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Camille Souter
THE SLAUGHTERED COW, TEN MINUTES DEAD
Lot 26
Price Realised:
€26,000
Estimate:
€25,000 - €35,000
Camille Souter HRHA, b.1926
THE SLAUGHTERED COW, TEN MINUTES DEAD
Oil on paper, 29 3/4" x 23" (76 x 58.5cm), signed and dated 1973; signed, inscribed and dated 1973 verso.
Provenance: Taylor Galleries (label verso); ex-Basil Goulding collection... Read more
Lot 26
Camille Souter
THE SLAUGHTERED COW, TEN MINUTES DEAD
DVTV Click Here To View VideoTHE SLAUGHTERED COW, TEN MINUTES DEAD
Oil on paper, 29 3/4" x 23" (76 x 58.5cm), signed and dated 1973; signed, inscribed and dated 1973 verso.
Provenance: Taylor Galleries (label verso); ex-Basil Goulding collection... Read more
Lot 26
Camille Souter
THE SLAUGHTERED COW, TEN MINUTES DEAD
Estimate:
€25,000 - €35,000
Camille Souter HRHA, b.1926
THE SLAUGHTERED COW, TEN MINUTES DEAD
Oil on paper, 29 3/4" x 23" (76 x 58.5cm), signed and dated 1973; signed, inscribed and dated 1973 verso.
Provenance: Taylor Galleries (label verso); ex-Basil Goulding collection; ex-Pat and Antoinette Murphy collection; Private Collection, Dublin.
Exhibited: 'Irish Art 1943-1973', ROSC, Cork, 1980 (label verso); Taylor Galleries, Dublin, 2 - 18 December 1982, (catalogue no. 83) (label verso);'Six Artists from Ireland', European touring exhibition, colour illustration in catalogue; University of Limerick, 'Familiar Faces', 2008, colour illustration in catalogue; Camille Souter/Nano Reid Retrospective' exhibition, Drogheda and Castlebar 1999, full page colour illustration.
This work was the last and largest of a series of around 22 paintings inspired by a visit to Les Halles in Paris in the early 1970s. At the time, some of Pariss best known abattoirs operated in the area, though they were moved out of it in 1971. Souter was particularly struck by the beauty and colour of the hanging meat. She had been interested in biology since childhood and had painted a series of works based on dead basking sharks in Achill during the 1960s so it is perhaps not surprising she would be drawn to the subject.
Souters take on meat is markedly different to that of many of the other artists that have addressed the subject. Unlike Rembrandts Slaughtered Ox, or Chaim Soutines paintings of meat, for example, there are no obvious allusions to religion. Most of the works in the Meat series are relatively small. They are also awash with blood. The paint is generally applied thinly, emphasising the fluid properties of the blood present rather than the tactility of the flesh. The black paint of the cows back in this work does however have real weight. The title, tells us that the cow has only recently been slaughtered but signs of life can take time to dissipate. The flesh and blood may still be warm. Its right eye still seems to be open. We can only wonder if it realised or realises what has happened to it.
Garrett Cormican
THE SLAUGHTERED COW, TEN MINUTES DEAD
Oil on paper, 29 3/4" x 23" (76 x 58.5cm), signed and dated 1973; signed, inscribed and dated 1973 verso.
Provenance: Taylor Galleries (label verso); ex-Basil Goulding collection; ex-Pat and Antoinette Murphy collection; Private Collection, Dublin.
Exhibited: 'Irish Art 1943-1973', ROSC, Cork, 1980 (label verso); Taylor Galleries, Dublin, 2 - 18 December 1982, (catalogue no. 83) (label verso);'Six Artists from Ireland', European touring exhibition, colour illustration in catalogue; University of Limerick, 'Familiar Faces', 2008, colour illustration in catalogue; Camille Souter/Nano Reid Retrospective' exhibition, Drogheda and Castlebar 1999, full page colour illustration.
This work was the last and largest of a series of around 22 paintings inspired by a visit to Les Halles in Paris in the early 1970s. At the time, some of Pariss best known abattoirs operated in the area, though they were moved out of it in 1971. Souter was particularly struck by the beauty and colour of the hanging meat. She had been interested in biology since childhood and had painted a series of works based on dead basking sharks in Achill during the 1960s so it is perhaps not surprising she would be drawn to the subject.
Souters take on meat is markedly different to that of many of the other artists that have addressed the subject. Unlike Rembrandts Slaughtered Ox, or Chaim Soutines paintings of meat, for example, there are no obvious allusions to religion. Most of the works in the Meat series are relatively small. They are also awash with blood. The paint is generally applied thinly, emphasising the fluid properties of the blood present rather than the tactility of the flesh. The black paint of the cows back in this work does however have real weight. The title, tells us that the cow has only recently been slaughtered but signs of life can take time to dissipate. The flesh and blood may still be warm. Its right eye still seems to be open. We can only wonder if it realised or realises what has happened to it.
Garrett Cormican
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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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