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Roderick O'Connor Sold at Auction Prices

Früchtemaler, Painter, Etcher, Still life painter, Flower painter, Landscape painter

Roderic O'Conor (17 October 1860 – 18 March 1940) was an Irish painter. Spending much of his later career in Paris and as part of the Pont-Aven movement, O'Conor's work demonstrates Impressionist and Post-Impressionist influence.[1]

Born in Milltown, Castleplunket, County Roscommon, Ireland,[1] O'Conor attended the Metropolitan School and Royal Hibernian Academy early in his career.[2] He studied at Ampleforth College, and like his classmate, Richard Moynan, travelled to Antwerp before moving to Paris to gain further experience.[3][4] While in France, he was influenced by the Impressionists.
Works and legacy

In 1892 O'Conor went to Pont-Aven in Brittany where he worked closely with a group of artists around the Post-Impressionist Paul Gauguin, whom he befriended.[1] His method of painting with textured strokes of contrasting colours also owed much to Van Gogh. His nephew, Patrick O'Connor (1909–97), was also a painter as well as a sculptor.

O'Conor died in Nueil-sur-Layon, France in March 1940.[1]

In March 2011 a work by O'Conor sold for £337,250 (€383,993). Landscape, Cassis, an oil-on-canvas, was painted by O'Conor in the south of France in 1913 and sold at Sotheby's for significantly higher than the estimate price.[5]
Relationship with Somerset Maugham

In the early twentieth century, O'Conor was one of a group of painters, writers and intellectuals who frequented the Chat Blanc, a restaurant in the rue d'Odessa near the Gare Montparnasse in Paris, a group that included Gerald Kelly, Aleister Crowley and the young Somerset Maugham. O'Conor "took an immediate dislike to Maugham, who later recalled that his presence at the table seemed to irritate the Irishman and he had only to venture a remark to have O'Conor attack it."[6] Maugham had his revenge on O'Conor by using him as the basis for two fictional characters, O'Brien in The Magician and Clutton in Of Human Bondage. Both portraits are unflattering: O'Brien is "a failure whose bitterness has warped his soul so that, unforgiving of the success of others, he lashes out at any artist of talent", while Clutton is "a sardonic painter who is most cheerful when he can find a victim for his sarcasm".[7] However, it was through O'Conor that Maugham first became interested in Gaugin (Maugham traveled to Tahiti and based his novel The Moon and Sixpence on the life of Gaugin).[8]

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      • Roderic O'Conor (1860-1940) MONTAGNE SAINTE-VICTOIRE, FRANCE
        May. 27, 2024

        Roderic O'Conor (1860-1940) MONTAGNE SAINTE-VICTOIRE, FRANCE

        Est: €6,000 - €8,000

        Roderic O'Conor (1860-1940) MONTAGNE SAINTE-VICTOIRE, FRANCE oil on board with faint Atelier O'Conor stamp on reverse h:5.75  w:9 in. Provenance: The Collection of Mervyn & Pat Solomon; Whyte's, 4 March 2013, lot 43; Private collection Literature: Jonathan Benington, Roderic O'Conor: a Biography with a Catalogue of his Work, 1992, catalogue no.177, p. 211, as Mountain Landscape Although no documentary evidence has survived referencing a visit by Roderic O’Conor to Paul Cézanne’s home town, Aix-en-Provence, the fact that it was just 50 kilometres north of Cassis, where the Irishman spent much of the 1913 painting season, makes it perfectly possible that he undertook the small diversion, travelling by train via Marseille and packing a box of paints for the journey. It should also be remembered that O’Conor became a Cézanne devotee long before he was fully recognised, collecting photographs and two lithographs of his work that Clive Bell spotted in his studio as early as 1904, two years before the French artist’s death. And we know that the 1907 Cézanne memorial exhibition at the Salon d’Automne featured two oil paintings and two watercolours of the Montagne Sainte Victoire – his signature motif – which O’Conor would undoubtedly have seen and admired. That being said, to make this small panel he has chosen to view the 1,000 metre-high limestone ridge from the south, thereby departing from his hero’s unvarying profile view from the west. In this work, painting quickly and confidently, and focusing his attention on the colour modulations as opposed to the details, O’Conor has achieved the monumentall notwithstanding the small scale. Jonathan Benington, April 2024

        Whyte's
      • Le Verger
        May. 02, 2024

        Le Verger

        Est: €700 - €900

        Roderic O'Conor 1860 - 1940 Le Verger etching and drypoint on wove paper plate: 25.5 by 33 cm.; 10 by 13 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981. ------------------------------------------------ Roderic O'Conor 1860 - 1940 Le Verger eau-forte et pointe-sèche sur papier vélin plaque: 25.5 by 33 cm.; 10 by 13 in. Conçu en 1893; cette epreuve est l’une des 100 justifiées par Paul Prouté, Paris, 1981.

        Sotheby's
      • Sentier à travers les arbres
        May. 02, 2024

        Sentier à travers les arbres

        Est: €800 - €1,200

        Roderic O'Conor 1860 - 1940 Sentier à travers les arbres etching on wove paper plate: 33.5 by 31cm.; 13 1/4 by 12 1/4 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981. ----------------------------------------------- Roderic O'Conor 1860 - 1940 Sentier à travers les arbres eau-forte sur papier vélin plaque: 33.5 by 31cm.; 13 1/4 by 12 1/4 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981.

        Sotheby's
      • Paysage avec des Arbres d'un Aber
        May. 02, 2024

        Paysage avec des Arbres d'un Aber

        Est: €600 - €800

        Roderic O'Conor 1860 - 1940 Paysage avec des arbres pres d'un aber signed R O'Conor and dated 93 (lower right) in the plate etching on wove paper plate: 19 by 27.5 cm.; 7 1/2 by 10 3/4 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981. ------------------------------------------------ Roderic O'Conor 1860 - 1940 Paysage avec des arbres pres d'un aber signé R O'Conor et daté 93 (en bas à droite) dans la plaque eau-forte sur papier vélin plaque: 19 by 27.5 cm.; 7 1/2 by 10 3/4 in. Conçu en 1893; cette epreuve est l’une des 100 justifiées par Paul Prouté, Paris, 1981.

        Sotheby's
      • Paysage à la Chaumière Bretonne
        May. 02, 2024

        Paysage à la Chaumière Bretonne

        Est: €800 - €1,200

        Roderic O'Conor 1860 - 1940 Paysage à la Chaumière Bretonne signed R O'Conor and dated '93 (lower right) in the plate etching on wove paper plate: 13 by 27 cm.; 5 by 10 1/2 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981. -------------------------------------------- Roderic O'Conor 1860 - 1940 Paysage à la Chaumière Bretonne signé R O'Conor et daté '93 (en bas à droite) dans la plaque eau-forte sur papier vélin plaque: 13 by 27 cm.; 5 by 10 1/2 in. Conçu en 1893; cette epreuve est l’une des 100 justifiées par Paul Prouté, Paris, 1981.

        Sotheby's
      • La Falaise
        May. 02, 2024

        La Falaise

        Est: €600 - €800

        Roderic O'Conor 1860 - 1940 La Falaise signed R O'Conor and dated '93 (lower right) in the plate etching and drypoint on wove paper plate: 25 by 39 cm.; 9 3/4 by 15 1/2 in. Conceived in 1893; this impression is from the edition of 100 published by Paul Prouté, Paris, 1981. --------------------------------------------------------- Roderic O'Conor 1860 - 1940 La Falaise signé R O'Conor et daté '93 (en bas à droite) dans la plaque eau-forte et pointe-sèche sur papier vélin plaque: 25 by 39 cm.; 9 3/4 by 15 1/2 in. Conçu en 1893; cette epreuve est l’une des 100 justifiées par Paul Prouté, Paris, 1981.

        Sotheby's
      • Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 6
        Apr. 10, 2024

        Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 6

        Est: €40,000 - €60,000

        Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 65 x 54 cm.

        Christie's
      • RODERIC O'CONOR (1860-1940) Seascape with Red Rocks oil on canvas 21 ¼ x 25
        Mar. 21, 2024

        RODERIC O'CONOR (1860-1940) Seascape with Red Rocks oil on canvas 21 ¼ x 25

        Est: £60,000 - £80,000

        RODERIC O'CONOR (1860-1940) Seascape with Red Rocks oil on canvas 21 ¼ x 25 ½ in. (54 x 64.7 cm.)

        Christie's
      • RODERIC O'CONOR (1860-1940) Marée Montante oil on canvas 25 ½ x 21 ¼ in. (6
        Mar. 20, 2024

        RODERIC O'CONOR (1860-1940) Marée Montante oil on canvas 25 ½ x 21 ¼ in. (6

        Est: £100,000 - £150,000

        RODERIC O'CONOR (1860-1940) Marée Montante oil on canvas 25 ½ x 21 ¼ in. (64.7 x 54 cm.)

        Christie's
      • ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940)
        Jan. 27, 2024

        ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940)

        Est: $2,500 - $3,500

        ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940) Reclining Female Nude oil on masonite 61 x 80 cm (24 x 31 1/2 in.); framed dimensions: 72 x 90 cm (28 3/8 x 35 3/8 in.) signed lower right CONDITION Observed in frame, the painting is in good condition, unevenness to the surface, minor rubbing along the perimeter, very minor surface grime. A minuscule spot of paint loss along the left edge, and one to the center. UV light inspection showed no signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

        Shapiro Auctions LLC
      • Attributed to Roderic O'CONOR (1860-1940)
        Dec. 19, 2023

        Attributed to Roderic O'CONOR (1860-1940)

        Est: €1,500 - €2,000

        Attributed to Roderic O'CONOR (1860-1940) Wharf in Bourlande Oil on panel Located on the back Bourlande 27 x 35 cm

        Maison Verneuil
      • Roderic O'Conor (1860 - 1940) Landscape with Breton Cottage Etching, 130 x 270mm (5 x 10½) Signed 'R O'Conor' and dated (18)'93 Original plate sold Drouot, Paris 17th Nov. 1975, this restrike by Paul Proute, c.1981 in an edition of 100 with t
        Dec. 06, 2023

        Roderic O'Conor (1860 - 1940) Landscape with Breton Cottage Etching, 130 x 270mm (5 x 10½) Signed 'R O'Conor' and dated (18)'93 Original plate sold Drouot, Paris 17th Nov. 1975, this restrike by Paul Proute, c.1981 in an edition of 100 with t

        Est: €600 - €1,000

        Roderic O'Conor (1860 - 1940) Landscape with Breton Cottage Etching, 130 x 270mm (5 x 10½) Signed 'R O'Conor' and dated (18)'93 Original plate sold Drouot, Paris 17th Nov. 1975, this restrike by Paul Proute, c.1981 in an edition of 100 with title Paysage a la Chaumiere Brettonne. Provenance: With Galerie Proute, Paris. Literature: Roderic O’Conor Catalogue de L’Oeuvre Grave - The Prints of Roderic O’Conor 1870 - 1940, Roy Johnston, Musée De Pont-Aven, pp.21 - 22 J. Benington, Roderic O’Conor, cat. no. 420, p.235

        Adam's
      • Roderic O'Conor (Irish, 1860-1940) Paysage Drypoint, 1893, on heavy cream laid paper, a good impression with strong burr, with wide margins, framed Plate 200 x 230mm (7 7/8 x 9 1/8in)Sheet 303 x 420mm (11 7/8 x 16 1/2in)
        Dec. 06, 2023

        Roderic O'Conor (Irish, 1860-1940) Paysage Drypoint, 1893, on heavy cream laid paper, a good impression with strong burr, with wide margins, framed Plate 200 x 230mm (7 7/8 x 9 1/8in)Sheet 303 x 420mm (11 7/8 x 16 1/2in)

        Est: £800 - £1,200

        Roderic O'Conor (Irish, 1860-1940) Paysage Drypoint, 1893, on heavy cream laid paper, a good impression with strong burr, with wide margins, framed Plate 200 x 230mm (7 7/8 x 9 1/8in) Sheet 303 x 420mm (11 7/8 x 16 1/2in)

        Bonhams
      • Roderic O'Conor (1860-1940) Nu couché dans un paysage eau-forte sur papier
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Nu couché dans un paysage eau-forte sur papier

        Est: €150 - €250

        Roderic O'Conor (1860-1940) Nu couché dans un paysage eau-forte sur papier vergé Plaque: 9 x 13,4 cm Feuille: 22 x 30.4 cm

        Christie's
      • Roderic O'Conor (1860-1940) Paysage avec des arbres eau-forte sur papier vé
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysage avec des arbres eau-forte sur papier vé

        Est: €250 - €350

        Roderic O'Conor (1860-1940) Paysage avec des arbres eau-forte sur papier vélin Plaque: 14 x 19,7 cm. Feuille: 27,5 x 36,6 cm

        Christie's
      • Roderic O'Conor (1860-1940) Paysanne bretonne eau-forte sur papier vergé Pl
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysanne bretonne eau-forte sur papier vergé Pl

        Est: €250 - €350

        Roderic O'Conor (1860-1940) Paysanne bretonne eau-forte sur papier vergé Plaque: 20 x 14,4 cm Feuille: 30,5 x 22,3 cm

        Christie's
      • Roderic O'Conor (1860-1940) Paysage vallonné eau-forte sur papier vélin Pla
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysage vallonné eau-forte sur papier vélin Pla

        Est: €350 - €450

        Roderic O'Conor (1860-1940) Paysage vallonné eau-forte sur papier vélin Plaque: 14,2 x 28,2 cm. Feuille: 30 x 43,2 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Deux femmes de profil dans un paysage lithograp
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Deux femmes de profil dans un paysage lithograp

        Est: €150 - €250

        Roderic O'Conor (1860-1940) Deux femmes de profil dans un paysage lithographie sur vélin Plaque: 19, x 16,4 cm. Feuille: 32,5 x 25 cm

        Christie's
      • Roderic O'Conor (1860-1940) Paysage avec des arbres près d'un aber eau-fort
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysage avec des arbres près d'un aber eau-fort

        Est: €350 - €450

        Roderic O'Conor (1860-1940) Paysage avec des arbres près d'un aber eau-forte sur vélin épais Plaque: 19,3 x 27,4 cm. Feuille: 35 x 50,5 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Paysage avec des arbres sombres et une rivière
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysage avec des arbres sombres et une rivière

        Est: €250 - €350

        Roderic O'Conor (1860-1940) Paysage avec des arbres sombres et une rivière eau-forte sur papier vélin Plaque: 15 x 24.8 cm. Feuille: 36 x 42.1 cm.

        Christie's
      • Roderic O'Conor (1860-1940) La falaise eau-forte et pointe-sèche sur papier
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) La falaise eau-forte et pointe-sèche sur papier

        Est: €400 - €600

        Roderic O'Conor (1860-1940) La falaise eau-forte et pointe-sèche sur papier vélin épais Plaque: 24,8 x 39 cm. Feuille: 46,8 x 54,8 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Paysage sur la côte eau-forte et pointe-sèche a
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Paysage sur la côte eau-forte et pointe-sèche a

        Est: €350 - €450

        Roderic O'Conor (1860-1940) Paysage sur la côte eau-forte et pointe-sèche avec roulette sur papier vergé Arches Plaque: 20 x 28,5 cm. Feuille: 30,2 x 44,5 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Dune et maison au Pouldu eau-forte sur papier v
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Dune et maison au Pouldu eau-forte sur papier v

        Est: €700 - €1,000

        Roderic O'Conor (1860-1940) Dune et maison au Pouldu eau-forte sur papier vergé Plaque: 19 x 19,6 cm. Feuille: 29,5 x 28,6 cm.

        Christie's
      • Roderic O'Conor (1860-1940) La falaise Eau-forte et pointe sèche Plaque: 25
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) La falaise Eau-forte et pointe sèche Plaque: 25

        Est: €400 - €600

        Roderic O'Conor (1860-1940) La falaise Eau-forte et pointe sèche Plaque: 25 x 39 cm. Feuille: 52 x 64,7 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Portrait of a Breton woman (recto); Eye study (
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Portrait of a Breton woman (recto); Eye study (

        Est: €350 - €550

        Roderic O'Conor (1860-1940) Portrait of a Breton woman (recto); Eye study (verso) pierre noire sur papier 31.3 x 24 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Le Verger eau-forte et pointe sèche sur papier
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Le Verger eau-forte et pointe sèche sur papier

        Est: €400 - €600

        Roderic O'Conor (1860-1940) Le Verger eau-forte et pointe sèche sur papier vélin épais de couleur crème Plaque: 25,7 x 33 cm Feuille: 47,7 x 62,5 cm

        Christie's
      • Roderic O'Conor (1860-1940) Effet du soleil dans un nuage eau-forte sur pap
        Oct. 25, 2023

        Roderic O'Conor (1860-1940) Effet du soleil dans un nuage eau-forte sur pap

        Est: €800 - €1,200

        Roderic O'Conor (1860-1940) Effet du soleil dans un nuage eau-forte sur papier vélin épais Plaque: 26,5 x 34 cm Feuille: 46,7 x 55 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Flowers, bottle and two jugs huile sur toile 73
        Oct. 21, 2023

        Roderic O'Conor (1860-1940) Flowers, bottle and two jugs huile sur toile 73

        Est: €180,000 - €250,000

        Roderic O'Conor (1860-1940) Flowers, bottle and two jugs huile sur toile 73.4 x 54.8 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 6
        Oct. 20, 2023

        Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 6

        Est: €180,000 - €250,000

        Roderic O'Conor (1860-1940) Peasant woman seated outdoors huile sur toile 65 x 54 cm.

        Christie's
      • Roderic O'Conor (1860-1940) Still Life with Red and Yellow Flowers (c.1923-27) Oil on canvas, 32 x 40cm (12½ x 14¾) Signed Provenance: Collection Monsieur G. Bourget, France; With Crane Kalman Gallery, London, where purchased and thence by de
        May. 31, 2023

        Roderic O'Conor (1860-1940) Still Life with Red and Yellow Flowers (c.1923-27) Oil on canvas, 32 x 40cm (12½ x 14¾) Signed Provenance: Collection Monsieur G. Bourget, France; With Crane Kalman Gallery, London, where purchased and thence by de

        Est: €30,000 - €50,000

        Roderic O'Conor (1860-1940) Still Life with Red and Yellow Flowers (c.1923-27) Oil on canvas, 32 x 40cm (12½ x 14¾) Signed Provenance: Collection Monsieur G. Bourget, France; With Crane Kalman Gallery, London, where purchased and thence by descent to the present owners; Sale Sotheby’s London 24 November 1993, lot 114A; Sale Sotheby’s London, The Irish Sale, 11 May 2006, lot 50; The Estates of Dr. John & Mary Esther O’Driscoll, Kildare Exhibited: Dublin, Godolphin Gallery, 1978, Roderic O'Conor- a selection of his best works in Ireland, catalogue no. 25 Throughout his fifty-year career, O’Conor never tired of the challenge of painting cut flowers. They first appear in his early Breton still lifes of the 1890s, only to reappear in works painted in Cassis in 1913 such as Iris (bought for the Contemporary Art Society by Roger Fry and now in Tate Britain), and in the 1920s in Paris with pieces such as Le Pot Chinois (acquired in 1927 by the French state and now in the Musée d’Orsay). The subject played perfectly to his skills as a master colourist: how to reinterpret his sensuous enjoyment of the flowers’ appearance and perfume in the medium of oil paint. The solution for him was to deploy a palette of radiant colours and a full range of gestural brushstrokes, scumblings, stains and thick smears with a palette knife. He generally worked directly onto the canvas without any under-drawing, in order to preserve the freshness of his initial response. The majority of O’Conor’s flower paintings executed in the 1920s were vigorously and thickly painted with the aid of the palette knife. However, some exceptions to this rule may be noted, one of which is Still Life with Red and Yellow Flowers with its densely packed array of late spring blooms, including poppies, daisies and tulips. Such works are distinguished by the artist’s highly painterly approach, expressed via a rich and varied display of mark-making, from delicately feathered to creamily scumbled blooms, as well as some that are crisply outlined. In this work O’Conor is also careful to pick out the flowers and leaves in bright tints against a contrasting flatly painted background in a neutral tint. The china vase in Still Life with Red and Yellow Flowers has been daringly cropped of all but its uppermost rim and neck, thereby endowing the bouquet of flowers with much greater impact than would have been the case had the entire vase been featured. The flowers have been disposed in a near symmetrical arrangement and raised up so as to be level with the artist’s gaze, hence the rim of the vase registers as an extremely shallow ellipse. By acting as stage manager of his still life components, O’Conor ensures that the viewer’s experience is rendered highly immediate. A further example of this is the way the flowers have been pushed right to the front of the picture plane, such that one instinctively wishes to touch and smell them, short of relying on visual experience alone. Jonathan Benington, April 2023

        Adam's
      • Roderic O'Conor (1860-1940) LE LOING AT SUNDOWN, c.1902
        May. 29, 2023

        Roderic O'Conor (1860-1940) LE LOING AT SUNDOWN, c.1902

        Est: €200,000 - €300,000

        Roderic O'Conor (1860-1940) LE LOING AT SUNDOWN, c.1902 oil on canvas with artist's studio stamp on reverse h:21.50  w:25.75 in. Provenance: Studio of the artist; Hôtel Drouot, Paris, 7 February 1956; Roland, Browse & Delbanco, London; Lt. Col. M.V.B Hill; Thence by descent; Chorley's, London, 5 December 2022, lot 2; Private collection Exhibited: 'Roderic O'Conor Paintings; Collectors' Drawings, 19th and 20th Century', Roland, Browse & Delbanco, London, 1957, catalogue no. 12; 'Roderic O'Conor, A Selection of his Best Work, Roland, Browse & Delbanco, London, 1971, catalogue no. 9; 'Roderic O'Conor 1860-1940', Browse & Darby, London, 1994, catalogue no. 14 Literature: Jonathan Benington, Roderic O'Conor, A Biography with a Catalogue of his Work, Dublin, 1992, p. 202, cat. 101 (reproduced in colour, p. 34) Montigny is a small town on the edge of the forest of Fontainebleau. A few kilometres upstream from Grez, it is also on the Loing, and in the late nineteenth century could easily be reached by train from the capital. Artists soon began to flock there, drawn by the attractions of forest, river, sunshine and youthful camaraderie. O'Conor discovered the place in the late 1880s when he was a student in the atelier of Charles Carolus-Duran in Paris. He spent several summers at nearby Grez-sur-Loing, to which his fellow Irishmen John Lavery and Frank O'Meara had not long before beaten a path. O'Conor's fondness for the area was such that he returned several times in the mid-1890s, staying with his good friends, the American painter Francis Chadwick and the English etcher Arthur Heseltine. In August and September of 1902 O'Conor revisited Montigny accompanied by another American friend, Guy Ferris Maynard. On this occasion, however, the renewal of old acquaintances was not his sole motivation, for he had brought his easel and paints with him, desirous perhaps of a change in terrain from his usual base in Pont-Aven, Brittany. Brief though it was, the trip inspired a return to the painting of pure landscapes, comprising a group of tranquil views of the River Loing shaded by tall trees that were just beginning to display their autumn colours. Many of these works, of which Le Loing at sundown is a fully resolved example, were inspired by the mystery of the half-light, with the sun sitting low on the horizon and making jagged silhouettes of the trees. These pictures were also characterised by a highly painterly handling of the oil medium, from translucent stains to textured scumblings and thicker calligraphic strokes. Such an approach revealed O'Conor to be, as Henry Roland described him, "a fauve before the Fauves", enshrined here in what amounted to a freshwater accompaniment to the series of Breton marines he had created just a few years earlier. For O'Conor, a change in terrain did not lead to any relaxation of his modernist allegiances. This is especially apparent in the network of broad, thick brushstrokes with which he has painted the line of trees and the sky In Le Loing at Sundown, conveying the impact of a breeze. Indeed the tall tree occupying centre-stage in this Montigny riverscape has the whipped profile of the trees in some of O'Conor's Breton etchings from 1893. To render the fading light he has utilised a range of bright tints, extending to purple, pink and two yellows, heightening the local colours he observed in nature. Whilst this radical technique would have shocked many in 1902, its derivation can be traced back to the artist's precocious allegiances with Vincent van Gogh (via his brother Theo) and Paul Gauguin (via personal friendship) in the early 1890s. It is perhaps no accident that one of the seminal lessons in modernist painting was delivered on a riverbank. In 1888 Gauguin was standing next to the river in Pont-Aven when he instructed the young Paul Sérusier: "What do those trees look like? You see them as yellow: very well, put on some yellow; and as for that shadow, which looks blue if anything, paint it pure ultramarine! Those red leaves? Take some vermilion!" The tale would certainly have reached O'Conor's ears, for it became seminal to the emergence of the Nabi group of painters once Sérusier returned to Paris with the picture and showed it to his closest friends. Today, titled The Talisman, it is one of the treasures of Paris's Musée d'Orsay. Jonathan Benington, April 2023

        Whyte's
      • Nu allongé
        May. 10, 2023

        Nu allongé

        Est: €12,000 - €18,000

        Roderic O'Conor 1860 - 1940 Nu allongé stamped atelier O'CONOR (on the reverse) oil on canvas unframed: 46.5 by 55.5cm.; 18¼ by 21¾in. framed: 67 by 76cm.; 26¼ by 30in. Executed circa 1915-1917. --------------------------------------------- Roderic O'Conor 1860 - 1940 Nu allongé estampillé atelier O'CONOR (au revers) huile sur toile san cadre: 46.5 by 55.5cm.; 18¼ by 21¾in. avec cadre: 67 by 76cm.; 26¼ by 30in. Exécuté vers 1915-1917.

        Sotheby's
      • Fleurs
        May. 10, 2023

        Fleurs

        Est: €20,000 - €30,000

        Roderic O'Conor 1860 - 1940 Fleurs stamped atelier O'CONOR (on the reverse) oil on board unframed: 46 by 38cm.; 18¼ by 15in. framed: 61 by 53.5cm.; 24 by 21in. __________________________________________________________________________ Roderic O'Conor 1860 - 1940 Fleurs estampillé atelier O'CONOR (au revers) huile sur panneau sans cadre: 446 by 38cm.; 18¼ by 15in. avec cadre: 61 by 53.5cm.; 24 by 21in.

        Sotheby's
      • Nature morte au vase de fleurs
        May. 10, 2023

        Nature morte au vase de fleurs

        Est: €20,000 - €30,000

        Roderic O'Conor 1860 - 1940 Nature morte au vase de fleurs stamped atelier O'CONOR (on the reverse) oil on canvas unframed: 46 by 55.5cm.; 18¼ by 21¾in. framed: 74.5 by 84cm.; 29¼ by 33in. ________________________________________________________________________ Roderic O'Conor 1860 - 1940 Nature morte au vase de fleurs estampillé atelier O'CONOR (au revers) huile sur toile san cadre: 46 by 55.5cm.; 18¼ by 21¾in. avec cadre: 74.5 by 84cm.; 29¼ by 33in.

        Sotheby's
      • ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940)
        Apr. 08, 2023

        ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940)

        Est: $5,000 - $7,000

        ATTRIBUTED TO RODERIC O'CONOR (IRISH 1860-1940) Reclining Female Nude oil on masonite 61 x 80 cm (24 x 31 1/2 in.) framed dimensions: 72 x 90 cm (28 3/8 x 35 3/8 in.) signed lower right

        Shapiro Auctions LLC
      • Roderic O'Conor (1860-1940) HEAD OF A BRETON BOY, 1893
        Nov. 28, 2022

        Roderic O'Conor (1860-1940) HEAD OF A BRETON BOY, 1893

        Est: €60,000 - €80,000

        Roderic O'Conor (1860-1940) HEAD OF A BRETON BOY, 1893 oil on panel with artist's studio stamp on reverse h:12  w:13 in. Provenance: The Artist's Studio; Hôtel Drouot, Paris, Vente O'Conor, 7 February 1956; Collection of Mrs Emmet Dalton; Sotheby's, London, 13 May 2004, lot 58; Private collection Exhibited: 'Two Masters of Colour: Matthew Smith and Roderic O’Conor', Roland, Browse & Delbanco, London, 1956, catalogue no. 31; 'Roderic O’Conor', Browse & Darby, London, 26 October to 26 November 1994 (ex cat.); On loan to the Roderic O'Conor Room, Hugh Lane Gallery of Modern Art, Dublin, 1996-2000 Literature: Denys Sutton, Roderic O’Conor, little known member of the Pont-Aven Circle, Studio, November 1960, no. 811, p. 173; Roy Johnston, Roderic O'Conor Vision and Expression, Hugh Lane Gallery of Modern Art, 1996, pp. 30-31 This work was painted around 1893, only a year before O'Conor would befriend Gauguin on his return from his first trip to Tahiti. Brittany for both men was a region largely untouched by industrialisation, proudly independent and with its own distinctive culture, language and religious practices. Its popularity with late nineteenth-century artists stemmed from the cheap rent charged by the local hostelries and from the ready availability of models who would sit in return for modest remuneration, wearing the picturesque local costume that still had everyday currency. For a decade and a half O'Conor never tired of drawing, etching and painting the men, women and children of Pont-Aven and Le Pouldu. His most original figurative works date from the years 1892-94 when he developed his distinctive 'striped' application of line and colour, a style that he even extended into the faces and hands of his models. The Irishman's thickly applied brushstrokes, loaded with unblended colours, were so radical that they can only be compared with the methods of Van Gogh, an artist he was amongst the very first to appreciate. That O'Conor had the ability to relate to children is apparent from Alden Brooks' recollection of how the Irishman showed him, when a boy, how to catch flies "with a quick side sweep of one's cupped hand" (letter to Denys Sutton, 12 July 1956). Just a few years later, inspired perhaps by Gauguin's studies of Breton children, O'Conor completed at least three paintings, one drawing and one lithograph of Breton boys (or gamins, French for urchins). Four of them portrayed the same model, as seen here, a lad of about five or six with a thick head of hair, dressed in a Breton tunic. The boy's identity is unknown, for the artist never regarded his figure subjects as conventional portraits intended to capture a likeness. Instead, removed from their immediate context and set against neutral backgrounds, their features simplified, O'Conor viewed them as timeless archetypes of peasantry. In the words of his notable contemporary, the writer Alfred Jarry: '…O'Conor [distils his own version of beauty], the models suggested at siesta-time by local people passing across the triangular public 'square'- in his case there is a slight disdain towards making a choice at all, his belief being that the painter is outside time and is therefore not concerned with place or space either.' (Mercure de France, no. 57, 1894) In Head of a Breton Boy, O'Conor posed the model with his face away from the light, averting his eyes and casting most of the features into shadow. The colour range has been limited for the most part to the earthy tones favoured by earlier masters of child peasantry such as Frans Hals (1582/3 - 1666), with whose desire to express the subject's close relationship with the land he would surely have sympathised. Similarly the brushwork in O'Conor's painting has a rough tooth to it, a raw energy almost that sweeps through the clothing, neck, face and hair, pushing against the upper edge of the picture. This is particularly noticeable in the whipped contours of the head and the alternating light and dark brown striations used for the hair, as if making a nod to his trademark striping technique. By turning his back on his academic training in favour of a daring new approach to figuration (the boy's head almost seems sculpted out of oil paint), O'Conor delivers a totally non-sentimental solution. Only the hint of a frown on the boy's brow yields a sense of sadness and introspection, not out of keeping perhaps with the realities of Breton existence. The lad's unkempt hair and shadowed features reinforce the sense of 'other', no doubt reflecting O'Conor's awareness that daily life for the Breton peasantry was often primitive and physically demanding when compared to cosmopolitan norms. In July 1895 the features of the same boy (a favourite model surely) were captured in a drawing of O'Conor's that was reproduced in the fourth issue of the review L'Ymagier, edited by Alfred Jarry. In procuring the image Jarry signalled his high opinion of his friend's figurative work, whilst O'Conor for his part must have been happy to be represented by one of his earlier studies. Jonathan Benington, October 2022

        Whyte's
      • Roderic O'Conor, Irish (1860-1940) "Study of a seated Nude, (possibly the artist's wife Renée),"
        Nov. 16, 2022

        Roderic O'Conor, Irish (1860-1940) "Study of a seated Nude, (possibly the artist's wife Renée),"

        Est: €800 - €1,200

        Roderic O'Conor, Irish (1860-1940) "Study of a seated Nude, (possibly the artist's wife Renée)," pencil sketch, approx. 38cms x 22cms (15" x 8 1/2"), stamped with artist mark lower right, unfinished sketches on reverse. (1)

        Fonsie Mealy Auctioneers
      • Roderic O'Connor, Irish (1860-1940) "Nude Studies," pencil, depicting nude lady in various poses,
        Nov. 16, 2022

        Roderic O'Connor, Irish (1860-1940) "Nude Studies," pencil, depicting nude lady in various poses,

        Est: €2,000 - €3,000

        Roderic O'Connor, Irish (1860-1940) "Nude Studies," pencil, depicting nude lady in various poses, stamped 'Atelier O'Connor,' approx. 50cms x 38cms (20" x 15") mounted and framed. (1)

        Fonsie Mealy Auctioneers
      • RODERIC O'CONOR (IRISH 1860-1940) TREES AND LANDSCAPE
        Oct. 05, 2022

        RODERIC O'CONOR (IRISH 1860-1940) TREES AND LANDSCAPE

        Est: £800 - £1,200

        RODERIC O'CONOR (IRISH 1860-1940) TREES AND LANDSCAPE Atelier stamp lower left, charcoal, ink and wash (25.5cm x 40.5cm (10in x 16in))

        Lyon & Turnbull
      • Roderic O'Conor (1860-1940) Le Marin Barbu (c.1891) Oil on canvas, 54.7 x 46cm (21½ x 18'') Stamped verso with 'Atelier O'Conor' Atelier stamp, verso The technique used in this portrait is entirely consistent with Roderic O’Conor’s “
        Sep. 28, 2022

        Roderic O'Conor (1860-1940) Le Marin Barbu (c.1891) Oil on canvas, 54.7 x 46cm (21½ x 18'') Stamped verso with 'Atelier O'Conor' Atelier stamp, verso The technique used in this portrait is entirely consistent with Roderic O’Conor’s “

        Est: €60,000 - €80,000

        Roderic O'Conor (1860-1940) Le Marin Barbu (c.1891) Oil on canvas, 54.7 x 46cm (21½ x 18'') Stamped verso with 'Atelier O'Conor' Atelier stamp, verso The technique used in this portrait is entirely consistent with Roderic O’Conor’s “a la prima” method of painting, best described as a wristy, or vigorous, and expressive use of the brush, with drawing and painting fully integrated in the one process. The intensity of the sitter’s gaze is also typical of O’Conor’s portraiture, with the subject looking directly at the artist while the work was in progress. The rugged appearance of this old bearded man suggests that he was most likely a local Pont-Aven fisherman. The Aven is a tidal river that flows through Pont-Aven and gives direct access to the Atlantic Ocean. The light cast from the left highlights the subject’s weathered skin, which O’Conor has captured with bold and loose brush strokes. His use of color on the face and beard stand out in strong contrast with the dark coat and background, emphasizing the image of a man who has seen a life of hardship and hard labor. The atelier stamp verso confirms that the painting was among the works included in the Drouot dispersal sale in Paris of the contents of O’Conor’s studio, following his death in Neuil-sur-Layon in 1940. While the works were in storage in a Paris warehouse prior to the auction they were most likely stacked together. It may be that the canvas was cut down by one of the handlers hired by the auctioneer prior to the sale. Dr. Roy Johnston, August 2022

        Adam's
      • Roderic O'Conor (1860-1940) SEATED BRETON GIRL WITH LONG HAIR, 1900
        Sep. 26, 2022

        Roderic O'Conor (1860-1940) SEATED BRETON GIRL WITH LONG HAIR, 1900

        Est: €30,000 - €40,000

        Roderic O'Conor (1860-1940) SEATED BRETON GIRL WITH LONG HAIR, 1900 oil on canvas signed with initials and dated lower right; with artist's studio stamp on reverse h:25.50  w:21.50 in. Provenance: Hôtel Drouot, Paris, Vente O'Conor, 7 February 1956; Roland, Browse & Delbanco; Christie's, Belfast, 30 May 1990, lot 489; Private collection; Thierry-Lannon & Associés, Brest, 4 May 2019, lot 160; Private collection Literature: Jonathan Benington, Roderic O'Conor: A Biography, with a Catalogue of his Work, Irish Academic Press, Dublin, 1992, catalogue no. 93, p. 201 In this sizeable preparatory oil Roderic O'Conor demonstrates the power that can be generated from an artist's initial reaction to his subject. Such works are usually meant as tools; for recording the sitter's features, the pose, their shape and proportions. The present work however goes beyond mere observation and delivers a taste of that spontaneous urgency an artist feels to capture the essence of his subject in a precise moment in time. The palette is limited, the background is complementary but not distracting and gestural marks compose the chaise on which the model sits. O'Conor's focus is on her and her utterly hypnotic gaze depicted through two dashes of dark paint. This colour is picked up to the back of her head and in the fabric of her dress which outlines her figure and serves to 'push' her forward within the composition. The application of the paint is lively and fluid and there is a 'watery' quality to the oil paint which is thinly applied to stain rather than fully cover, allowing the texture of the canvas to play its role in the rhythm of the painting. The sitter's body language, with her arms at either side tucked under the ruffles of her dress and legs set apart suggest perhaps a nervousness in her role as model. Adelle Hughes, September 2022

        Whyte's
      • Roderic O'Conor (1860-1940) Marine, au Clair de Lune Oil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'') Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcher Provenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1
        Mar. 30, 2022

        Roderic O'Conor (1860-1940) Marine, au Clair de Lune Oil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'') Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcher Provenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1

        Est: €150,000 - €200,000

        Roderic O'Conor (1860-1940) Marine, au Clair de Lune Oil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'') Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcher Provenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1956; Musée de Petit Palais, Geneva; Sale, Sotheby’s London The Irish Sale, 22nd May 1997, lot 256; Private Collection, Ireland Exhibited : Geneva, Petit Palais, Peintures Britanniques du XXe siecle, 1980; Geneva, Petit Palais, Post-Impressionnisme (1880 - 1910), 1/7/80 - 30/9/80; Osaka, and other venues in Japan, Trésors du Petit Palais, Geneve, 1983, no.65; Musée de Pont Aven, Roderic O’Conor 1860-1940, 1984 no.29; London, Barbican Art Gallery, and toured to Belfast, Dublin and Manchester, Roderic O’Conor 1860-1940, 1985, no.31 Literature : L’aube du XXe siecle, vol.1: De Renoir a Chagall, Petit Palais, Geneva, 1968, p.41; Julian Campbell, The Irish Impressionists: Irish Artists in France and Belgium 1850 - 1914, National Gallery of Ireland exhibition catalogue, 1984, p.99; Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin 1992, pp.83-84,199. € 150,000 - 200,000 Roderic O’Conor had been living and working in Pont-Aven, Brittany for nearly three years when he met Gauguin in 1894, recently returned from his first trip to Tahiti. A friendship formed, and it is clear from Gauguin’s letters that he was expecting the Irishman to accompany him on his return to the South Seas. Although O’Conor declined, the relationship had a far-reaching affect on his life and his art: “… Gauguin’s strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman…” (Clive Bell, Old Friends, 1956, p. 166). Further to Gauguin’s final departure from France in 1895, O’Conor embarked on a group of nocturnes inspired by the scenery around Le Pouldu on the southern coast of Brittany, and the riverside town of Pont-Aven, 25 kilometres inland. The theme first emerged in an etching, Full Moon on the Coast, and was then developed in several moonlit seascapes painted in gouache, as well as a handful of oil paintings including The Bull and the Moon and A Moonlit Breton Landscape (Benington 1992, p. 199, nos. 81 and 84). These artworks stood apart from O’Conor’s earlier Breton landscapes on account of their greater reliance on the imagination, as if conceived from memory rather than direct observation. In Marine au Clair de Lune we see a clifftop house with a light shining in its windows, overlooking a sailing ship caught in the reflected path of the full moon, a glowing orb half hidden by a cloud at the top of the composition. The close juxtaposition of land and sea, safety and uncertainty, may be a recollection of the house at St Julien, a hamlet of Le Pouldu situated at the mouth of the Laita river, where O’Conor had stayed with his friend Armand Seguin in 1893 and, two years later, the two of them watched as Gauguin spontaneously composed an etching. Writing to Seguin four years later, O’Conor revealed that he had plans for a picture of St Julien, perhaps identifiable with the present work. One of its most striking features is the way its dreamlike quality has been given substance through technical innovation: O’Conor has applied his colours very thickly, making extensive use of the palette knife in order to obtain a richly textured surface. The granular effect of this build-up of pigment is particularly suited to capturing the glimmer of light on the water surrounding the two-masted vessel. Like most of his other moonlit pictures, the present work was most probably begun during the years 1895-98 when O’Conor was living in comparative isolation at Rochefort-en-terre, a hilltop village in the heart of rural Brittany. Unable, or unwilling, to accompany Gauguin to Papeete, he may have chosen this location because it was less visited by artists and tourists than Pont-Aven, more authentically Breton in its preservation of time-honoured religious and cultural practices. Here he had the space and freedom to experiment with new ideas, notably Gauguin’s dictum that the remembered image was a more effective embodiment of ideas and emotions than the observed one. By relying to a greater extent on his memory and imagination, O’Conor arrived at a range of themes that were uniquely personal to him. The mystery of a work such as Marine au Clair de Lune lifts it onto a Symbolist plane, recalling O’Conor’s association with writers such as Alfred Jarry, Léon-Paul Fargue and Charles Morice. And like Wordsworth who defined poetry as emotion recollected in tranquillity, here O’Conor seems to evoke the experiences that had meant the most to him just a few years earlier – moonlit walks, the proximity of the sea and windswept cliffs, the stimulating company of fellow artists, and a warm house to return to at the end of the day. Jonathan Benington, February 2022

        Adam's
      • Roderic O'Conor (1860-1940) A BRETON INTERIOR
        Mar. 07, 2022

        Roderic O'Conor (1860-1940) A BRETON INTERIOR

        Est: €40,000 - €60,000

        Roderic O'Conor (1860-1940) A BRETON INTERIOR oil on board h:22  w:30.75 in. Provenance: Crane Kalman Gallery, London; Christie's, London, 9 May 1996, lot 9; Private collection; de Veres, 26 November 1998, as 'Attic Interior', lot 26; Milmo-Penny Fine Art, Dublin; Private collection; de Veres, 27 November 2007, lot 51; Private collection Exhibited: 'Roderic O'Conor', Milmo-Penny Fine Art, Dublin, 2001, catalogue no. 5 This young Bretonne may be identified as a resident of Pont-Aven in Brittany, France, as indicated by the style of the simple "everyday coiffe" which she is wearing. She has been posed by O'Conor in the attic studio associated with the popular Pension Gloannec, where he preferred to stay on his frequent visits to the town. The white triangular shape in the upper right corner of the composition confirms the pitch of the roof, and in compositional terms its light tonality helps the viewer to focus on the subject's tranquil face and her relaxed posture. The objects sitting on the low bench or table in the background appear in several other O'Conor works and imply that at times he preferred the quiet privacy of this studio to the busy and often over-populated streets of Pont-Aven and the numerous artists' sites preferred by visiting painters, especially in the summer months. Dr. Roy Johnston February 2022

        Whyte's
      • O'CONOR Roderic (1870-1940). « Sentier à travers l…
        Oct. 28, 2021

        O'CONOR Roderic (1870-1940). « Sentier à travers l…

        Est: €400 - €500

        O'CONOR Roderic (1870-1940). « Sentier à travers les arbres » Eau forte et pointe sèche. Deuxième état. Toutes marges, parfait état. (Référence : Roy Johnson 13)

        LIMOGES ENCHERES
      • O'CONOR Roderic (1870-1940). «La lande » Eau forte…
        Oct. 28, 2021

        O'CONOR Roderic (1870-1940). «La lande » Eau forte…

        Est: €400 - €500

        O'CONOR Roderic (1870-1940). «La lande » Eau forte et pointe sèche. Signé dans la planche. Deuxième état. Toutes marges, parfait état. (Référence : Roy Johnson 12).

        LIMOGES ENCHERES
      • O'CONOR Roderic (1870-1940). « Paysage à la chaumi…
        Oct. 28, 2021

        O'CONOR Roderic (1870-1940). « Paysage à la chaumi…

        Est: €400 - €500

        O'CONOR Roderic (1870-1940). « Paysage à la chaumière bretonne ».Eau forte et pointe sèche. Signé dans la planche. Deuxième état. Toutes marges, parfait état. (Référence : Roy Johnson 1).

        LIMOGES ENCHERES
      • O'CONOR Roderic (1870-1940). « Le verger ». Eau fo…
        Oct. 28, 2021

        O'CONOR Roderic (1870-1940). « Le verger ». Eau fo…

        Est: €400 - €500

        O'CONOR Roderic (1870-1940). « Le verger ». Eau forte et point sèche. Deuxième état. Toutes marges, parfait état. (Référence : Roy Johnson 15)

        LIMOGES ENCHERES
      • O'CONOR Roderic (1870-1940). « Côte Rocheuse ». Ea…
        Oct. 28, 2021

        O'CONOR Roderic (1870-1940). « Côte Rocheuse ». Ea…

        Est: €400 - €500

        O'CONOR Roderic (1870-1940). « Côte Rocheuse ». Eau forte et pointe sèche. Signé dans la planche. Deuxième état. Toutes marges, parfait état. (Référence : Roy Johnson 27).

        LIMOGES ENCHERES
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