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Beatrice Glenavy

Ireland (1883 -  1970 )
GLENAVY Beatrice Unicorn

Whyte's /May 26, 2014
5,000.00 - 7,000.00
5,800.00

Find artworks, auction results, sale prices and pictures of Beatrice Glenavy at auctions worldwide.
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Variants on Artist's name :

Elvery Beatrice

 

Along with Beatrice Glenavy, our clients also searched for the following authors:
Louis Le Brocquy, Charles Jervas, Nathaniel Hone, Mary Swanzy, Daniel O Neill, Evie Sydney Hone, Harry Aaron Kernoff
Artworks in Arcadja
32

Some works of Beatrice Glenavy

Extracted between 32 works in the catalog of Arcadja
Beatrice Glenavy - The Bird Set Free

Beatrice Glenavy - The Bird Set Free

Original
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Price:

Net Price
Lot number: 73
Other WORKS AT AUCTION
Description:
Lady Beatrice Glenavy RHA (1881-1970) The Bird Set Free oil on canvas 24½ x 31cm (9 x 12in) monogrammed lower right & titled on reverse Private Collection Lady Beatrice Glenavy was born Beatrice Moss Elvery in 1881 and was an Irish stained-glass artist and painter. She attended the Dublin Metropolitan School of Art where William Orpen (1878-1931) taught painting and later used Beatrice as a model. Of his pupil, Orpen has said that she had many gifts, much temperament and great ability. Her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass became so easy to her that all was said in a few hours. She remained a friend and correspondent of Orpen until shortly before his death in 1931. When Sarah Purser (1848-1943) founded her studio An Túr Gloine (The Tower of Glass) in 1903, she invited Beatrice Elvery to be one of the designers and her first commission of six windows was installed in the Convent of Mercy, Enniskillen, Co. Fermanagh in 1905. Beatrice married Charles Campbell, 2nd Baron Glenavy in 1912 and they settled in London, returning to Ireland at the end of the war when she then concentrated on painting.
Beatrice Glenavy - Mermaid

Beatrice Glenavy - Mermaid

Original
Estimate:
Starting price:

Price: Not disclosed
Lot number: 599
Other WORKS AT AUCTION
Description:
LADY BEATRICE GLENAVY, R.H.A. (1883-1970), Mermaid, O.O.C., signed monogram lower right, inscribed verso with the name and address and the original price, 13.5in (34cm)h x 16.5in (42cm). (1) Provenance: Possibly at the IELA 1947, catalogue no. 42 as Mermaid and Rose, or at the RHA Dublin 1954, catalogue no. 63. This painting represents the artists own sculpture, exhibited at the IELA in 1947.
Beatrice Glenavy -  Mother And Child

Beatrice Glenavy - Mother And Child

Original -
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Price:

Net Price
Lot number: 30
Other WORKS AT AUCTION
Description:
Description: Lady Beatrice Glenavy RHA (1883 - 1968) Mother and Child Oil on canvas, 61 x 41cm (24 x 16'') Signed with monogram Provenance: Sir John Purser - Griffith and by family decent to his great niece Miss. A Griffith Exhibited: ''Irish Women Artists Exhibition'', National Gallery of Ireland, 1987, Cat. No. 114 Irish Women Artists 1870-1970, Adam's, Dublin, July 2014, AVA Gallery, Clandeboye Aug-Sept 2014, Cat. No. 49 Literature: ''Irish Women Artists'', National Gallery of Ireland publication, 1987 illustrated page 134; ''100 years of Irish Art - A Millennium Presentation'' by Eamon Mallie 2000, page 144, full page illustration page 145 Irish Women Artists 1870-1970, full page illustration p.65
Beatrice Glenavy - Unicorn

Beatrice Glenavy - Unicorn

Original 1950
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Net Price
Lot number: 47
Other WORKS AT AUCTION
Description:
Lady Beatrice Glenavy RHA (1881-1970) UNICORN, c.1950 oil on board signed with initials lower right; inscribed with title, artist````s name [Lady Glenavy] and address [Rockbrook House, Rathfarnham, Co. Dublin] and original price [£20] on reverse 16 by 20in., 40 by 50cm. L Irish Exhibition of Living Art, 1950, catalogue no. 22
Beatrice Glenavy - The Dance

Beatrice Glenavy - The Dance

Original 1933
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Price:

Net Price
Lot number: 9
Other WORKS AT AUCTION
Description:
Lady Beatrice Glenavy RHA 1881-1970 THE DANCE Oil on canvas, 18” x 26” (46 x 69cm), signed, and dated 1933; inscribed with original price of £15 on reverse. Provenance: Acquired by the previous owners parents directly from the artist in the 1930s; Private Collection, Dublin. Exhibited: The RHA Annual Exhibition 1934, no. 155, for sale at 15 gns. The artist is best known as Lady Glenavy, painter of surreal, mythological scenes and still-lifes where reality and illusion are interchangeable, although she had achieved precocious renown in Dublin as Beatrice Elvery for her sculpture, painting, graphic illustrations and stained glass before she married the Hon. Gordon Campbell (son of the Lord Chancellor of Ireland) in 1912. In 1918, after eight years in London, she and her brilliant barrister husband returned to Dublin with two small children at a politically explosive period in Ireland, living at various addresses until they settled in Kimmage, Co. Dublin in 1922. Much of her work was destroyed by a fire at this time. Once her youngest child, born in 1924, was old enough she began painting again in oils and in tempera, on furniture and making small portraits in a pointillist idiom. By 1931, when her husband, by now Secretary to the Irish Free State Department of Industry and Commerce, succeeded to his father’’s title, she was painting regularly in oil on canvas. Having first exhibited at the Royal Hibernian Academy in 1902, she continued to do so more or less annually until 1969. She was elected an Academician the year she painted this canvas, which depicts a poet reading in an Arcadian landscape while two shepherdesses dance to the pipe of a boy satyr. This followed her masterpiece, ‘The Intruder’’ (1932), ‘The Vain Suit’’ (1932-3), also featuring a diaphanously-dressed, straw-hatted shepherdess, Cupid and a playful whippet, and a smaller, similarly composed and figured study, ‘Shepherdess and Poet’’ (1933-4). Her paintings were inspired as much by inanimate images of Staffordshire china ornaments, driftwood, children’’s toys, memorabilia, be-ribonned plaster plaques, potted flowers and cacti as by lithely sinuous Regency figures performing romantic tableaux in lyrical woodland settings, often beside the sea. Her unerring gift for modelling lively imaginary figures, painted in warm colour harmonies from the fantasy world of her imagination is as recognizable as her fancifully staged theatrical compositions, frozen in suspended motion. This painting was given by the artist to the mother of the present owner, perhaps via the Swedish consul and his wife, Harry and Signe Eriksson, close friends of the Glenavys in Dublin in the 1930s. Nicola Gordon Bowe October 2013
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