1916 - 1971
HORSES AT THE HARBOUR WALL
signed l.r.: Gerard Dillon; titled on the reverse
oil on board
40.5 by 51cm., 16 by 20in.
The board appears sound and the work in good overall condition. Minor surface abrasions near centre of upper edge; in upper right corner and near centre of right edge - only visible upon close inspection. The work would benefit from a light clean.
No signs of retouching under ultraviolet light.
Held in a wood and gesso 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."
The Waddington Galleries, Montreal, where purchased by the previous owner circa 1975 and thence by descent
Boston, Childs Gallery, 7 January - 2 February 1952, no.5;
Maxwell Galleries, San Francisco, Gerard Dillon solo exhibition, 27 July - 21 August 1954, no.27
Within the sanctuary of a harbour wall, two horses stand on the beach. Rocks pile up in the foreground and behind two women in traditional dress can be seen while further beyond, two fishermen dry their nets. At the mouth of the harbour, a hooker is making its way in.
The direct and naive innocence of Gerard Dillon's paintings in the West of Ireland evoke his wondrous-like response to the people and landscape. The paintings he made there in the 1950s have since become embedded in the cultural imagination. They represent a way of life now lost to modern eyes and continue to remain as enchanting to today's audience as to when Dillon painted them.
We are grateful to Karen Reihill for her kind assistance with the cataloguing of the present work.