Roderick O Conor

(18601940 ) - Artworks
O CONOR Roderick Breton Girl Reading (bretonne Lisant)

Sotheby's /May 22, 2014
14,720.32 - 22,080.47
37,065.00

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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
318

Some works of Roderick O Conor

Extracted between 318 works in the catalog of Arcadja
Roderick O Conor - Étude De Femme

Roderick O Conor - Étude De Femme

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Lot number: 96
Other WORKS AT AUCTION
Description:
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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Gross Price
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).
Roderick O Conor - Breton Girl Reading (bretonne Lisant)

Roderick O Conor - Breton Girl Reading (bretonne Lisant)

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Gross Price
Lot number: 288
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Description:
Provenance Hôtel Drouot, Paris, Vente O’’Conor, 7 February 1956 Exhibited Musée de Pont-Aven, Roderic O’’Conor, L’’oeuvre gravé, 20 March - 20 June 1999; Musée de Pont-Aven, Peintres Irlandais en Bretagne, 26 June - 27 September 1999, no.32 Roderic O'Conor 1860-1940 BRETON GIRL READING (BRETONNE LISANT) stamped on the reverse: atelier O’’ CONOR oil on canvas 64.5 by 54cm., 25¾ by 21¼in. Original canvas. There are some faint signs of craquelure to the thicker areas of impasto on her hat and the on the book, and a very faint pattern to the blue of her dress, only visible upon close inspection; otherwise the work appears in good overall condition. UV light reveals two small area of retouching in the blue of her dress. Held in a gilt plaster frame.
Roderick O Conor - Still Life With A Compotier Of Fruit

Roderick O Conor - Still Life With A Compotier Of Fruit

Original 1923
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Net Price
Lot number: 14
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Description:
Lot 14 Roderic O'Conor RHA, 1860-1940 STILL LIFE WITH A COMPOTIER OF FRUIT Oil on canvas, 25 1/2” x 21 1/4 (65 x 54cm), signed and dated 1923 This carefully composed and densely packed still life of flowers, fruit and ceramic objects disposed on a red tablecloth has only recently come to light in France. The inscription on the original canvas stretcher suggests that it is identifiable with the painting entitled Nature morte (le compotier) which was the third of O’’’’Conor’’’’s five submissions to the 1923 Salon d’’’’Automne (catalogue number 1526). The painting was then priced at 1200 francs and presumably sold from the exhibition, thus bypassing the 1956 O’’’’Conor studio sale at Paris’’’’s Hôtel Drouot, whence the majority of the artist’’’’s works were dispersed. For this picture O’’’’Conor has assembled a number of his favourite possessions and lit them from the right and above with natural light from one of his large studio windows. Unusually, the windows faced south-west as opposed to the customary north – this meant that direct sunlight would stream through the windows in the afternoon, casting his props and models into strong relief, as we see in the present work. He could thus deploy bright highlights for his objects where they caught the light, picking them out against the dark window wall, whilst the shaded parts of the objects stood out from a light-flooded side wall. This strategy allowed him to heighten the drama of his studio compositions. Most of the objects featured in this still life can be found in other still lifes and figure paintings by O’’’’Conor. The 18th-century Delft apothecary’’’’s jar to the left is the same one that featured in Still Life 1924, which the art critic Roger Fry bought direct from the artist and bequeathed to the Courtauld Galleries, London in 1935. The centrally placed Chinese blue and white vase formed the main focus of Le vase bleu 1919, besides appearing, this time without flowers, in the background of Seated woman in a red dress c. 1923-6 (the vase survived until the 1980s when it was accidentally broken during the making of a documentary about the artist). The white compotier occupying the foreground served as a raised platform for arrangements of fruit in many of O’’’’Conor’’’’s later still lifes. Detail did not concern the painter in these works. Rather he sought to create richly textured and coloured surfaces that formed painterly equivalents to nature’’’’s bounty, in the shape of ripe fruit and freshly picked flowers. The blooms in this case include roses and what appear to be sprigs of lilac, which complement the blue vase whilst interposing a cool central zone between the fiery yellows and oranges at top and bottom. Jonathan Benington, 26 February 2014 Estimate: €60,000 - €90,000 AUCTION DETAILS: IRISH ART AUCTION Tuesday 25th March 2014 Thomas Prior Hall, Ballsbridge, Dublin 4 » View Lots » Browse Flip Catalogue » Live Bidding
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