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Roderick O Conor

(1860 -  1940 )
O CONOR Roderick Seated Nude, Half-length

Bonhams /Nov 18, 2015
11,325.03 - 16,987.54
21,400.50

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

O'Conor Roberic

O'Conor Roderick

 

Along with Roderick O Conor, our clients also searched for the following authors:
Mary Swanzy, Daniel O Neill, Evie Sydney Hone, Harry Aaron Kernoff, Ronald Ossory Dunlop, James Dixon, Niccolo D Ardia Caracciolo
Artworks in Arcadja
337

Some works of Roderick O Conor

Extracted between 337 works in the catalog of Arcadja
Roderick O Conor - Nu Brun, Assis

Roderick O Conor - Nu Brun, Assis

Original 1913
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Lot number: 69
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Description:
Roderic O Conor (1860 - 1940) Nu Brun, Assis (1913) Oil on canvas, 65 x 54cm (25½ x 21¼") Signed and dated (19)13 Atelier stamp verso Provenance: Hotel Drovot, Paris 'Vente O'Conor' Feb 1956; Sotheby's London 2/11/1983 Lot 72 where purchased by current owners Exhibited: Roderic O Conor - Shades of a Master , The Hunt Museum, June - Aug 2003, Cat No. 19; Also exhibited: Paris in the 11e. Salon d'Automne in 1913 as No.1596 in a group of six works by O Conor with the title Jeune femme assise. Works by Matisse and Bonnard were also in the same exhibition . This work was painted in his Paris studio before the summer which he spent in Cassis in the south of France. Our thanks to Roy Johnston for this extra information Literature: "Roderic O'Connor" (1992) by Jonathan Benington Cat. No. 164; "Shades of a Master" Hunt Museum 2003 (illustrated) Nora Hickey writing in "Shades of a Master" (2003) said of this picture:- "The influence of Gauguin and the Fauves is apparent in the accentuated outline of this studio nude and the broad directional brushstrokes of the background, which recall O'Conor's earlier feathered brushwork and striped paintings. The sorrowful expression, a common feature of O'Conor's nudes and sympathetic treatment of the subject invite the viewer to empathise with the sitter." O'Conor was friendly with Gauguin and included a work called "Te nave nave fenua" (Delightful land) amongst his important art collection which also included works by Renoir, Derain, Bonnard, Manet, Toulouse-Lautrec and Modigliani amongst many of the other greats. He was not only a great collector but "he was an innovator who had significant influence on his contemporaries and a younger generation of English artists in Paris such as the painter Matthew Smith who referred to O'Conor as his master".
Roderick O Conor - Nature Morte - Flowers On A Table

Roderick O Conor - Nature Morte - Flowers On A Table

Original 1910
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Lot number: 33
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Description:
Roderic O'Conor, 1860-1940 NATURE MORTE - FLOWERS ON A TABLE Oil on canvas, 21 ¼ x 25 ½ in. (54 x 65 cm.), signed and dated 1910; signed and inscribed verso. Provenance: Hôtel Drouot, Paris, Vente O’’Conor, 7 February 1956; with Roland, Browse & Delbanco, London; with Schoneman Galleries, New York, as ‘Flowers on Table’’, where purchased by the previous owner. Exhibited: Paris, Salon d’’Automne, 1910, no. 895, as ‘Nature morte’’ Literature: J. Benington, Roderic O’’Conor: A Biography with a catalogue of his work, Dublin, 1992, pp. 113, 120, 210, no. 165, pl. 45.
Roderick O Conor - Baigneuse À La Mer

Roderick O Conor - Baigneuse À La Mer

Original
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Lot number: 26
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Description:
Roderic O'Conor (1860-1940) Baigneuse à la mer stamped with the studio stamp 'atelier/O'CONOR' (on the reverse) oil on canvas 39 ½ x 32 in. (100.4 x 81.3 cm.) Painted circa 1898-1900. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE IRISH COLLECTION Literature J. Benington, Apollo, 'From Realism to Expressionism: The Early Career of Roderic O'Conor', April 1985, pp. 257, 260, fig. 14. Exhibition catalogue, Roderic O'Conor 1860-1940, London, Barbican Art Gallery, 1985, p. 76, no. 30, illustrated. Exhibition catalogue, Roderic O'Conor, A Selection of his best works in Ireland, Dublin, Godolphin Art Gallery, 1978, pp. 6, 9, no. 4, as 'Nude in Stormy Seascape', illustrated. J. Benington, Roderic O'Conor: A Biography, with a Catalogue of his Work, Blackrock, 1992, pp. 83, 200, no. 87, pl. 29, as 'Nude against stormy seascape'. Exhibited Dublin, Godolphin Art Gallery, Roderic O'Conor, A Selection of his best works in Ireland, 1978, no. 4. London, Barbican Art Gallery, Roderic O'Conor 1860-1940, September - November 1985, no. 30: this exhibition travelled to Belfast, Ulster Museum, November 1985 - January 1986; Dublin, National Gallery of Ireland, January - March 1986; and Manchester, Whitworth Art Gallery, March - May 1986.
Roderick O Conor - Seated Nude, Half-length

Roderick O Conor - Seated Nude, Half-length

Original
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Gross Price
Lot number: 68
Other WORKS AT AUCTION
Description:
Roderic O'Conor (Irish, 1860-1940) Seated Nude, Half-length stamped with atelier stamp (verso) oil on canvas 64.8 x 54.6 cm. (25 1/2 x 21 1/2 in.) Painted circa 1923-6, please note there is another work by a different hand verso Footnotes Provenance Sale; Hotel Drout, Paris, Vente O'Conor, 7 February 1956 With Godolphin Gallery, Dublin, 1978 D.T.H. Clarke Sale; Christie's, R.H.A. Gallagher Gallery, Dublin, 28 June 1995, lot 34 Private Collection, U.K. Exhibited London, Browse & Darby, Roderic O'Conor , 26 October-26 November 1994, cat.no.26 Literature Jonathan Benington, Roderic O'Conor: a Biography with a Catalogue of his Work , Dublin, 1992, p.222, cat.no.267 The sitter for the present work has been identified as Renée Honta, the Artist's mistress and later wife. The painting verso of a Millhouse Landscape is believed to be in her hand.
Roderick O Conor - Nude In The Studio

Roderick O Conor - Nude In The Studio

Original
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Lot number: 43
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Description:
Description: Roderic O'Conor (1860-1940) NUDE IN THE STUDIO oil on canvas with O'Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse h:21.75 w:18.25 in. Provenance: with The Crane Kalman Gallery, London; Where purchased by Barnett Shine; Private collection This quietly contemplative nude model was painted by Roderic O'Conor in his rue du Cherche-Midi studio in the Montparnasse quarter of Paris, where he lived and painted for thirty years after his return to Paris in 1904 following a thirteen year period of residence in Brittany at Pont-Aven and at Rochefort-en-Terre in Morbihan. The change in O'Conor's environment from rural France to the busy and artistically competitive arena of the Paris art world early in the 20th century marked the beginning of a period of detachment from landscape themes, and a greater engagement with traditional studio subjects, including still-lifes, portraits, figure studies and paintings of unclothed female models. In O'Conor's first-floor studio there was one entire wall comprised of small panes of glass admitting natural light into an interior described by Clive Bell in his memoir, Old Friends (1956), as being "spacious but gloomy." For this painting O'Conor chose to pose his model deep in the studio interior taking up a viewing position with his back to the wall of windows. As a result the quality of light which illuminated his subject is soft and quite diffuse, unlike his more frequently used rich contrasts of colour which appear in other figure paintings and still-lifes where the subject was placed much closer to the light source. Behind the seated figure we see the solid mass of the large cast iron stove, which was the only source of heating in his studio and which appears in many of his studio paintings. O'Conor typically preferred to take a direct approach to his studio paintings, working initially in broad generalised tonal masses with little preliminary drawing as he had done in his landscape paintings from Brittany, and from Cassis in the Midi where he painted in 1913. For this portrait however, O'Conor began by making a series of preliminary sketches and drawings of his model, both clothed and unclothed (more than ten such drawings have been identified), with slight variations to the pose and the positioning of her right arm, which in the painting is bent at the elbow and rests on the arm of the chair to provide a support for her slightly inclined head. He also worked on a heavier grade of canvas than usual having a pronounced texture to which he applied a thin stain, deliberately leaving background areas untouched as the painting progressed. Selected passages in the model's upper body and head were similarly treated. Thicker paint was then applied to her upper body as he modelled the forms while keeping to the generally restrained technique and the mood of the painting. It is only in the green drapery on the armchair and in the white sheet or towel covering her left leg that we see O'Conor's typically vigorous and direct brush strokes and his mixing and blending of the oil paint directly on the canvas. This model is also the subject of a particularly strong and highly finished portrait known by the title Rouge et Vert which he exhibited at the Salon d'Automne of 1919, in which she wears a red dress and is seated against a background of patterned red and tan fabric which is generously draped in front of a green wall. Seated Nude was purchased from the Crane Kalman Gallery in London in 1969 by the enthusiastic O'Conor admirer and collector, Barnett Shine. Over the years he and his wife made several donations from their collection including in 1977 what is perhaps O'Conor's best known painting, the quite remarka
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