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Gerard Dillon

Ireland (1916 -  1971 ) Wikipedia® : Gerard Dillon
DILLON Gerard Fairground In The Rain,

Whyte's
Oct 1, 2018
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Artworks in Arcadja
820

Some works of Gerard Dillon

Extracted between 820 works in the catalog of Arcadja
Gerard Dillon - Night Circus

Gerard Dillon - Night Circus

Original
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Lot number: 58
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NIGHT CIRCUS Gerard Dillon (1916-1971) Signature: signed lower left; titled on reverse; also bears label [To George and Madge / at Xmas. Love Gerard] oil and sand on board Size: 14 x 18in. (35.56 x 45.72cm) Provenance: A gift from the artist to George & Madge Campbell; Ross's, Belfast, 7 March 2012, lot 60; Private collection
Gerard Dillon - Fairground In The Rain,

Gerard Dillon - Fairground In The Rain,

Original 1949/50
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Lot number: 45
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Gerard Dillon (1916-1971) Signature: signed lower right; with Jorgensen Fine Art and Peppercanister Gallery labels preserved on reverse chalk and watercolour 8½ x 11¼in. (21.59 x 28.58cm) Provenance: Collection of Pino Saglietti, friend of the artist; 'The Irish Sale', Sotheby's, 22 May 1997, lot 362; with Jorgensen Fine Art, Dublin; Private collection; Peppercanister Gallery, Dublin; Private collection; de Veres, 27 March 2007, lot 46; Private collection Pino Saglietti was a Londoner of Italian descent whom Dillon had known since he first moved to England in 1934. Dillon visited Italy in the summer of 1947 travelling with Saglietti, who had family in Borgotaro in Northern Italy. Dillon visited Floren...Read more Pino Saglietti was a Londoner of Italian descent whom Dillon had known since he first moved to England in 1934. Dillon visited Italy in the summer of 1947 travelling with Saglietti, who had family in Borgotaro in Northern Italy. Dillon visited Floren...Read more Pino Saglietti was a Londoner of Italian descent whom Dillon had known since he first moved to England in 1934. Dillon visited Italy in the summer of 1947 travelling with Saglietti, who had family in Borgotaro in Northern Italy. Dillon visited Florence, Lucca and Parma where he saw many famous examples of Italian art and architecture. Saglietti was a great art lover and he hoped that Dillon would find inspiration in the Italian master pieces. Yet, despite Saglietti's best efforts, Dillon had no time for historical art and during a visit to the Pitti Palace he infuriated his friend by declaring, 'I can't be bothered with all those old things. I am only interested in the world around me and the people in it…'1 1 Gerard Dillon quoted by James White, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, p. 58
Gerard Dillon - Lobster Pots

Gerard Dillon - Lobster Pots

Original 1951
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Lot number: 31
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PROPERTY FROM THE JOSEPH & BRENDA CALIHAN COLLECTION Gerard Dillon LOBSTER POTS signed l.r.: Gerard Dillon; titled on the reverse oil on board 51 by 61cm., 20 by 24in. Painted in 1951. Provenance Christie's, London, 20 May 1999, lot 21, where purchased by the present owners Exhibited Irish Exhibition of Living Art, 1951, no.107; London, Piccadilly Gallery, Two Irish Painters, George Campbell & Gerard Dillon, June 1955, no.61; The Irish Club, London, Gerard Dillon & George Campbell, July-August 1955, no.11 J. White, Gerard Dillon An Illustrated Biography, Dublin, 1994, p.45 (illustrated), p.112; J. Mac Intyre, Three Men on an Island - George Campbell, Gerard Dillon, James Mac Intyre, Belfast, 1996, p.89 (illustrated) Catalogue Note We are grateful to Karen Reihill for her kind assistance with the cataloguing of the present work. In the preface to his biography of the artist, (Gerard Dillon, An Illustrated Biography, 1994) James White writes of his friendship with Gerard Dillon: \‘He cultivated simplicity and a love of childhood openness and honesty and he was the only artist whom I ever believed was really sincere when he declared that he wanted to paint with a child\’s directness.\’ Like many influential Irish artists of the 20th century, Gerard Dillon was enchanted with the West of Ireland. But his paintings offer us a very different view of what was in some cases portrayed as an idealized landscape. Dillon utilizes his unique simplicity and directness to record landscapes full of the people of the West, busy accounts of daily life and customs. His scenes, like bird\’s-eye snapshots, record his days in Connemara with a lively lyrical narrative, providing a relaxed and informal visual diary. We are introduced to cottages, children, hens, haystacks and currachs; every canvas is spilling with stone walls and sea, and each one is overflowing with the essence of life in the west of Ireland in the mid-20th century. The present work dates from 1951 and was painted the same year that Dillon had been offered the use of a cottage on the island of Inislacken just off Roundstone, and he invited fellow artists George Campbell and James Mac Intyre to join him on the trip. This picture, set in Roundstone harbour in Connemara, depicts two central figures who appear to be discussing the rental of two lobster pots with a local fisherman. A third man approaches laden with a heavy bag. There is an obvious contrast between the three men and the fisherman, and it is easy to imagine that these three men are not locals. The fisherman seems to be flicking a stack of coins from his right hand to his left; as though the deal has been done. Dillon\’s paintings are often auto-biographical, and in Lobster Pots we can envisage that here we have the artist and his friends preparing their supplies for their trip to the island, before descending the steps of the pier, loading the empty currach that awaits them in the water below and setting off to row to Inishlacken. Although there is no documented evidence, it has been previously suggested that the figure staring directly at the viewer is the artist himself. Dillon had abandoned classes at the Belfast School of Art mindful that they might interfere with his strongly held belief in his artistic vision to always strive to retain and nurture the simplicity and originality in his painting. This vision flourishes in the originality of the present work. For him, the tight-knit community of the West, with its language, traditions and connection to the land and sea, represented something wholly apart from the fast-paced modernity of the twentieth century.
Gerard Dillon - Petrushka

Gerard Dillon - Petrushka

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Lot number: 88
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Gerard Dillon (1916 -1971) Petrushka , (Ballet) Watercolour, 63.5 x 49cm (25 x 19¼ , ) Signed and inscribed verso Provenance: From the collection of the artist , s close friend Pino Saglietti, London. Exhibited: Ulster Academy of Arts 1942, Catalogue No.289; 'Gerard Dillon- First One man show', The Country Shop, 1942 Catalogue No. 1; 'Autumn Exhibition of Irish Art', November 1997, The Frederick Gallery, Catalogue No.5, where purchased by PJ and Breda Mara; 'Gerard Dillon, Art & Friendships , , Adams Dublin, July 2013, The Ava Gallery, Clandeboye, Co. Down, August, Cat No. 24. Literature: 'Gerard Dillon- An Illustrated Biography" by James White, 1993, illustrated p.40 showing Mainie Jellett and Gerard Dillon looking at the painting; 'Gerard Dillon: Art aand Friendships' by Karen Reihill, 2013, illustrated p.25 with the B & W image on p.24. Attending regular exhibitions in Dublin during the War, Dillon met the modernist Mainie Jellett in The Dublin Painters Gallery. Dillon , s biographer, James White stated that Jellet instantly responded to Dillon , s individualism and his , uncompromising manner of expressing his distaste for photographic representation. , ( , Gerard Dillon an illustrated Biography , , pg.39) Jellet encouraged him to prepare an exhibition of his work in the Country Shop in St Stephen , s Green. Moving to Dublin from Belfast, Dillon , s first solo exhibition was opened by Jellett on the 23 , rd , February, 1942. Jellett remarked on Dillon , s courage to launch on a painting career during the War adding, , Art is not an escape. It is a force that can inspire and strengthen and at the same time soothe, but for this to happen the artist must be �Ǫabsolutely sincere , . ( , Gerard Dillon An Illustrated Biography, , pg.39 , ) Dillon admired the naïve figurative style of the painter Christopher Wood (1901-1930) who designed a number of the hedonistic productions of the Ballets Russes in the 1920s. Despite training at the Académie Julian, Wood , s style was on one level drawn from the art of children. In this work, Dillon employs a childlike directness to the subject which Jellett recognized as , absolutely sincere , . First performed in Paris in 1911 Diaghilev , s , tells the story of the loves and jealousies of three puppets in four scenes. Enjoyed by audiences during the War, the ballet was popular in the 1920s for improvised or , pop up , theater performed at fairs, streets and carnivals to entertain audiences. This work was in the collection of the artist , s friend, Pino Saglietti. In 1934, Dillon met the Saglietti family from Italy in London. Giuseppe Giovanni or , Pino , to his friends adored opera, art and ballet and became a close friend of Gerard and his brother Joe Dillon. After the War, Dillon returned to London to work on demolition sites and renewed old friendships. In the summer of 1947 Dillon stayed with the Saglietti family in the mountains of Borgotaro in the North of Italy. Touring the cities of Florence, Lucca and Parma, several paintings were inspired by this first visit to mainland Europe. In 1991 Pino Saglietti died in London and his art collection was dispersed in the late 1990s.
Gerard Dillon - A Wet Day

Gerard Dillon - A Wet Day

Original
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Lot number: 49
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Gerard Dillon, 1916-1971 A WET DAY Oil on board, 15" x 20 1/2" (38 x 52cm), signed Exhibited: Ohio, Toledo Museum of Art, exhibition untraced San Francisco, San Francisco Museum of Art, New Irish Painters, 1950 (where lent by the Institute of Contemporary Art, Boston, Massachusetts) Provenance: Sold Adams, Dublin, 5th December 2006 (lot 64); 29th May 2013 (lot 86); Private Collection, Dublin
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