Irish Art
Lot 86
TONY O'MALLEY, R.H.A. |  INSCAPE 'MOZAGA'
TONY O'MALLEY, R.H.A. |  INSCAPE 'MOZAGA'
TONY O'MALLEY, R.H.A. |  INSCAPE 'MOZAGA'
TONY O'MALLEY, R.H.A. |  INSCAPE 'MOZAGA'
86

TONY O'MALLEY, R.H.A. | INSCAPE 'MOZAGA'

Estimate: 15,000 - 25,000 GBP

TONY O'MALLEY, R.H.A. | INSCAPE 'MOZAGA'

Estimate: 15,000 - 25,000 GBP

Lot Details

Description

TONY O'MALLEY, R.H.A.

1913-2003

INSCAPE 'MOZAGA'


signed with initials l.l and dated l.r.: 10/6/95; also titled, dated 1995, signed and inscribed with the artist's address on the reverse

oil on board

91.5 by 122cm., 36 by 48in.

Condition Report

The board appears sound and the work in very good overall condition. The artist has intentionally used a sand like material within the paint and made 5 shallow drill holes in a circular pattern near centre of lower edge.


Under ultraviolet light there appear to be no signs of retouching.


Held in a cream coloured wood 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.

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Cataloguing

Provenance

RTÉ Collection since circa 1996

Exhibited

Dublin, Royal Hibernian Academy, 1996, no.373, (illustrated in the exh. cat.)

Catalogue Note

A self-taught artist who broke off his previous career and turned to painting following a severe battle with tuberculosis in the 1940s, Tony O’Malley burgeoned as a painter of abstract landscapes to become an undisputed leading light of modern Irish art. O’Malley’s rich sensory imagination and distinctive ability to evoke vertiginous spaces or spiralling movement lend his paintings an elemental energy, forming self-referential, autonomous worlds of their own.


Critics eager to impose stylistic narratives on O’Malley’s long and fruitful career often divide up his oeuvre: in the first, figurative; in the second, following his departure from Ireland to live in St Ives, Cornwall, increasingly abstract. In Ireland producing cool and dark paintings, but after spending long periods in the Bahamas and Canary Islands, turning to warmer colours, more intense light and prodigious patterning. The present work, stimulated by one of O’Malley’s many visits to Lanzarote in the latter part of his life, questions such distinctions. Painted in darker tones with characteristic use of asymmetrical mirroring, O’Malley preferred the term ‘non-objective’ rather than ‘abstract’ to describe works such as this, insisting that his painting was rooted in direct observation. Seeking a language of pure form, O’Malley believed his introspective nature led to a rejection of imagery: ‘I arrived at the inner world from outside. I didn’t want to abandon the outer world’ (Quoted in Tony O’Malley, ed. Brian Lynch, 1996, p.38).

Irish Art
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