Little Girls Wonder, to the Irish Exhibition of Living Art. The latter was set up in 1943 to promote modernism in Ireland, Dillon serving on the committee for twenty years. He also exhibited internationally, twice representing Ireland at the Guggenheim International.
Dr. Susan Campbell
- Enquire
- View all lots by this artist
- How bidding works
Please note: You will require a deVeres account in order to bid. Please register via the website. Each lot will close numerically. If there is late bidding the time may be extended which could delay subsequent lots. The lots will start to close from 6.00pm on auction day, closing at 45 second intervals.
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) for art sales and 27.5% (incl vat) for design sales, 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 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) for art sales and 27.5% (incl vat) for design sales, 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 notification of being outbid.
Sign-up to our auction alert
Signup for personalised Irish art recommendations, invitations to viewings and auctions, articles and more.