Lot 100
  • 100

MICHEÁL DE BÚRCA, R.H.A. | September Morning, Keel

Estimate
3,000 - 5,000 GBP
Log in to view results
bidding is closed

Description

  • September Morning, Keel
  • signed and titled on a label attached to the reverse
  • oil on board
  • 46 by 52.5cm., 18 by 20¾in.

Provenance

Dillon Antiques, Dublin, 1981

Condition

The board appears to be sound. Some minor surface abrasions and cracks inherent to the board, which appear stable. Overall the work appears in good condition. UV light reveals some areas of retouching in the mountains and sky, a few spots in the water and buildings and two small spots near the left side of the lower edge. Held in a attractive wood frame, ready to hang.
"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

Although less well known today, Micheál de Búrca trained at the Dublin Metropolitan School of Art and was a regular exhibitor at the Royal Hibernian Academy. He was predominantly a painter of the Irish landscape and had a wonderful feeling for evoking the Irish climate, seen in the present rural view as sunlight breaks through the clouds, painted with rich, gestural brushwork.  de Búrca became a significant figure for education in the arts from his appointment as art inspector for the department of Education in 1940. In 1942 he was appointed Acting Director of the National College of Art, where he re-established the practice of stained glass, metalwork and weaving at the college. In 1970, he became senior art inspector of the National College of Art.