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

Tom Davidson Esq. by 1972;
Mrs T. Davidson, upon whose death sold De Veres, Dublin, 23 November 2004, lot 33 and purchased by the present owner

Ulster Arts Club, Seventy Years of Ulster Painting, 1972, no.8 (lent by Tom Davidson Esq);
Dublin, Municipal Gallery of Modern Art, Gerard Dillon Retrospective, 1973, no.36, with Arts Council of Northern Ireland tour

The board appears to be sound, some minor wear to edges. A small spot of paint loss to the right of the conductor's hand, an abrasion to his left foot, an abrasion left of the girl in the red dress and one or small abrasions near bottom of right vertical edge. There is a discoloured varnish and the work should benefit from a light clean. Under ultraviolet light there appear to be no signs of retouching. Contained in a box frame with a cream and gilt surround.
"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."

Music held an important place in Dillon's life, which is sensed often in the lyrical and joyful rhythm of his paintings. In London, with fellow friends and and artists, such as George Campbell (see lot 110), himself an accomplished guitarist, they would enjoy theatrical soirées, performing occasional parts in the chorus of the D'Oyly Carte Opera or recording and reciting their favourite poetry in Dillon's flat. It is thus not suprising the girls choir at Luton caught Dillon's imagination and materialised in the present work. It was cherished by its first owner Tom Davidson, who was a close friend of Dillon and shared a flat with him in London in the early 1950s.

The painting was dated to 1950 at Dillon's retrospective exhibition but stylistically it also closely resembles The Fish Eaters from 1946 and may date to this period.  

We are grateful to Karen Reihill for her assistance with the cataloguing of the present work.