Roderick O Conor

(18601940 ) - Artworks
O CONOR Roderick Still Life With Flowers

Morgan O'Driscoll /Sep 15, 2014
12,000.00 - 18,000.00
10,000.00

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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
321

Some works of Roderick O Conor

Extracted between 321 works in the catalog of Arcadja
Roderick O Conor - Nude With Stove

Roderick O Conor - Nude With Stove

Original 1915
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Lot number: 133
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Lot Description Roderic O'Conor (1860-1940) Nude with stove stamped with the studio stamp 'atelier O'CONOR' (on the reverse) oil on canvas 21½ x 25¾ in. (54.5 x 65.4 cm.) Painted circa 1911-1915. Roderic O'Conor (1860-1940) Nude with stove stamped with the studio stamp 'atelier O'CONOR' (on the reverse) oil on canvas 21½ x 25¾ in. (54.5 x 65.4 cm.) Painted circa 1911-1915. Provenance Paris, Hôtel Drouot, Vente O'Conor, 7 February 1956. with Crane Kalman Gallery, London, where purchased by the present owner's mother in April 1961. Pre-Lot Text VARIOUS PROPERTIES Literature J. Benington, Roderic O'Conor A Biography, with a Catalogue of his Work, Dublin, 1992, p. 209, no. 158. Exhibited Liverpool, Walker Art Gallery, Personal choice, paintings and sculpture from local private collections, July - August 1961, no. 58. London, Browse and Darby, Roderic O'Conor Exhibition, October - November 1994, no. 20. View Lot Notes >
Roderick O Conor - Paysage Breton

Roderick O Conor - Paysage Breton

Original 1894
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Lot number: 7
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Roderic O'Conor (Irish, 1860-1940) Paysage Breton stamped verso 'atelier/O'CONOR' oil on board 54.2 X 73.7 cm. (21 1/4 x 29 in.) Painted in 1894 Footnotes Provenance Studio of the Artist Sale; Hôtel Drouot, Paris, Vente O'Conor , 6 February 1956 With The Waddington Galleries, London, 1958, where acquired by Barbara and Arnold Burton Exhibited London, The Waddington Galleries, House Exhibition , 17 April-10 May 1958, cat.no.9 This rare Pont-Aven landscape by Roderic O'Conor has not been seen in public for over half a century. It dates from 1894, the most momentous year of the artist's career when he met and befriended Paul Gauguin, a liaison that would culminate in an invitation to partner him on his second trip to Tahiti. O'Conor lent Gauguin his studio in the ramshackle Manoir de Lezaven on the slopes above Pont-Aven, only to discover that the French painter relied on one of his drawings as the basis for part of one of his compositions. On 25 May, O'Conor joined the group of bohemian artists on an ill-fated excursion to the fishing port of Concarneau, when a fight broke out with local sailors and Gauguin's ankle was broken by a well-aimed sabot. Laid up for two months, he still managed to work on monotypes and woodcuts and hold court with fellow artists, characterising O'Conor as "one man of Samoa." The subject of Paysage Breton is most probably the slopes of the Bois d'Amour, a well known beauty spot in Pont-Aven. The terrain was described by Henry Blackburn: "The views in the neighbourhood of Pont-Aven are beautiful, and the cool avenues of beeches and chestnut trees, a distinctive feature of the country, extend for miles" ( Breton folk, an Artistic Tour in Brittany , 1881, p. 132). For another writer the Bois d'Amour was "a paradise in golden light and green shadows above the dark river" (Gustave Geffroy, La Bretagne , 1905). The beauty spot entered the annals of modern art in September 1888 when Paul Sérusier chose it as the location for his seminal work, The Talisman (Musée d'Orsay, Paris) (see fig.1), painted under instruction from Gauguin who exhorted him to use the brightest colours on his palette. O'Conor for his part featured the wood in several etchings as well as in his 1892 oil painting, The Glade (Museum of Modern Art, New York), in which dappled sunlight breaks through the leafy canopy. Subsequently the Irishman became fond of the quieter upper rides of the wood, where the trees give way to cornfields and there are panoramic views across the valley. All O'Conor's landscapes dating from after his encounter with Gauguin in May 1894 and before his move to Rochefort-en-terre in 1895 are devoted to trees in the open or in woodland settings. The latter are noted for their contrejour lighting and their introduction of footpaths or farm buildings to convey an implied human presence. The present work is no exception, its palette of colours, contrasting pink, orange and red with swathes of light and dark green, also being characteristic of this body of work completed over the summer of 1894. The use of vestigial 'stripes' in the mauve tree trunks of Paysage Breton echoes those seen in the trees on the left hand side of O'Conor's La ferme de Lezaven, Finistère (National Gallery of Ireland, Dublin), whilst the serpentine path is almost the mirror image of that featured in L'approche de Lezaven (Private Collection). Paysage Breton would appear to be a transitional work in that it retains vestiges of the heavy impasto and alternating 'stripes' of complementary colours which O'Conor favoured during 1892-3, when he took his cue from van Gogh's 1889 paintings of wheat-fields and olive groves. On the other hand, the introduction of subtle colour harmonies, sweeping arabesques and painterly brushwork into Paysage Breton are sure signs of Gauguin's influence or, more accurately, his spoken advice: "Gauguin's strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman" (Clive Bell, Old Friends , 1956, p.166). O'Conor is not, however, content to be a mere Gauguin imitator, as witness the strong light-dark contrasts and tunnel-like perspective of the present work. His pink path snakes its way through the columnar tree trunks, aligned to left and right, leaving a clear void at the centre. This upward movement is held in check by the dark fence or wall, which forms a gently undulating horizontal screen that traverses the canvas. The glimpse of a sun-drenched field on the far side of the barrier gives an almost tropical feel to the scene, which reserves centre-stage not for a three-dimensional feature such as a building, but rather for a pool of light falling on a turn in the path. The radiance here and on the green sward beckons us forward, towards the edge of the wood. We are grateful to Jonathan Benington for compiling this catalogue entry.
Roderick O Conor - Étude De Femme

Roderick O Conor - Étude De Femme

Original -
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Lot number: 96
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Description: Roderic O'Conor (1860-1940) Étude de Femme (c.1915-17) Oil on canvas, 54.5 x 66cm (21½ x 26'') Signed. Atelier stamp verso Signed on middle bar of stretcher ''No.9 Roderic O'Conor 'Etude de Femme' Exhibitied: Salon d'Automne, 1919 (1920); ''Modern British Paintings'' Crane Kalman Gallery, London,1969 (2), ill.; Roderic O'Conor 1860-1940, Retrospective Exhibition, Barbican Art Gallery, London; Ulster Museum, Belfast; National Gallery of Ireland, Dublin; Whitworth Gallery, Manchester, 1985 Cat No. 66 Provenance Hotel Drouot, Paris, Vente O'Conor 7 février, 1956, Crane Kalman Gallery, London, 1969; Mr.J. P. Reihill, Deepwell, Blackrock. Literature Roderic O'Conor 1860 -1940, Roy Johnston,1985, illustrated p.89 Roderic O'Conor 1860-1940, Jonathan Benington, Cat. No. 195, p.213 1992 The young woman who is the subject of this painting by Roderic O'Conor is believed to be Renée Honta. She was born in 1894 in the south west of France in the historic city of Pau, which is situated near the Pyrenees close to the border with Spain. Little is known about her early life or her reasons for leaving the parental home to travel to Paris, but Renée was to play an important role in O'Conor's life, initially as his model and mistress and then as his constant companion, later his wife in 1933. O'Conor included the painting in a group of nine works which he exhibited at the Salon d'Automne in 1919, the year which marked the return of the Salon to the Paris exhibition calendar following its temporary suspension during World War I. In this painting Renée, then in her early 20's, is depicted in a relaxed pose lying on what appears to be a wooden seat or long bench with a wooden arm rest. Her upper body is probably being supported by a concealed cushion covered with a draped blue and white patterned fabric, which appears frequently in O'Conor's studio paintings. She appears comfortable in her surroundings, and the subtlety of her smile and facial expression seem to indicate a relaxed relationship with the artist, who, when this portrait was painted, was thirty four years older than she was. O'Conor has composed his figure on the diagonal and has added interest to his composition through the introduction of a specific anatomical contrast between the angularity of her arms and the subtle rhythm of her reposing body. He has also made the most of the contrast between light and dark areas through an increase in values in the painting of her upper body and arms, which he has set off against the dark area of the bench and studio wall beyond. Additional visual contrast is introduced through variety in the paint application, which ranges from the dark background stain quickly scrubbed into the canvas to the energy of the brush marks defining the fabric of Renée's dress in the bottom right corner of the painting. The expressive wet on wet technique and blending of the paint directly on the canvas is typical of O'Conor's painting technique at this period in his career. Dr. Roy Johnston
Roderick O Conor - Still Life With Flowers

Roderick O Conor - Still Life With Flowers

Original
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Lot number: 40
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Description:
Description: Roderic O'Conor RHA (1860-1940) Still Life with Flowers oil on board stamped lower right atelier O'CONOR h:41 w:33 cm. Provenance: Sotheby's London, The Irish Sale, 9th May 2007 Lot 90 Private Collection There is a second painting on reverse, Still Life with Fruit
Roderick O Conor - Seated Female Nude

Roderick O Conor - Seated Female Nude

Original
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Lot number: 100
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Description:
Roderic O'Conor, R.H.A. (1860-1940) Seated female nude signed with initials 'R.O'C' (upper right), signed again, inscribed and dated 'No 3 Etude R. O'Conor 23/06' (on the stretcher) oil on canvas 24 x 20 in. (61 x 50.8 cm.) with Crane Kalman Gallery, London, 1975. with Pyms Gallery, London, 1982. Dr Terence Fulton, Belfast, and by descent. J. Benington, Roderic O'Conor, a biography with a catalogue of his work, Dublin, 1992, p. 214, no. 206. Paris, Salon d'Automne, 1909, no. 1319, as 'Étude'. London, Pyms Gallery, The Irish Revival, May - June 1982, no. 53 (ex-catalogue).
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