Bidding on this item has ended.
Gerard Dillon
THE SPANISH JUG
Lot 35
Price Realised:
€13,000
Estimate:
€10,000 - €15,000
Gerard Dillon, 1916-1971
THE SPANISH JAR
Oil on board, 16" x 19 1/4" (40.6 x 48.9cm), signed.
When Gerard Dillon was finally persuaded to travel to Spain in 1951 with his close friends Madge and George Campbell, they travelled 3rd class by train... Read more
Lot 35
Gerard Dillon
THE SPANISH JUG
THE SPANISH JAR
Oil on board, 16" x 19 1/4" (40.6 x 48.9cm), signed.
When Gerard Dillon was finally persuaded to travel to Spain in 1951 with his close friends Madge and George Campbell, they travelled 3rd class by train... Read more
Lot 35
Gerard Dillon
THE SPANISH JUG
Estimate:
€10,000 - €15,000
Gerard Dillon, 1916-1971
THE SPANISH JAR
Oil on board, 16" x 19 1/4" (40.6 x 48.9cm), signed.
When Gerard Dillon was finally persuaded to travel to Spain in 1951 with his close friends Madge and George Campbell, they travelled 3rd class by train from France, to Barcelona, Tarragona, Valencia, Granada, and eventually on to Malaga where they stayed for a few weeks before returning home. Due to restrictions in place in Franco's Spain, both painters were stopped by soldiers as they sketched with watercolour and had to obtain a special artists license to continue painting. This didn't dampen their spirits however, and both painters sought out subject matter for their exhibitions back home. Campbell enjoyed being surrounded by musical people because of his special gift as a Flamenco guitartist. In a letter to a friend Gerard Dillon confided that he found Spain visually satisfying but didn't like the heat which led him to sketch indoors or in shaded areas. The Spanish Jar captures a coastal fishing village from a bedroom window. Despite difficulties with the Spanish heat, Dillon executed a number of paintings from his trip to Spain which he exhibited in exhibitions in Ireland in the 1950s.
The focus of The Spanish Jar is similar to another work, Spanish Window where a row of beached fishing vessels point to the villagers dependence on the sea. Dillon first exhibited his Spanish subjects at his solo exhibition at Waddington's gallery in 1953 where one critic noted that he brought the same life and colour to his subjects from Spain as those from his pictures from the West of Ireland. The Spanish Jar was chosen by Dillon to be included in his solo exhibition with the Council for the Encouragement of Music And the Arts (CEMA) in Belfast in 1956. This painting is also recorded as being exhibited in Dillon's solo exhibition at Tom Caldwell's gallery in Belfast in 1971.
Karen Reihill, May, 2021
THE SPANISH JAR
Oil on board, 16" x 19 1/4" (40.6 x 48.9cm), signed.
When Gerard Dillon was finally persuaded to travel to Spain in 1951 with his close friends Madge and George Campbell, they travelled 3rd class by train from France, to Barcelona, Tarragona, Valencia, Granada, and eventually on to Malaga where they stayed for a few weeks before returning home. Due to restrictions in place in Franco's Spain, both painters were stopped by soldiers as they sketched with watercolour and had to obtain a special artists license to continue painting. This didn't dampen their spirits however, and both painters sought out subject matter for their exhibitions back home. Campbell enjoyed being surrounded by musical people because of his special gift as a Flamenco guitartist. In a letter to a friend Gerard Dillon confided that he found Spain visually satisfying but didn't like the heat which led him to sketch indoors or in shaded areas. The Spanish Jar captures a coastal fishing village from a bedroom window. Despite difficulties with the Spanish heat, Dillon executed a number of paintings from his trip to Spain which he exhibited in exhibitions in Ireland in the 1950s.
The focus of The Spanish Jar is similar to another work, Spanish Window where a row of beached fishing vessels point to the villagers dependence on the sea. Dillon first exhibited his Spanish subjects at his solo exhibition at Waddington's gallery in 1953 where one critic noted that he brought the same life and colour to his subjects from Spain as those from his pictures from the West of Ireland. The Spanish Jar was chosen by Dillon to be included in his solo exhibition with the Council for the Encouragement of Music And the Arts (CEMA) in Belfast in 1956. This painting is also recorded as being exhibited in Dillon's solo exhibition at Tom Caldwell's gallery in Belfast in 1971.
Karen Reihill, May, 2021
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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.
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