Lot 308
  • 308

Katherine MacCausland

Estimate
5,000 - 7,000 GBP
bidding is closed

Description

  • Katherine MacCausland
  • Sisters; Three of a Kind
  • one signed and dated u.l.: K. MacCausland/ 1911; the other signed and dated u.l.: K. MacCausland/ 1912
  • both oil on canvas
  • one 50.5 by 61cm., 20 by 24in.; the other 65 by 81cm., 25½ by 32in.

Provenance

Estate of Edith Eaton Lowe, by whom bequeathed to the Denver Art Museum

Condition

Two Girls: Original canvas. Undulates slightly. Artist's pin holes in each corner and light surface abrasion near lower right corner. Otherwise appears in good overall condition. Under ultraviolet light there appear to be no signs of retouching. Held in gilt composite frame. Three of a Kind: Original canvas. Small paint loss in lower left corner and another to right hand boy's cheek. May benefit from a light clean, otherwise appears in good overall condition. Under ultraviolet light there appear to be no signs of retouching. Held in gilt composite 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

Although little is know today about MacCausland, she was a prominent figure in her time circling with the pioneering British and Irish modernist painters at the turn of the 19th century who were absorbing the new French naturalist style of painting in France. She left Ireland for the artist colony Grez-sur-Loing in the 1880s, frequented by the likes of John Lavery, Walter Osborne, Frank O’Meara and John Singer Sargent. The soft yet confident execution of the present works, with flashes of colour, show her to have successfully grasped the techniques of her better known contemporaries, and even have shades of O'Conor's Breton oils.