Mainie Jellett Paintings & Artwork for Sale | Mainie Jellett Art Value Price Guide

Sep. 15, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Portrait of a Lady Medium: Pencil Sketch Signature: Unsigned Provenance: Private Collection Framed
Sheppards
Sep. 15, 2026
MAINIE JELLETT (1897 - 1944)
Est: €500 - €800
Title: Triangular Form Medium: Pencil Sketch Signature: Unsigned Provenance: Adam's, Dublin, 1980s (As Part of a Folio of Sketches ad Drawings); Private Collection Framed
Sheppards
Sep. 15, 2026
MAINIE JELLETT (1897 - 1944)
Est: €1,000 - €1,500
Title: Seated Female Nude Medium: Pencil Sketch Signature: Unsigned Provenance: The Collection of Bruce Arnold; Private Collection Framed
Sheppards
Jun. 10, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Male Nude Study (1919) Medium: Pencil Sketch Signature: Signed and Dated Lower Right Provenance: Private Collection Framed
Sheppards
Jun. 10, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Lady Sketching Medium: Pencil Sketch Signature: Unsigned Provenance: Private Collection Framed
Sheppards
Jun. 10, 2026
MAINIE JELLETT (1897 - 1944)
Est: €600 - €900
Title: Abstract Constructive Composition Medium: Pencil Sketch Signature: Inscribed Lower Centre Left Provenance: Adam's, Dublin, 1980s (As Part of a Folio of Sketches and Drawings); Private Collection Framed
Sheppards
Jun. 10, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Seated Female Nude (Study) Medium: Pencil Sketch Signature: Unsigned Provenance: Private Collection Framed
Sheppards
May. 27, 2026
Mainie Jellett (1897-1944) Nude Portrait of a Girl Seated in an Interior Oil on canvas, 54 x 34cm (21½ x 13½'') Provenance: A gift to the present owners from Bruce Arnold
Est: €5,000 - €7,000
Mainie Jellett (1897-1944) Nude Portrait of a Girl Seated in an Interior Oil on canvas, 54 x 34cm (21½ x 13½'') Provenance: A gift to the present owners from Bruce Arnold
Adam's
May. 27, 2026
Mainie Jellett (1897-1944) Portrait of the Artist's Mother Janet, Seated at a Table with a Green Bowl Watercolour, 25 x 20cm (9¾ x 8'') Provenance: A gift to the present owners from Bruce Arnold
Est: €800 - €1,200
Mainie Jellett (1897-1944) Portrait of the Artist's Mother Janet, Seated at a Table with a Green Bowl Watercolour, 25 x 20cm (9¾ x 8'') Provenance: A gift to the present owners from Bruce Arnold
Adam's
May. 27, 2026
Mainie Harriet Jellett (1897-1944) Abstract Gouache, 22 x 28cm (8½ x 11) Provenance With Taylor Galleries, Dublin, label verso.
Est: €4,000 - €6,000
Mainie Harriet Jellett (1897-1944) Abstract Gouache, 22 x 28cm (8½ x 11) Provenance With Taylor Galleries, Dublin, label verso.
Adam's
Mar. 25, 2026
Mainie Jellett (1897-1944) Life Drawing Class - Female Nude Study (1920) Pencil, 18 x 28cm (7 x 11'') Signed and dated 1920
Est: €1,500 - €2,500
Mainie Jellett (1897-1944) Life Drawing Class - Female Nude Study (1920) Pencil, 18 x 28cm (7 x 11'') Signed and dated 1920
Adam's
Feb. 24, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Male Nude Medium: Pencil and Charcoal on Paper Signature: Unsigned Provenance: The Collection of Bruce Arnold; Private Collection Framed PICTURES AND PRINTS Tuesday 24th February 2026 21:01:12
Sheppards
Feb. 24, 2026
MAINIE JELLETT (1897 - 1944)
Est: €800 - €1,200
Title: Female Nude Medium: Pencil and Charcoal on Paper Signature: Unsigned Provenance: The Collection of Bruce Arnold; Private Collection Framed PICTURES AND PRINTS Tuesday 24th February 2026 20:00:36
Sheppards
Dec. 11, 2025
MAINIE JELLETT (1897 - 1944)
Est: €400 - €600
Title: Abstract Composition Medium: Pencil Sketch on Paper. Signature: Unsigned Provenance: The Collection of Tommy Smith, Grogan's Pub, Dublin; Private Collection Framed Pencil drawing on paper featuring a geometric abstract design composed of intersecting forms and rhythmic lines, typical of the artist’s early Cubist influence. Framed and glazed. PICTURES AND PRINTS Thursday 11th December 2025 20:06:56
Sheppards
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Loch Carron, Ross-shire, with Skye Mountains, (c.1921) Watercolour, 26.5 x 19cm (10½ x 7½'') Signed
Est: €3,000 - €5,000
Mainie Harriet Jellett (1897-1944) Loch Carron, Ross-shire, with Skye Mountains, (c.1921) Watercolour, 26.5 x 19cm (10½ x 7½'') Signed
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Haystacks Gouache, 18 x 16cm (7 x 6¼'') Provenance: From the Collection of the late Bruce Arnold
Est: €600 - €1,000
Mainie Harriet Jellett (1897-1944) Haystacks Gouache, 18 x 16cm (7 x 6¼'') Provenance: From the Collection of the late Bruce Arnold
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Study For Puck Fair Watercolour and pencil, 34 x 19cm (13½ x 7½'') Inscribed with artist's notes Provenance: From the Collection of the late Bruce Arnold Exhibited: London, Waddington Gallery
Est: €2,000 - €3,000
Mainie Harriet Jellett (1897-1944) Study For Puck Fair Watercolour and pencil, 34 x 19cm (13½ x 7½'') Inscribed with artist's notes Provenance: From the Collection of the late Bruce Arnold Exhibited: London, Waddington Gallery
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Seated Woman Pencil, 50 x 33cm (19¾ x 13'') Provenance: From the Collection of the late Bruce Arnold
Est: €1,500 - €2,000
Mainie Harriet Jellett (1897-1944) Seated Woman Pencil, 50 x 33cm (19¾ x 13'') Provenance: From the Collection of the late Bruce Arnold
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Male Nude Study - Side Profile Pencil, 53 x 33cm (21 x 13'') Provenance: From the Collection of the late Bruce Arnold
Est: €800 - €1,200
Mainie Harriet Jellett (1897-1944) Male Nude Study - Side Profile Pencil, 53 x 33cm (21 x 13'') Provenance: From the Collection of the late Bruce Arnold
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Nude Study Pencil, 50 x 33cm (19¾ x 13'') Provenance: From the Collection of the late Bruce Arnold
Est: €800 - €1,200
Mainie Harriet Jellett (1897-1944) Nude Study Pencil, 50 x 33cm (19¾ x 13'') Provenance: From the Collection of the late Bruce Arnold
Adam's
Nov. 26, 2025
Mainie Harriet Jellett (1897-1944) Abstract Composition Gouache, 26 x 10.5cm (10¼ x 4)
Est: €3,000 - €5,000
Mainie Harriet Jellett (1897-1944) Abstract Composition Gouache, 26 x 10.5cm (10¼ x 4)
Adam's
Sep. 29, 2025
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION
Est: €18,000 - €22,000
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION gouache h:19 w:15 in. Provenance: de Veres, 22 May 2012, lot 9; Private collection Mainie Jellett began her journey as an artist taking watercolour lessons as a young girl and later working under artists Sarah Cecilia Harrison and May Manning. She entered the Dublin Metropolitan School of Art in 1914 during William Orpen's tenure and three years later went to London to study at the Westminster Art School with Walter Sickert. There she met Evie Hone who became a lifelong friend. In 1920 she won the Taylor Scholarship facilitating her travel to Paris with Hone where they worked in the studio of André Lhote and encountered Cubism for the first time. Later, both decided to work with Albert Gleizes and focus their practice on pure abstraction. On returning to Ireland Jellett began to exhibit her Cubist works and give painting lessons from her home. Her work was not well received with George Russell particularly critical in his reviews. Jellett continued to exhibit in Paris and showed regularly in Dublin in the 1920s with the Dublin Painter's Gallery. The following decade saw a more religious subject matter enter her oeuvre as well as a greater realism. She exhibited at the RHA from 1930 to 1937 as well as the Watercolour Society of Ireland until 1943. By the 1940s she was a leader in the Modern movement in Ireland and joined the avant-garde White Stage Group whose members included Basil Rakoczi, Kenneth Hall, Louis le Brocquy, Thurloe Conolly and Patrick Scott. Jellett exhibited in the inaugural Irish Exhibition of Living Art, where she had been appointed chairman but was unable to attend as she fell ill and died a short time later. Abstract Composition is undated but stylistically would tie in with her work of the late 1920s and early 1930s. It displays Jellett's absorptions of the Cubist technique of translation and rotation but incorporates a colour range and form that evokes the Madonna and child image. In her essay, Mainie Jellett: Translating Cubism, Dr Riann Coulter argued that, "The hostility that Jellett encountered in 1923 did not break her resolve to convert Ireland to the Modernist cause, but it did make her realise that, in order to communicate with a wider Irish public, she would have to adapt". (1) She later writes, "An alternative vehicle was needed, a discourse both spiritual and Irish that could sustain her abstract aesthetic. It was through the familiar iconography of religious imagery that Jellett's reconciliation of Ireland and Modernism was to be achieved."(2). Celtic art also had its role to play making Jellett's work more palatable. Coulter writes, "The stylistic influence of Celtic art can be discerned in Jellett's religious work. Her use of the rectilinear framing devices to contain the spiralling form... [r]elates to manuscript illuminations from The Books of Kells, where imposing frames enclose figures, and areas of dynamic knotwork are anchored within static borders."(3) The present painting exhibits these three elements of Jellett's later work - Cubist, religious and Celtic - that helped ingratiate her work to Irish audiences and ultimately place her within the history books as a leader of the modern art movement in Ireland. After her death Jellett was celebrated with a memorial exhibition at the Dublin Painters Gallery and the Victor Waddington Gallery. The Irish Museum of Modern Art, Dublin (IMMA) exhibited a large retrospective of her work in 1991. She has since been the subject of two major exhibitions in Ireland in the last decade, 'Analysing Cubism' (IMMA) travelling to the Crawford Art Gallery, Cork and later the F.E. McWilliam Gallery & Studio, Banbridge, Co. Down in 2013 and, most recently, at the National Gallery of Ireland, 'Mainie Jellett and Evie Hone. The Art of Friendship', April to August 2025. Her artistic legacy and her position as a leader in the modern Irish art movement continues to be explored by academics while at auction her works have enjoyed sustained demand with a world record price achieved for her oil painting, Achill Horses, 1933, with Whyte's in May 2025 (lot 37, 26 May €210,000). Adelle Hughes August 2025 Footnotes: 1 Kissane, Seán, Ed., Analysing Cubism, Crawford Art GAllery, Cork, 2013, p.104 2 Ibid., p.105 3 Ibid., p.106
Whyte's
Sep. 24, 2025
Mainie Harriet Jellett (1897-1944) Cubist Male Nude in Landscape (c.1921) Oil on canvas, 61 x 46cm (24 x 18¼'') Mainie travelled to Paris in early February 1921 to study with the French painter André Lhote. She would remain under his tute
Est: €20,000 - €30,000
Mainie Harriet Jellett (1897-1944) Cubist Male Nude in Landscape (c.1921) Oil on canvas, 61 x 46cm (24 x 18¼'') Mainie travelled to Paris in early February 1921 to study with the French painter André Lhote. She would remain under his tutelage for ten months and during that time filled numerous sketchbooks with life drawings, studies of old master paintings, landscapes and portraits. Her work of this period is infused with an intense focus on the human form, movement of the body while also adopting the angular and geometric cubist inspired compositions. From the sketches she made, she would work them up onto a stretched canvas. Evidence of the square grids used to help with scaling up the image can be seen in this present work in the sharp lines of the tree branches, vegetation and the pedestal on top of which the figure sits. A very similar example to this work, sold in these salerooms (Important Irish Art, May 2006, lot 105) depicted a female nude figure in a cubist landscape. The background scenes are not identical; the female study employs sharper and more geometric angles while this example has a softer appearance. In this present work the male nude sits playing a violin, the bow held in his right hand. Instruments appear regularly in cubist works of the period, figures playing guitars, lutes and mandolins. Here Jellett has maintained the integrity of the object, rather than fracturing it into multiple facets and perspectives. Her sketches from this period reveal a strong grounding in anatomy which is clearly evident in both works where Jellett depicts the figures posed in a traditional life model stances. She renders the bodies of figures in a more muscular and defined manner, drawing inspiration from the distinctive nudes painted by Picasso and Braque. The handling of the background is very reminiscent of the landscape scenes painted by Paul Cezanne in the modulation of the tone and colour. The use of quick short brushstrokes setting the composition into motion as the light shifts and moves across the canvas. Lhote was fascinated by the work of Cezanne and was determined to explore, through his own paintings, the problems of how to present a representational scene, the natural world, a human figure within specific constraints of the picture plane. The tension between nature and pictorial construction is evident in his work Paysage au Cheval Blanc, 1912, (Private Collection). Jellet, along with Evie Hone would eventually leave the Lhote academy to study with Albert Gleizes, becoming aware of the limitations of Lhote’s practice and desiring further progression of an abstract cubist style which also had essential social and religious convictions attached to it. Their shared relationship as artists working in Paris in the early 1920s was highlighted in the recent National Gallery of Ireland’s exhibition, The Art of Friendship. Niamh Corcoran, August 2025
Adam's
Sep. 24, 2025
Mainie Harriet Jellett (1897-1944) Abstract Composition (1929) Gouache, 39 x 19.5cm (15¼ x 7½'') Signed and dated (19)'29 Provenance: The Purser Family Exhibited: Dublin, Hugh Lane Municipal Gallery, July/Oct 1962, catalogue no.118
Est: €5,000 - €8,000
Mainie Harriet Jellett (1897-1944) Abstract Composition (1929) Gouache, 39 x 19.5cm (15¼ x 7½'') Signed and dated (19)'29 Provenance: The Purser Family Exhibited: Dublin, Hugh Lane Municipal Gallery, July/Oct 1962, catalogue no.118
Adam's
Sep. 24, 2025
Mainie Harriet Jellett (1897-1944) Study of Trees Gouache, 25 x 33cm (9¾ x 13) Signed in pencil Exhibited: Dublin, Hugh Lane Municipal Gallery, July/Oct 1962, catalogue no.63
Est: €1,500 - €2,500
Mainie Harriet Jellett (1897-1944) Study of Trees Gouache, 25 x 33cm (9¾ x 13) Signed in pencil Exhibited: Dublin, Hugh Lane Municipal Gallery, July/Oct 1962, catalogue no.63
Adam's
Jul. 16, 2025
MAINIE JELLETT - ABSTRACT GEOMETRIC DRAWING
Est: €400 - €600
Pencil sketch on paper, an abstract composition of intersecting angular shapes within a loosely octagonal boundary. Framed and glazed. From the artist's studio sale. PICTURES AND PRINTS Wednesday 16th July 2025 16:07:24
Sheppards
May. 26, 2025
Mainie Jellett (1897-1944) ACHILL HORSES, 1933
Est: €70,000 - €100,000
Mainie Jellett (1897-1944) ACHILL HORSES, 1933 oil on canvas signed and dated lower left h:36 w:26 in. Provenance: The Collection of Dr. E. MacCarville; James Adam & Sons, 10 July 1986, lot 80; Whence acquired by Allied Irish Bank; de Veres, 12 June 1996, lot 16; Private collection Exhibited: ’Mainie Jellett 1897-1944: A Retrospective Exhibition of Paintings and Drawings’, Municipal Gallery of Modern Art, Dublin, 26 July – 7 October 1962, catalogue no. 68 Achill Horses is part of a series of paintings made in the late 1930s when Jellett began to produce more representational subjects than her previous austere compositions. Her visit to the major exhibition of Chinese art in London in 1935 had a profound effect on her ideas about art. She saw close connections between the unity of image and pattern found in 10th and 11th century Chinese painting and that seen in early Celtic Irish art such as the Book of Kells. Landscape was an important theme in Chinese art and upon returning to Ireland after visiting the exhibition Jellett immediately went to stay in Achill. The resulting works apply the lessons of Chinese art along with her knowledge of cubist form to the West of Ireland landscape. A recurring subject is that of horses roaming freely in the Achill countryside. Jellett's use of a modern abstract style to depict the West was in marked contrast to the dominant realist mode of presenting the region as found in the work of her contemporaries Paul Henry and Charles Lamb. Her success in creating a new visual language for rural Ireland was confirmed by the fact Jellett was chosen to create murals representing the life and people of Ireland for the Free State's pavilion at the Glasgow Empire Exhibition in 1938. One of the ten scenes depicted was horses grazing in the West of Ireland. This commission was, along with Chinese art, a catalyst for the development of the Achill Horses series. Another version of the subject, Achill Horses II, (1938, National Gallery of Ireland) was shown at the Glasgow exhibition and was also included in the Irish pavilion at the New York World Fair the following year. Using a broad range of colours from earthy browns and reds to olive greens and pale pink Jellett creates a dynamic composition based on three horses. Two are standing on elevated ground silhouetted against a sky filled with spiralling forms suggestive of light and movement. They are balanced by the figure of the horse on the lower register whose darker colours anchor the structure of the painting. The animals' bodies form the fulcrums of the composition with circular and linear forms emanating from them. Like her earlier more severe abstract paintings Achill Horses has an inner rhythm and movement. The relationships of colours and forms have been carefully orchestrated to maintain an overall sense of unity and balance. This is extended even to the framing line of harmonising colours which surrounds the edge of the composition. The painting differs from Achill Horses II in its more angular forms and darker colours. Its opaque grainy surface gives the painting a mural-like quality which reflects Jellett's interest in enduring traditions of art-making and her uniting of a modern cubist style to older pre Renaissance practices. Dr. Róisín Kennedy
Whyte's
Mar. 18, 2025
ATTRIBUTED TO MAINIE JELLETT (1897 - 1944)
Est: €4,000 - €6,000
Abstract Composition. Oil on canvas. Framed. PICTURES AND PRINTS Tuesday 11th March 2025 Approximate Time 13:03:18
Sheppards
Mar. 18, 2025
MAINIE JELLETT (1897 - 1944)
Est: €400 - €600
Abstract Composition. Pencil. Framed. Provenance: Whytes, Dublin. PICTURES AND PRINTS Tuesday 11th March 2025 Approximate Time 11:42:42
Sheppards
Oct. 19, 2024
MAINIE (MARY HARRIET) JELLETT : Brustbildnis eines Mannes,
Est: €300 - €450
MAINIE (MARY HARRIET) JELLETT 1897 - Dublin - 1944 Brustbildnis eines Mannes, im Dreiviertelprofil nach rechts. Bleistiftzeichnung 1918. Signiert und datiert. Verso mit nicht vollständig ausgeführter Bleistiftstudie (Sitzender weiblicher Akt von hinten). Auf chamoisfarbenem Simili-Japan. 17 x 15,5 cm (Darstellung). Angestaubt, vereinzelt fleckig, Ränder mit kleinen Läsuren sowie mit Nadelspuren in den Ecken. [bg]
Winterberg-Kunst
Oct. 08, 2024
MAINIE JELLETT, IRISH 1897-1944, STUDY OF A MALE NUDE, Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm.), Frame: 22 x 18 in. (55.9 x 45.7 cm.)
Est: $2,000 - $3,000
MAINIE JELLETT IRISH, 1897-1944 STUDY OF A MALE NUDE Oil on canvas Catalogue note: Mainie Harriett Jellett began her artistic studies at the Metropolitan School of Art in Dublin, where she studied under William Orpen. Jellett continued her studies under Walter Sickert at the Westminster Technical Institute in London, where she was enrolled from 1917 until 1919. In 1921, while in Paris studying at the ateliers of Andre Lhote and Albert Gleizes, the artist encountered cubism and began exploring abstraction. Jellett was one of the first Irish artists to explore modernism and abstraction and her painting "Decoration" was among the first abstract paintings shown in Ireland when it was exhibited at the Society of Dublin Painters Group Show in 1923.
Potomack Company
Oct. 01, 2024
Mainie Jellett (1897 - 1944) Abstract, 1933 Gouache, 24.5 x 20cm Signed and dated lower right, with inscription verso Provenance: With the Dawson Gallery, Dublin, where purchased
Est: €4,000 - €6,000
Mainie Jellett (1897 - 1944) Abstract, 1933 Gouache, 24.5 x 20cm Signed and dated lower right, with inscription verso Provenance: With the Dawson Gallery, Dublin, where purchased
Adam's
Aug. 11, 2024
MAINIE JELLETT (1897-1944 IRELAND) CUBIST GOUACHE
Est: $3,000 - $6,000
Mary Harriet "Mainie" Jellett (1897-1944 Ireland) Untitled Abstract Composition Gouache on Paper. Signed bottom center. Paper measures 18.5x11.5". Paper laid down to cardstock backing with overall size of 21x14.5". Unframed. Noticable crease across artwork. Strong colors and overall good condition, a fine example of Jellett's cubist inspired artwork.
District Auction
Apr. 27, 2024
MAINIE JELLETT IRISH 1897-1944
Est: $7,000 - $12,000
Untitled, (Abstraction), gouache, 13 2/5 x 8.7/8 in (33.4 x 22.5 cm), framed 22 x 16 1/2 in (55.9 x 41.9 cm), signed lower right, PROVENANCE: Private collector Mamaroneck, NY
Trinity International Auctions & Appraisals, LLC
Mar. 11, 2024
Mainie Jellett (1897-1944) STUDY FOR BOG AND SEA, 1940
Est: €2,000 - €3,000
Mainie Jellett (1897-1944) STUDY FOR BOG AND SEA, 1940 gouache signed and dated lower right; with original exhibition label on reverse h:10.50 w:14.25 in. Provenance: The artist's estate; Purchased from the Waddington Galleries, Dublin, June 1944 by Mr & Mrs C. E. F. Trench, Co. Meath; Whyte's, 18 November 2003, lot 10; Private collection Exhibited: ’Paintings by Mainie Jellett’, 7 St. Stephen’s Green, Dublin, 21 November to 3 December 1941, catalogue no. 34 [5 guineas]; ‘Mainie Jellett Memorial Exhibition’, Dublin Painters Gallery and Waddington Galleries, Dublin, 1-14 June 1944, catalogue no. 30 [6 guineas]; ’Mainie Jellett 1897-1944: A Retrospective Exhibition of Paintings and Drawings’, Municipal Gallery of Modern Art, Dublin, 26 July to 7 October 1962, catalogue no. 65 (loaned by Mrs C. E. F. Trench)
Whyte's
Mar. 05, 2024
MAINIE JELLETT (1897 - 1944)
Est: €500 - €700
Abstract Forms. Pencil sketch. Framed. Provenance: From the Artist's Studio Sale. Image size: 27 x 21 cm.; framed: 46 x 38 cm. PICTURES AND PRINTS Approximate Time 15:13:20
Sheppards
Dec. 04, 2023
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION, c.1929
Est: €10,000 - €15,000
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION, c.1929 gouache with Neptune Gallery exhibition label on reverse h:18 w:11 in. Exhibited: 'Mainie Jellett, 1897-1944 : A Retrospective Exhibition of Paintings and Drawings', Municipal Gallery of Modern Art, Dublin, 26 July to 7 October 1962, catalogue no. 41; 'Mainie Jellett 1897-1944', Neptune Gallery, Dublin, 12 September to 26 October 1974, catalogue no. 48 Literature: Arnold, Bruce, Mainie Jellett and the Modern Movement in Ireland, Yale University Press New Haven & London, 1991, no. 149, p. 111 (illustrated in colour)
Whyte's
Nov. 29, 2023
Mainie Jellett (Irish, 1897-1944), for Ceadogán Rugs Mainie Jellet No. 2 (Executed in March 2022No. 4 from an edition of 10)
Est: £2,000 - £3,000
Mainie Jellett (Irish, 1897-1944), for Ceadogán Rugs Mainie Jellet No. 2 hand tufted wool rug 188 x 122cm (74 x 48 1/16in). Executed in March 2022 No. 4 from an edition of 10
Bonhams
Sep. 27, 2023
Mainie Jellett (1897 - 1944) Composition Gouache, 26 x 21cm (10¼ x 8¼) Signed and dated (19)'26
Est: €4,000 - €6,000
Mainie Jellett (1897 - 1944) Composition Gouache, 26 x 21cm (10¼ x 8¼) Signed and dated (19)'26
Adam's
Mar. 08, 2023
MAINIE JELLETT (IRISH 1897-1944)
Est: £2,000 - £3,000
MAINIE JELLETT (IRISH 1897-1944) Property of a Private Collection MAINIE JELLETT (IRISH 1897-1944) Composition gouache 23 x 18 cm PROVENANCE: European Modern Art, Dublin, 1991 Sale, Sotheby's, London, 23rd November 2006, lot 217 Private Collection, London Mainie Jellett was an Irish artist born in 1897. She was a pioneering figure in the development of abstract art in Ireland and was one of the founders of the Irish Exhibition of Living Art. Jellett's work was heavily influenced by the work of Kazimir Malevich, who was one of the pioneers of abstract art. She was particularly interested in his use of geometric shapes and the way in which he used colour to create a sense of depth and movement in his paintings. Her use of geometric shapes and bold colours has been particularly influential in shaping the aesthetic of modern abstract art. Jellett was deeply religious, and her works often reflect a religious element or iconography. The presents works (Lots 22 and 23) may be an abstract head of Christ. Her religious beliefs helped her to weather criticism of her oeuvre in a country that was more used to representational art; conversely, the religious undertones helped to win people over and she is now recognised as a champion of the modern movement in Ireland.
Chiswick Auctions
Mar. 08, 2023
MAINIE JELLETT (IRISH 1897-1944)
Est: £1,000 - £2,000
MAINIE JELLETT (IRISH 1897-1944) Property of a Private Collection MAINIE JELLETT (IRISH 1897-1944) Composition sepia wash 23 x 18 cm PROVENANCE: European Modern Art, Dublin, 1991 Sale, Sotheby's, London, 23rd November 2006, lot 216 Private Collection, London Mainie Jellett was an Irish artist born in 1897. She was a pioneering figure in the development of abstract art in Ireland and was one of the founders of the Irish Exhibition of Living Art. Jellett's work was heavily influenced by the work of Kazimir Malevich, who was one of the pioneers of abstract art. She was particularly interested in his use of geometric shapes and the way in which he used colour to create a sense of depth and movement in his paintings. Her use of geometric shapes and bold colours has been particularly influential in shaping the aesthetic of modern abstract art. Jellett was deeply religious, and her works often reflect a religious element or iconography. The presents works (Lots 22 and 23) may be an abstract head of Christ. Her religious beliefs helped her to weather criticism of her oeuvre in a country that was more used to representational art; conversely, the religious undertones helped to win people over and she is now recognised as a champion of the modern movement in Ireland.
Chiswick Auctions
Mar. 06, 2023
Mainie Jellett (1897-1944) ÁVILA, SPAIN, c.1920s
Est: €6,000 - €8,000
Mainie Jellett (1897-1944) ÁVILA, SPAIN, c.1920s oil on board signed and titled on reverse h:11.50 w:14 in. Provenance: Gifted from the artist to Sarah Purser; Thence by descent to her nephew; Gifted to the artist R. A. Davey; Thence to the present owner
Whyte's
Nov. 28, 2022
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION
Est: €8,000 - €12,000
Mainie Jellett (1897-1944) ABSTRACT COMPOSITION gouache h:18 w:15.50 in. An abstract and figure painter, Jellett started to take watercolour lessons as a young girl, later working under Sarah Cecilia Harrison and May Manning. She entered the Dublin Metropolitan School of Art in 1914 while William Orpen was teaching there. Three years later she went to study at the Westminster Art School in London with Walter Sickert. It was there that she met Evie Hone who became a lifelong friend. In 1920 she won the Taylor Scholarship and this money allowed her to travel to Paris with Hone, where they worked in André Lhote's studio. Here they had their first taste of Cubism, however, after a while they both decided to move into the realm of pure abstract painting and transferred to work with Albert Gleizes. On her return to Ireland, Jellett continued to visit him during the summer for the next ten years. In Dublin she gave painting lessons from her home and began to exhibit her cubist paintings, which received hostile criticism from George Russell. During the 1920s she exhibited regularly at the Dublin Painter's Gallery while also showing at several exhibitions in Paris. Her art developed a greater realism in the 1930s and also became more religious in subject matter. She exhibited at the RHA from 1930 to 1937 while at the same time contributing to the Watercolour Society of Ireland until 1943. She became a leader in the modern movement in Ireland and joined the avant-garde group of painters, the White Stag, in 1940, regularly lecturing and exhibiting with them. She exhibited in the first ever Irish Exhibition of Living Art, where she had been appointed chairman but was unable to attend as she fell ill and died a short time later. Her works are in all the major Irish collections. For another example by Mainie Jellett see lot 31.
Whyte's
Nov. 28, 2022
Mainie Jellett (1897-1944) COMPOSITION, 1936
Est: €25,000 - €35,000
Mainie Jellett (1897-1944) COMPOSITION, 1936 oil on canvas signed and dated lower right; signed and titled on reverse h:38 w:32 in. Composition 1936 was executed thirteen years after Mainie Jellett first exposed art audiences in Ireland to abstraction at the Society of Dublin Painters exhibition in autumn of 1923. It was widely condemned by critics at that time. This sizable oil on canvas example is characteristic of her style in the 1930s when she had moved away from the pure abstraction of the 1920s towards the semi-abstract figurative style seen here. Although the title does not indicate a religious subject matter, elements of the composition - the central figure/s flanked harmoniously upper left and right by similar shapes and radiating line and colour - echo themes such as the crucifixion or the Madonna and child. Jellett and her friend, fellow artist Evie Hone, were both deeply religious people and the inclusion of this very familiar narrative in their oeuvre aided Irish audiences in their interpretation of this new visual language. By the end of the 1930s Jellett and her contemporaries had succeeded in making Modernism not only palatable to Irish audiences but relevant to the establishment which, under Éamon de Valera, understood the importance of being seen to be 'Modern'. In 1938 Jellett's work was selected to decorate the Irish Pavilion at the Glasgow World Fair and the following year in New York alongside Hone. Composition 1936 was painted just before this watershed moment in Jellet's career and in Irish art history. Adelle Hughes, November 2022 For another example by Mainie Jellett and a concise biography see lot 32.
Whyte's
Sep. 26, 2022
Mainie Jellett (1897-1944) BABBIN AND BETTY, FITZWILLIAM SQUARE, DUBLIN, 1918
Est: €3,000 - €4,000
Mainie Jellett (1897-1944) BABBIN AND BETTY, FITZWILLIAM SQUARE, DUBLIN, 1918 watercolour signed and dated lower right h:9.75 w:8.50 in. Provenance: The artist's estate; Collection of Mavis Arnold; de Veres, 25 November 2003, lot 31; Private collection; Whyte's, 29 November 2005, lot 82; Private collection From an early age Jellett painted her youngest sisters Babbin and Betty (or Rosamund and Elizabeth), both on holidays in Co. Donegal and at home, on Fitzwilliam Square. The present work relates to an oil painting of the same year, Babbin and Betty, illustrated in Bruce Arnold’s book, Mainie Jellett and the Modern Movement in Ireland, page 27.
Whyte's
Mar. 30, 2022
Mainie Jellett (1897 - 1944) Two Elements Gouache, 30.5 x 22.5cm Provenance: With the Dawson Gallery, Dublin; Sir Basil Goulding; With Taylor Galleries Dublin, December 1982 catalogue no. 23; Private Collection Dublin. Exhibited: Cork R
Est: €3,000 - €5,000
Mainie Jellett (1897 - 1944) Two Elements Gouache, 30.5 x 22.5cm Provenance: With the Dawson Gallery, Dublin; Sir Basil Goulding; With Taylor Galleries Dublin, December 1982 catalogue no. 23; Private Collection Dublin. Exhibited: Cork ROSC 1980 ' Irish Art 1943 - 1973'
Adam's
Dec. 08, 2021
Mainie Jellett (1897-1944) Seated Female Nude Pencil on paper, 33.5 x 24cm (13¼ x 9½'') Provenance: With Peppercanister Gallery, Dublin, from where purchased by current owner.
Est: €4,000 - €6,000
Mainie Jellett (1897-1944) Seated Female Nude Pencil on paper, 33.5 x 24cm (13¼ x 9½'') Provenance: With Peppercanister Gallery, Dublin, from where purchased by current owner.
Adam's
Dec. 08, 2021
Mainie Jellett (1897 - 1944) Woman Stitching Pencil, 24cm x 21.5cm Signed and Dated (1918 indistinctly) Provenance: With the Peppercanister Gallery, Dublin. The Artist's estate
Est: €600 - €800
Mainie Jellett (1897 - 1944) Woman Stitching Pencil, 24cm x 21.5cm Signed and Dated (1918 indistinctly) Provenance: With the Peppercanister Gallery, Dublin. The Artist's estate
Adam's