Lot 103
  • 103

Gerard Dillon, R.H.A., R.U.A.

Estimate
30,000 - 50,000 GBP
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Description

  • Gerard Dillon, R.H.A., R.U.A.
  • Girl at a Door
  • signed l.r.: Gerard Dillon 
  • oil on board
  • 41 by 27cm., 16 by 10½in.

Provenance

The Dawson Gallery, Dublin, where purchased by the previous owner c.1970;
Private collection

Exhibited

Dublin, Municipal Gallery of Modern Art, Gerard Dillon Retrospective, 1973, no.41

Condition

The board appears to be sound and the work in very good overall condition. Under ultraviolet light there appear to be no signs of retouching. Held under glass in a gilt wood frame with a linen inset; unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Girl at a Door, from the mid-1950s, epitomises Dillon's delight in life in the West of Ireland. For the Belfast-born painter, the people and landscape of Connemara provided relief from the strife and turmoil between North and South. Connemara was a place to be free and a place to stimulate his work, which is seen in the enchanting body of pictures from this period. In the present painting, Dillon depicts a bare-footed girl clasping a bowl of food, standing in the doorway of a simple, cottage interior. Behind the girl, a green table and chair with blue and white ceramics sits below the sunlit window, a jug of flowers on its sill. Beyond the window, a glimpse of the Connemara hills can be seen in the distance. Standing on the threshold of the doorway, it is an inviting image for the viewer. 

Children feature in a number of Dillon's works at this time, and hold an important symbolic role in his painting. When a friend remarked a child might have painted some of his pictures, Dillon replied, 'that is the greatest compliment you could pay me, I am always trying to see with a child's innocence and sincerity' (James White, Gerard Dillon, An Illustrated Biography, 1994, p.59). This childlike approach was an essential ingredient to his painting and it is this quality, with the bright, unmodulated colour, which instills his work with their vivid and engaging quality. As the artist's biographer, James White, remarked, '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'