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Gerard Dillon
THE FISHERMANS COTTAGE
Lot 9
Price Realised:
€85,000
Estimate:
€70,000 - €100,000
Gerard Dillon RHA, RUA, 1916-1971
THE FISHERMANS COTTAGE
Oil on board, 20" x 30" (50.8 x 76cm), signed; inscribed verso.
Provenance: Private Collection.
In 1951, Gerard Dillon spent the best part of a year living on Inishlacken, a smal...
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Lot 9
Gerard Dillon
THE FISHERMANS COTTAGE
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Lot 9
Gerard Dillon
THE FISHERMANS COTTAGE
Estimate:
€70,000 - €100,000
Gerard Dillon RHA, RUA, 1916-1971
THE FISHERMANS COTTAGE
Oil on board, 20" x 30" (50.8 x 76cm), signed; inscribed verso.
Provenance: Private Collection.
In 1951, Gerard Dillon spent the best part of a year living on Inishlacken, a small island off the Connemara coast near Roundstone. There is little sign of the distant village in Dillon's composition, just the sandy expanse of the region's coastline (perhaps nearby Gurteen) and the ever-present profile of the Twelve Bens, so characteristic of the Connemara landscape. Through a busy and rolling scene, Dillon suggests the changing gradient of the island's terrain: narrow roads twist and turn, their stone-wall boarders hinted at through thick lines of grey accented with a pink-ish white. The artist presents the viewer with a rich cast of island characters: ranging from the human, with signs of agricultural and fishing life, to the animal, with a duck, a cat, cattle and numerous chickens - including two who seem well-settled into the thatched roof of one of the cottages. The presence of fishing nets, carefully laid out to dry, and currachs, attest to the importance of the sea to everyday life and survival for this community.
Dillon's year on Inishlacken was funded by the dealer and gallerist Victor Waddington, whose generosity towards emerging artists assisted in bringing Northern Irish artists like Dillon, Colin Middleton and Daniel O'Neill, among others, to prominence. Born and raised in Belfast, Riann Coulter has noted that Dillon's urban upbringing alienated him from those he encountered in Connemara: certainly, the observational view point of the present work suggests some detachment between the artist and the community he is depicting.[1] This does not detract however: this colourful work speaks strongly to Dillon's deep feeling for this landscape, and the joy he found in painting it.
Kathryn Milligan, October 2023
[1] Coulter, Riann. "Gerard Dillon: Nationalism, Homosexuality, and the Modern Irish Artist." Eire-Ireland 45, no. 3 (2010): 84.
THE FISHERMANS COTTAGE
Oil on board, 20" x 30" (50.8 x 76cm), signed; inscribed verso.
Provenance: Private Collection.
In 1951, Gerard Dillon spent the best part of a year living on Inishlacken, a small island off the Connemara coast near Roundstone. There is little sign of the distant village in Dillon's composition, just the sandy expanse of the region's coastline (perhaps nearby Gurteen) and the ever-present profile of the Twelve Bens, so characteristic of the Connemara landscape. Through a busy and rolling scene, Dillon suggests the changing gradient of the island's terrain: narrow roads twist and turn, their stone-wall boarders hinted at through thick lines of grey accented with a pink-ish white. The artist presents the viewer with a rich cast of island characters: ranging from the human, with signs of agricultural and fishing life, to the animal, with a duck, a cat, cattle and numerous chickens - including two who seem well-settled into the thatched roof of one of the cottages. The presence of fishing nets, carefully laid out to dry, and currachs, attest to the importance of the sea to everyday life and survival for this community.
Dillon's year on Inishlacken was funded by the dealer and gallerist Victor Waddington, whose generosity towards emerging artists assisted in bringing Northern Irish artists like Dillon, Colin Middleton and Daniel O'Neill, among others, to prominence. Born and raised in Belfast, Riann Coulter has noted that Dillon's urban upbringing alienated him from those he encountered in Connemara: certainly, the observational view point of the present work suggests some detachment between the artist and the community he is depicting.[1] This does not detract however: this colourful work speaks strongly to Dillon's deep feeling for this landscape, and the joy he found in painting it.
Kathryn Milligan, October 2023
[1] Coulter, Riann. "Gerard Dillon: Nationalism, Homosexuality, and the Modern Irish Artist." Eire-Ireland 45, no. 3 (2010): 84.
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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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