View More Videos
Bidding on this item has ended.
Roderic O'Conor
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Lot 12
Price Realised:
€75,000
Estimate:
€80,000 - €120,000
Roderic O'Conor, 1860-1940
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Oil on canvas, 28 3/4" x 23 3/4" (73 x 60cm), signed; stamped on reverse 'atelier O'CONOR'.
Exhibited: Musee de Pont Aven, Roderic O'Conor 1860-1940, 30 June to 30 September ... Read more
Lot 12
Roderic O'Conor
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
DVTV Click Here To View VideoSTILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Oil on canvas, 28 3/4" x 23 3/4" (73 x 60cm), signed; stamped on reverse 'atelier O'CONOR'.
Exhibited: Musee de Pont Aven, Roderic O'Conor 1860-1940, 30 June to 30 September ... Read more
Lot 12
Roderic O'Conor
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Estimate:
€80,000 - €120,000
Roderic O'Conor, 1860-1940
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Oil on canvas, 28 3/4" x 23 3/4" (73 x 60cm), signed; stamped on reverse 'atelier O'CONOR'.
Exhibited: Musee de Pont Aven, Roderic O'Conor 1860-1940, 30 June to 30 September 1984, no. 48 (repro. Cat. p.46)
In this opulent still life from the early 1920s, O'Conor has unusually combined homely items - flowers (possibly anemones), apples and unsophisticated ceramics - with elaborately arranged draperies. The latter progress from the white fabric printed in a floral pattern that does duty as a background, to the blue and green materials underneath and in front of the vase. Whilst the green picks up the colour of the foliage in the vase, the blue echoes and strengthens some of the tints appearing in the folds of cloth behind.
Having made his selection, O'Conor has then arranged the composition within a pyramidal structure that lends it weight and solidity, as does the deployment of strong side lighting from one of his large studio windows. Even though most of his output during the 1920s comprised indoor subjects, he consistently made the most of the natural daylight that entered his capacious first floor studio in Montparnasse through a series of windows overlooking a courtyard.
The accumulation of objects seen in Flowers and Fruit contrasts with the more focused approach adopted by O'Conor in another still life featuring the same two-handled vase - Red roses in a Jug set on a Napkin. The layering of stuffs in the present work recalls the fashion for 'pronk' still lifes in seventeenth-century Holland, exemplified by painters such as Jan Davidsz. de Heem and Willem Kalf. O'Conor would have been fully conversant with such pictures from the Louvre and from his time spent in Antwerp as a student. Ever the well informed connoisseur, at this stage in his life, with Cubism, Orphism and Dadaism creating shockwaves in the art world, he was prone to looking back in time to earlier traditions he respected, only to then update them with a bright fauvist palette very much of the twentieth century.
Amongst those who purchased still lifes from O'Conor in the 1920s were Roger Fry, Somerset Maugham, Matthew Smith, Charles Hall Thorndike and the French State (now Musee d'Orsay).
Jonathan Benington, May 2021
STILL LIFE WITH FRUIT AND A VASE OF FLOWERS
Oil on canvas, 28 3/4" x 23 3/4" (73 x 60cm), signed; stamped on reverse 'atelier O'CONOR'.
Exhibited: Musee de Pont Aven, Roderic O'Conor 1860-1940, 30 June to 30 September 1984, no. 48 (repro. Cat. p.46)
In this opulent still life from the early 1920s, O'Conor has unusually combined homely items - flowers (possibly anemones), apples and unsophisticated ceramics - with elaborately arranged draperies. The latter progress from the white fabric printed in a floral pattern that does duty as a background, to the blue and green materials underneath and in front of the vase. Whilst the green picks up the colour of the foliage in the vase, the blue echoes and strengthens some of the tints appearing in the folds of cloth behind.
Having made his selection, O'Conor has then arranged the composition within a pyramidal structure that lends it weight and solidity, as does the deployment of strong side lighting from one of his large studio windows. Even though most of his output during the 1920s comprised indoor subjects, he consistently made the most of the natural daylight that entered his capacious first floor studio in Montparnasse through a series of windows overlooking a courtyard.
The accumulation of objects seen in Flowers and Fruit contrasts with the more focused approach adopted by O'Conor in another still life featuring the same two-handled vase - Red roses in a Jug set on a Napkin. The layering of stuffs in the present work recalls the fashion for 'pronk' still lifes in seventeenth-century Holland, exemplified by painters such as Jan Davidsz. de Heem and Willem Kalf. O'Conor would have been fully conversant with such pictures from the Louvre and from his time spent in Antwerp as a student. Ever the well informed connoisseur, at this stage in his life, with Cubism, Orphism and Dadaism creating shockwaves in the art world, he was prone to looking back in time to earlier traditions he respected, only to then update them with a bright fauvist palette very much of the twentieth century.
Amongst those who purchased still lifes from O'Conor in the 1920s were Roger Fry, Somerset Maugham, Matthew Smith, Charles Hall Thorndike and the French State (now Musee d'Orsay).
Jonathan Benington, May 2021
- 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 2.00pm 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), 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.
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.
Sign-up to our auction alert
Signup for personalised Irish art recommendations, invitations to viewings and auctions, articles and more.