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Roderic O'Conor
SEATED NUDE
Lot 62
Result:
Not Sold
Estimate:
€30,000 - €50,000
Roderic O'Conor, 1860-1940
SEATED NUDE
Oil on canvas, 25 1/2" x 21 1/2" (64.7 x 54.6cm), stamped verso 'atelier/ O'Conor'.
Provenance: Hotel Drouot, Paris, Vente O'Conor, 7 Feburary 1956; M. and Mme. Lemasse, Paris; Chrisitie's, Belfast...
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Lot 62
Roderic O'Conor
SEATED NUDE
Lot 62
Roderic O'Conor
SEATED NUDE
Estimate:
€30,000 - €50,000
Roderic O'Conor, 1860-1940
SEATED NUDE
Oil on canvas, 25 1/2" x 21 1/2" (64.7 x 54.6cm), stamped verso 'atelier/ O'Conor'.
Provenance: Hotel Drouot, Paris, Vente O'Conor, 7 Feburary 1956; M. and Mme. Lemasse, Paris; Chrisitie's, Belfast, 31 May 1989, no. 570; Sotheby's, London, 2 May 1990, no. 25.
Literature: Jonathan Benington, 'Roderic O'Conor: A Biography with a Catalogue of his Work', Dublin 1992, p.217, no.230.
Provenance: Hotel Drouot, Paris, Vente O'Conor, 7 February 1956; M. and Mme. Lemasse, Paris; Mr J.H. Riley; Sotheby's, London, 2 May 1990, no. 25; from 1994, private collection, London.
Literature: Jonathan Benington, 'Roderic O'Conor: a Biography with a Catalogue of his Work', Dublin 1992, p.217, no.230.
**All bidding conducted through www.deveres.ie. Detailed condition report and additional images available on request**
During the First World War, O'Conor's paintings were generally characterised by a return to a more academic and carefully delineated style, but in the decade following its final years his work underwent change towards a more heightened and expressive realism. This was conveyed by strong earthen colours, the portrayal of his models in life studies in more relaxed poses, the skilful use of impasto, light and shade to convey beauty of form, and by expending the utmost care in the placing of figures, objects and backgrounds to achieve balanced and harmonious compositions.
Seated nude, which appears likely to have been painted by O'Conor around 1921-22, well exemplifies his painterly techniques of that period. A young woman is portrayed in peaceful repose, with her head cradled for comfort upon her encircled arms, which in turn rest upon a blue grey drape. Drawn studies by O'Conor (see below) show that he explored upright seated poses with the right arm supported horizontally on the back of a chair. In Seated nude, however, the exchange of the right arm for the left and the use of both arms as a pillow yields a more convincing impression of serene repose.
These refinements have also allowed for a more rhythmic design, relying on an interplay of carefully placed contours. The strong verticals of the chair legs and wall are balanced against a series of sweeping curves, the most prominent of which are those described by the right-hand edge of the drape, and the model's thighs and lower legs. With the right-facing flank of the nude illuminated most strongly, the young woman's head is turned the other way, and its left side thereby cast in shadow. Whereas many O'Conor figure studies depict legs and lower body cropped, here O'Conor depicts the model's full figure, right down to the slippers she is wearing, no doubt because the floor was cold.
Seated nude would have been painted quite spontaneously, probably in a single sitting. The fact that O'Conor retained the work in his studio for the rest of his life suggests that he had brought it to a stage, as a study from life, that gave him full satisfaction.
We are grateful to Jonathan Benington for his assistance in preparing this catalogue entry.
SEATED NUDE
Oil on canvas, 25 1/2" x 21 1/2" (64.7 x 54.6cm), stamped verso 'atelier/ O'Conor'.
Provenance: Hotel Drouot, Paris, Vente O'Conor, 7 Feburary 1956; M. and Mme. Lemasse, Paris; Chrisitie's, Belfast, 31 May 1989, no. 570; Sotheby's, London, 2 May 1990, no. 25.
Literature: Jonathan Benington, 'Roderic O'Conor: A Biography with a Catalogue of his Work', Dublin 1992, p.217, no.230.
Provenance: Hotel Drouot, Paris, Vente O'Conor, 7 February 1956; M. and Mme. Lemasse, Paris; Mr J.H. Riley; Sotheby's, London, 2 May 1990, no. 25; from 1994, private collection, London.
Literature: Jonathan Benington, 'Roderic O'Conor: a Biography with a Catalogue of his Work', Dublin 1992, p.217, no.230.
**All bidding conducted through www.deveres.ie. Detailed condition report and additional images available on request**
During the First World War, O'Conor's paintings were generally characterised by a return to a more academic and carefully delineated style, but in the decade following its final years his work underwent change towards a more heightened and expressive realism. This was conveyed by strong earthen colours, the portrayal of his models in life studies in more relaxed poses, the skilful use of impasto, light and shade to convey beauty of form, and by expending the utmost care in the placing of figures, objects and backgrounds to achieve balanced and harmonious compositions.
Seated nude, which appears likely to have been painted by O'Conor around 1921-22, well exemplifies his painterly techniques of that period. A young woman is portrayed in peaceful repose, with her head cradled for comfort upon her encircled arms, which in turn rest upon a blue grey drape. Drawn studies by O'Conor (see below) show that he explored upright seated poses with the right arm supported horizontally on the back of a chair. In Seated nude, however, the exchange of the right arm for the left and the use of both arms as a pillow yields a more convincing impression of serene repose.
These refinements have also allowed for a more rhythmic design, relying on an interplay of carefully placed contours. The strong verticals of the chair legs and wall are balanced against a series of sweeping curves, the most prominent of which are those described by the right-hand edge of the drape, and the model's thighs and lower legs. With the right-facing flank of the nude illuminated most strongly, the young woman's head is turned the other way, and its left side thereby cast in shadow. Whereas many O'Conor figure studies depict legs and lower body cropped, here O'Conor depicts the model's full figure, right down to the slippers she is wearing, no doubt because the floor was cold.
Seated nude would have been painted quite spontaneously, probably in a single sitting. The fact that O'Conor retained the work in his studio for the rest of his life suggests that he had brought it to a stage, as a study from life, that gave him full satisfaction.
We are grateful to Jonathan Benington for his assistance in preparing this catalogue entry.
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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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