PATRICK HICKEY | STILL LIFE WITH OYSTERS
3,000 - 5,000 GBP
1927 - 1998
STILL LIFE WITH OYSTERS
oil on canvas
63.5 by 76cm., 25 by 30in.
Original canvas. There are some occasional and minor traces of craquelure to the canvas which appear stable and are only visible upon closer inspection. The work appears in good overall condition.
Under ultraviolet light there appear to be no signs of retouching.
Held in a simple wooden box 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."
It is as a print-maker, and his contributions to its advancement in Ireland, that Patrick Hickey is chiefly known. He founded the Graphic Studio in Dublin in 1960, represented Ireland in international print biennials and exhibitions, and designed postage stamps and banknotes for the Irish government.
Born in the Northwest Frontier in India, now Pakistan, Hickey moved to Ireland in 1948 and after studying architecture at UCD, worked for Scott, Tallon and Walker in the 1950s and 60s. As a painter, he exhibited at the Irish Exhibition of Living Art and held shows in Dublin, with the Dawson, Taylor and Caldwell galleries. Fellow painter and print-maker Elizabeth Rivers commented on Hickey's 'original and convincing use of colour' in his paintings. The present work and lot 121 reveal Hickey's stylised and modern painting technique, and his formal concerns linked to his print-making practice.