Bidding on this item has ended.
Basil Blackshaw
CANAL BRIDGE, 1989
Lot 22
Price Realised:
€8,000
Estimate:
€8,000 - €12,000
Basil Blackshaw HRHA, RUA, 1932-2016
CANAL BRIDGE, 1989
Oil on canvas, 45" x 54 3/4" (114.2 x 139.1cm).
Exhibited: The Narrow Water Gallery, 1989; Maeve Hall ran the gallery from the garden floor of the castle, situated on Carlingford L...
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Lot 22
Basil Blackshaw
CANAL BRIDGE, 1989
Lot 22
Basil Blackshaw
CANAL BRIDGE, 1989
Estimate:
€8,000 - €12,000
Basil Blackshaw HRHA, RUA, 1932-2016
CANAL BRIDGE, 1989
Oil on canvas, 45" x 54 3/4" (114.2 x 139.1cm).
Exhibited: The Narrow Water Gallery, 1989; Maeve Hall ran the gallery from the garden floor of the castle, situated on Carlingford Lough; RHA, 1997 (Arts Council of Northern Ireland label verso).
Who knows the mind of a painter? The whole process of making pictures is a lonely vigil with no guarantee that ultimately the painting will sell.
Slade artist Tom Carr, one of whose works hung in the Queen Mother's collection, once told me when he returned from London to Northern Ireland at the outbreak of WW11 he found himself cut off from galleries there. Having sent a framed painting across the water for a show, it failed to sell. When it was sent back to Belfast Tom ripped the canvas from its stretcher and used it to patch the roof of a bee-hive. He told me he felt the painting, 'had not done its work', and he turned his back on it.
Blackshaw often told me of sitting in his usual chair in the drawing room week after week without any vision coming to him from which he felt he could make a painting. That said, quite often he carried an image about in his head for decades before it would see the light of day. 'Canal Bridge', I suspect is one such example. Basil didn't travel much outside Northern Ireland. He often remarked to me, "Doagh is abroad for me." Doagh is a village which is about three miles away from where Blackshaw lived. Conceivably he looked at 'Canal Bridge' hundreds of times but was it that light in the sky, or one of those Monet trees, a feature of his Mont Sainte-Victoire paintings which prompted Basil to capture the bridge. Basil was very geometric in the making of his paintings. Perhaps geometry was at play here or was it how he visualised the scene on a large canvas?
I recall his telling me he had 'knocked up' a hen run for gamecocks when suddenly he had a vision that he could use one of his constructs as a stretcher for a large horse painting. This inspired Blackshaw to execute one of largest and most famous works - Grand National (Foinavon's Year 1977). (Pl. 42 Page 122 'Blackshaw' edited by Eamonn Mallie)
Every picture tells a story.
Eamonn Mallie, March 2022
CANAL BRIDGE, 1989
Oil on canvas, 45" x 54 3/4" (114.2 x 139.1cm).
Exhibited: The Narrow Water Gallery, 1989; Maeve Hall ran the gallery from the garden floor of the castle, situated on Carlingford Lough; RHA, 1997 (Arts Council of Northern Ireland label verso).
Who knows the mind of a painter? The whole process of making pictures is a lonely vigil with no guarantee that ultimately the painting will sell.
Slade artist Tom Carr, one of whose works hung in the Queen Mother's collection, once told me when he returned from London to Northern Ireland at the outbreak of WW11 he found himself cut off from galleries there. Having sent a framed painting across the water for a show, it failed to sell. When it was sent back to Belfast Tom ripped the canvas from its stretcher and used it to patch the roof of a bee-hive. He told me he felt the painting, 'had not done its work', and he turned his back on it.
Blackshaw often told me of sitting in his usual chair in the drawing room week after week without any vision coming to him from which he felt he could make a painting. That said, quite often he carried an image about in his head for decades before it would see the light of day. 'Canal Bridge', I suspect is one such example. Basil didn't travel much outside Northern Ireland. He often remarked to me, "Doagh is abroad for me." Doagh is a village which is about three miles away from where Blackshaw lived. Conceivably he looked at 'Canal Bridge' hundreds of times but was it that light in the sky, or one of those Monet trees, a feature of his Mont Sainte-Victoire paintings which prompted Basil to capture the bridge. Basil was very geometric in the making of his paintings. Perhaps geometry was at play here or was it how he visualised the scene on a large canvas?
I recall his telling me he had 'knocked up' a hen run for gamecocks when suddenly he had a vision that he could use one of his constructs as a stretcher for a large horse painting. This inspired Blackshaw to execute one of largest and most famous works - Grand National (Foinavon's Year 1977). (Pl. 42 Page 122 'Blackshaw' edited by Eamonn Mallie)
Every picture tells a story.
Eamonn Mallie, March 2022
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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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