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Mary Swanzy Sold at Auction Prices

Painter, b. 1882 - d. 1978

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            • Mary Swanzy HRHA (1882-1978) IN THE WINDOW, 1920s
              May. 27, 2024

              Mary Swanzy HRHA (1882-1978) IN THE WINDOW, 1920s

              Est: €60,000 - €80,000

              Mary Swanzy HRHA (1882-1978) IN THE WINDOW, 1920s oil on canvas signed lower left; with artist's label and Dawson Gallery label on reverse h:24  w:20 in. Provenance: Dawson Gallery, Dublin; Private collection; Adam's, 5 December 2006, lot 29; Private collection Exhibited: 'Mary Swanzy, Voyages', IMMA, Dublin, 26 October 2018 to 17 February 2019, travelling to Crawford Art Gallery, Cork, 15 March to 3 June and Limerick City Gallery of Art, 20 June to 15 September 2019 Literature: Mary Swanzy Voyages, IMMA, Dublin, 2019, p. 106 (illustrated) In the Window was included in the celebrated retrospective exhibition 'Mary Swanzy Voyages' at the Irish Museum of Modern Art in 2018/2019. Curated by Seán Kissane, this show travelled to the Crawford Art Gallery in Cork as well as to Limerick City Gallery of Art with the ambition to reintroduce audiences to her extraordinary achievements and reinstate her as a Modern Irish Master. This painting is an important example from Swanzy's oeuvre, which brings together on canvas a number of artistic movements she absorbed and was inspired by first hand. The Voyages catalogue notes how, "Swanzy's acquaintance with Gertrude Stein is of key importance in assessing the influence of other movements on her style. Although she [Swanzy] stressed that artists like Picasso were 'just little people like myself' in 1905 when she first went to Paris; by 1911 he was the acknowledged 'inventor' of Cubism, an opinion strongly voiced by Stein. Stein owned a portrait of her done, by Picasso, in 1906 at around the time she and Swanzy first met. Importantly in 1909 she purchased Picasso's painting Horta de Ebro and it hung in her apartment where Swanzy would have seen it soon after. The series of works from which Horta de Ebro emerged gave rise to the term 'Cubism'..." [1] Being present at the genesis of one of the most influential movements in art history left its mark on Mary Swanzy but it did not define her and she did not religiously pursue Cubism as her sole visual language. The fact that she made and exhibited most of her Cubist-inspired works after 1920 could be seen perhaps as evidence that she did not simply accept, imitate and reproduce but rather allowed these stimuli to percolate before formulating her unique take on the trend. Furthermore, the artist's interest in, or attraction to, the shattering of light, shape, colour and composition could have had earlier origins; her father - Sir Henry Rosborough Swanzy (1843–1913) - was a prominent ophthalmic surgeon in Dublin so it is perhaps fair to assume she would have had some familiarity already with the workings of the human eye. The present still life comprises a lamp with a conical shade next to a leafy plant in a white pot situated on a window sill. It shows the influence of not just Cubism but its offshoots; Orphism, Italian Futurism and British Vorticism. The lamp, as well as elements of the background, call to mind the shapes of stairs, towers and skyscrapers, all subjects favoured by these groups of artists and subjects which Swanzy explored in other paintings. The centre of the plant acts like a vortex from which movement in the composition is generated; its foliage acting like rotors and recalling her later work Propellers, 1942 (Collection of the National Gallery of Ireland). In the upper right corner stripes of pink, red and yellow part to reveal a landscape in the distance. This vignette comprises a Continental view; trees, blue skies and whitewashed houses with red roofs typical of her French scenes such as Le Village, c.1925 (Private collection) but also calling to mind the Fauvist André Derain's View of Cagnes, 1910 (Museum Folkwang, Essen, Germany). In the Window moves the viewer beyond the confines of still life or Cubism taking the eye on a visual journey that traces the trends that inspired her most at this juncture in her career. The Voyages catalogue - an illustrated monograph which accompanied the IMMA exhibition - includes a full-page reproduction of this painting. Adelle Hughes, April 2024 [1] Mary Swanzy Voyages, IMMA, Dublin, 2019, p.96

              Whyte's
            • § MARY SWANZY (IRISH, 1882-1978)
              Dec. 12, 2023

              § MARY SWANZY (IRISH, 1882-1978)

              Est: £800 - £1,200

              § MARY SWANZY (IRISH, 1882-1978) MARY SWANZY (IRISH, 1882-1978) The Fruit Seller crayon 20.3 x 12.1 cm. (8 x 4 7/8 in.) together with; Gutting Fish crayon 20.3 x 11.7 cm. (8 x 4 5/8 in.) Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

              Chiswick Auctions
            • § MARY SWANZY (IRISH, 1882-1978)
              Dec. 12, 2023

              § MARY SWANZY (IRISH, 1882-1978)

              Est: £800 - £1,200

              § MARY SWANZY (IRISH, 1882-1978) MARY SWANZY (IRISH, 1882-1978) The Sailor crayon 20.5 x 12.5 cm. (8 1/8 x 5 in.) together with; Men at Work III crayon 20.3 x 11.5 cm. (8 x 4 5/8 in.) (2) Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

              Chiswick Auctions
            • § MARY SWANZY (IRISH, 1882-1978)
              Dec. 12, 2023

              § MARY SWANZY (IRISH, 1882-1978)

              Est: £800 - £1,200

              § MARY SWANZY (IRISH, 1882-1978) MARY SWANZY (IRISH, 1882-1978) Group of Fishermen crayon 20.3 x 11.7 cm. (8 x 4 5/8 in.) together with; Figures on the Beach crayon 12.2 x 20.3 cm. (4 7/8 x 8 in.) Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

              Chiswick Auctions
            • § MARY SWANZY (IRISH, 1882-1978)
              Dec. 12, 2023

              § MARY SWANZY (IRISH, 1882-1978)

              Est: £800 - £1,200

              § MARY SWANZY (IRISH, 1882-1978) MARY SWANZY (IRISH, 1882-1978) Man with Rucksack Smoking crayon 21.1 x 12.1 cm. (8 1/8 x 4 3/4 in.) together with; Men Watching crayon 12.5 x 20.5 cm. (4 7/8 x 8 1/8 in.) Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

              Chiswick Auctions
            • Mary Swanzy HRHA (1882-1978) SUR LE BORD DE LA FORÊT [ON THE EDGE OF THE FOREST]
              Dec. 04, 2023

              Mary Swanzy HRHA (1882-1978) SUR LE BORD DE LA FORÊT [ON THE EDGE OF THE FOREST]

              Est: €25,000 - €35,000

              Mary Swanzy HRHA (1882-1978) SUR LE BORD DE LA FORÊT [ON THE EDGE OF THE FOREST] oil on canvas signed lower left; inscribed with title in French and numbered [5] on canvas on reverse; also titled (in English) on Dawson Gallery label on reverse; a second label verso shows title in English, date [1961] and number [4] h:30  w:25 in. Provenance: Dawson Gallery, Dublin; Whence purchased by Mrs Jamieson; Her sale, Thomas Adams, Blackrock; Private collection Exhibited: 'Mary Swanzy, Voyages', IMMA, Dublin, 26 October 2018 to 17 February 2019 Literature: Mary Swanzy Voyages, IMMA, Dublin, 2019, p. 135 (illustrated) Sur le Bord de la Forêt [On The Edge of The Forest] was included in the 2018 landmark retrospective exhibition - Voyages - at the Irish Museum of Modern Art (IMMA), which described Mary Swanzy as 'arguably Ireland's first 'Modernist' painter'. In the Voyages exhibition catalogue the painting comes under the heading of 'Surrealism', a chapter which opens with a quote from The Times on 26 September 1934: "Miss Swanzy may be described as a Surrealist working in a Cubist Convention... the majority of her works look as if they were an illustration of a disordered dream." There is a distinctly dreamlike feel to Sur le Bord de la Forêt. Similar to other works of this period c.1950-1960s the artist employs a technique of translucent layering of paint which allows the subject, in this case a nude female figure, to be both an entity in her own right but also inextricably linked to her surroundings as if seen through a veil. In his catalogue essay for Voyages, curator Seán Kissane examines Swanzy's 'brand' of Surrealism within the context of her European contemporaries Max Ernest, René Magritte and Salvador Dalí in Paris in the 1930s, whose work can be described as "provocatively sexual" and how "...Many female artists distanced themselves from Surrealism because of what they perceived as its inherent misogyny, or because they were excluded from full participation by their male counterparts." He continues, "Swanzy's work at times can be described as feminist or gendered but almost never sexual... Naked female bodies are symbolist works like Au bord de la Foret [the present work]... but they have a dreamlike quality. The bodies are transparent and ethereal - not really of this world." Sur le Bord de la Forêt, like most of Swanzy's oeuvre, is a fusion of multiple influences. She did not just adopt a new style of painting when she encountered it, she absorbed it, digested it, took from it what most pleased her and created something far more personal and unique. Swanzy travelled widely throughout her life, she experienced different cultures, traditions, religions, art and histories all of which impacted her work and no doubt her outlook on life. When it came to interpreting, describing or titling her work she was often non prescriptive. Voyages notes, "Swanzy is interested in narratives, in story-telling; she is also very interested in how her pictures are received when they enter the homes of her collectors...As she said to Andy O'Mahony, 'I'd like very much to be able to see what people have done with my paintings. I give my paintings names, because I'm told I have to for the catalogues. But I'd very much like to know how the people who have them have christened them, what they meant to them. It's very interesting, to see how people react to certain pictures'." In many ways Sur le Bord de la Forêt calls to mind Sandro Botticelli's The Birth of Venus c.1484-1486 (Uffizi, Florence). The long haired, Classical nude, the scallop shell, the forest and water. Swanzy's nude however appears seated comfortably within the forest, unlike Venus who stands exposed in a giant scallop shell on the water's edge, and, in contrast to the Hora of Spring who rushes to cover Venus with a cloak, Swanzy's female sits comfortably on hers allowing her chest to be fully seen and her long hair to rest behind her shoulders. She guards her shell, almost shielding it from the light which emanates from beyond the forest opening and waits cross legged and quietly confident. Between 1951 and 1968, when her Dublin Retrospective took place, Voyages catalogue notes there is no record of an exhibition for Mary Swanzy and little is known of her life during these 17 years. Her passport records she continued to travel visiting Switzerland, Germany and Italy in the early 1950s. Perhaps she visited the Uffizi during these years and the present work was the result of a "disordered dream" after Botticelli or, more likely, it is this viewer's imagined narrative inspired by our shared 'female gaze'. Adelle Hughes, November 2023

              Whyte's
            • Mary Swanzy HRHA (1882-1978) The Park Oil on board, 15 x 36cm (6 x 14¼) Provenance: 'The Mary Swanzy Studio Sale, May 2007' stamp verso
              Sep. 27, 2023

              Mary Swanzy HRHA (1882-1978) The Park Oil on board, 15 x 36cm (6 x 14¼) Provenance: 'The Mary Swanzy Studio Sale, May 2007' stamp verso

              Est: €1,500 - €2,000

              Mary Swanzy HRHA (1882-1978) The Park Oil on board, 15 x 36cm (6 x 14¼) Provenance: 'The Mary Swanzy Studio Sale, May 2007' stamp verso

              Adam's
            • Mary Swanzy HRHA (1882-1978) Boat Anchored with Three Figures Working Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso, stock no. 84
              May. 31, 2023

              Mary Swanzy HRHA (1882-1978) Boat Anchored with Three Figures Working Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso, stock no. 84

              Est: €800 - €1,200

              Mary Swanzy HRHA (1882-1978) Boat Anchored with Three Figures Working Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso, stock no. 84

              Adam's
            • Mary Swanzy HRHA (1882-1978) Crowd Relaxing Outside a Church Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso
              May. 31, 2023

              Mary Swanzy HRHA (1882-1978) Crowd Relaxing Outside a Church Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso

              Est: €800 - €1,200

              Mary Swanzy HRHA (1882-1978) Crowd Relaxing Outside a Church Pastel on paper, 19 x 25cm (7½ x 9¾) Provenance: With Pyms Gallery, London, label verso

              Adam's
            • Mary Swanzy HRHA (1882-1978) FLOWER MARKET
              May. 29, 2023

              Mary Swanzy HRHA (1882-1978) FLOWER MARKET

              Est: €4,000 - €6,000

              Mary Swanzy HRHA (1882-1978) FLOWER MARKET oil on canvas signed lower right; signed and titled on reverse h:18  w:14 in. Provenance: Adam's, 23 March 2016, lot 20; Private collection Exhibited: 'Irish Women Artists 1870-1970', Adam's, Dublin, July 2014 and AVA Gallery, Clandeboye August to September 2014, catalogue no. 24

              Whyte's
            • Mary Swanzy HRHA (1882-1978) THE BUSINESSMAN
              Mar. 06, 2023

              Mary Swanzy HRHA (1882-1978) THE BUSINESSMAN

              Est: €6,000 - €8,000

              Mary Swanzy HRHA (1882-1978) THE BUSINESSMAN oil on board with Pyms Gallery [London] label on reverse h:10  w:7 in. Provenance: Pyms Gallery, London; Private collection; Whyte's, 19 February 2007, lot 57; Private collection

              Whyte's
            • Mary Swanzy HRHA (1882-1978) KING AND QUEEN and SELF-PORTRAIT WITH PAINT TUBE, c.1976
              Mar. 06, 2023

              Mary Swanzy HRHA (1882-1978) KING AND QUEEN and SELF-PORTRAIT WITH PAINT TUBE, c.1976

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978) KING AND QUEEN and SELF-PORTRAIT WITH PAINT TUBE, c.1976 mixed media with oil on paper; (works on obverse and reverse) signed lower right on obverse; inscribed with titles and media on frame on reverse h:8.50  w:11 in.

              Whyte's
            • Mary Swanzy HRHA (1882-1978) Portrait of Mary St. Claire Swanzy Tullo (1933) Oil on board, 50.8 x 44.4cm (20 x 17½) Signed and dated Sep. (19)'33
              Dec. 07, 2022

              Mary Swanzy HRHA (1882-1978) Portrait of Mary St. Claire Swanzy Tullo (1933) Oil on board, 50.8 x 44.4cm (20 x 17½) Signed and dated Sep. (19)'33

              Est: €4,000 - €6,000

              Mary Swanzy HRHA (1882-1978) Portrait of Mary St. Claire Swanzy Tullo (1933) Oil on board, 50.8 x 44.4cm (20 x 17½) Signed and dated Sep. (19)'33

              Adam's
            • Mary Swanzy HRHA (1882-1978) BY THE POOL, 1962
              Nov. 28, 2022

              Mary Swanzy HRHA (1882-1978) BY THE POOL, 1962

              Est: €20,000 - €30,000

              Mary Swanzy HRHA (1882-1978) BY THE POOL, 1962 oil on canvas signed lower left; titled and dated on label on reverse h:21  w:18 in. Provenance: Adam's, June 1975, lot 29; Private collection Although By The Pool dates to 1962 - a period in Mary Swanzy's oeuvre characterised by satire and the fantastical - the present work in terms of its style and subject matter does not neatly fall into this category but rather appears to draw on elements of different phases from earlier in her career. Very few details are known of Swanzy's life during the period 1951 to 1968 (when her Dublin retrospective took place). She did however continue to travel visiting Switzerland, Germany and Italy and was in Pisa in 1962 the year this work was executed. The present work shows the influence of Italy on many levels. Here the viewer is presented with an outdoor scene comprising a large, muscular Madonna and child in the foreground while behind her is a pool enclosed by Classical architectural elements which recall her red roofs of the 1910s. The figures of three women (three Graces perhaps) and a long-eared dog are positioned to the left of the water, while opposite them is a large-leafed tree reminiscent of those luscious fronds of her Samoan paintings. The transparent layering of the paint and swift brushstrokes call to mind the Futurism movement which impacted her work from the 1920s onwards and in the present work this adds a dynamism which it might otherwise be lacking. By The Pool is a testament to Mary Swanzy's unique absorption of Modernism. Unlike many of her contemporaries she did not fully commit to any one style to the exclusion of others, she consumed it all and created her own visual language which, much like the Mannerist Madonna in the foreground, is experimental and unapologetic. Adelle Hughes, November 2022

              Whyte's
            • Mary Swanzy HRHA (1882-1978) Figures Gossiping Oil on Canvas 30 x 50cm (11¾ x 19¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.
              Mar. 30, 2022

              Mary Swanzy HRHA (1882-1978) Figures Gossiping Oil on Canvas 30 x 50cm (11¾ x 19¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Est: €8,000 - €12,000

              Mary Swanzy HRHA (1882-1978) Figures Gossiping Oil on Canvas 30 x 50cm (11¾ x 19¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Adam's
            • Mary Swanzy HRHA (1882-1978) Olive Trees in Walled Fields Pastel on paper 18.5 x 25cm (7¼ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.
              Mar. 30, 2022

              Mary Swanzy HRHA (1882-1978) Olive Trees in Walled Fields Pastel on paper 18.5 x 25cm (7¼ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978) Olive Trees in Walled Fields Pastel on paper 18.5 x 25cm (7¼ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Adam's
            • Mary Swanzy HRHA (1882-1978) A Heavenly Laden Fishing Vessel Pastel on paper 16.5 x 25cm (6½ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.
              Mar. 30, 2022

              Mary Swanzy HRHA (1882-1978) A Heavenly Laden Fishing Vessel Pastel on paper 16.5 x 25cm (6½ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978) A Heavenly Laden Fishing Vessel Pastel on paper 16.5 x 25cm (6½ x 9¾) Provenance: With Pyms Gallery, London, label verso. * Lots 10 - 12 (incl) may be subject to importation charges.

              Adam's
            • Mary Swanzy HRHA (1882-1978) Cubist Landscape, Trees, Houses Oil on canvas, 34 x 47.5cm (13¼ x 18½'') Provenance: With Pyms Gallery, London, label verso; With Peppercanister Gallery, Dublin, from where purchased by the current owner. Ma
              Dec. 08, 2021

              Mary Swanzy HRHA (1882-1978) Cubist Landscape, Trees, Houses Oil on canvas, 34 x 47.5cm (13¼ x 18½'') Provenance: With Pyms Gallery, London, label verso; With Peppercanister Gallery, Dublin, from where purchased by the current owner. Ma

              Est: €20,000 - €30,000

              Mary Swanzy HRHA (1882-1978) Cubist Landscape, Trees, Houses Oil on canvas, 34 x 47.5cm (13¼ x 18½'') Provenance: With Pyms Gallery, London, label verso; With Peppercanister Gallery, Dublin, from where purchased by the current owner. Mary Swanzy 1882-1978 was introduced to Picasso's early cubist paintings in 1906 in Paris at Gertrude Stein's home. She was one of the first Irish painters to investigate the new way of seeing, not for her the school of André Lhote or Albert Gleizes, the masters who informed the important work of subsequent Irish cubists Mainie Jellett and Evie Hone. In the 1920s she regarded herself primarily as a landscape painter and here in Cubist landscape, trees, houses we see her unique interpretation of the major modernist trend. Her use of dynamic, elliptical shapes alongside diagonals creates an energy and movement in this painting reminiscent of Italian Futurist paintings of a similar period. Swanzy's facility for beautifully balancing colour with form creates a distinct tension. While her continued use of perspective, against the laws of cubism, creates a sense of depth, despite the flattened picture plane. As with so many of her cubist paintings Swanzy's love of mathematics especially the geometry of her native Georgian city is very much in evidence. Liz Cullinane, 2021

              Adam's
            • Mary Swanzy HRHA (1882-1978) Cote de Donegal Oil on canvas, 43.5 x 52cm (17 x 20½'') Signed; inscribed verso
              Sep. 29, 2021

              Mary Swanzy HRHA (1882-1978) Cote de Donegal Oil on canvas, 43.5 x 52cm (17 x 20½'') Signed; inscribed verso

              Est: €5,000 - €8,000

              Mary Swanzy HRHA (1882-1978) Cote de Donegal Oil on canvas, 43.5 x 52cm (17 x 20½'') Signed; inscribed verso

              Adam's
            • Mary Swanzy HRHA (1882-1978) Street Parade, Czechoslovakia Coloured pencil, 19.5 x 25cm Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy
              Sep. 29, 2021

              Mary Swanzy HRHA (1882-1978) Street Parade, Czechoslovakia Coloured pencil, 19.5 x 25cm Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy

              Est: €2,000 - €3,000

              Mary Swanzy HRHA (1882-1978) Street Parade, Czechoslovakia Coloured pencil, 19.5 x 25cm Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy

              Adam's
            • Mary Swanzy HRHA (1882-1978) Townscape with Palm Trees Coloured pencil, 25.5 x 17cm (10 x 6¾) Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy
              Sep. 29, 2021

              Mary Swanzy HRHA (1882-1978) Townscape with Palm Trees Coloured pencil, 25.5 x 17cm (10 x 6¾) Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy

              Est: €1,500 - €2,000

              Mary Swanzy HRHA (1882-1978) Townscape with Palm Trees Coloured pencil, 25.5 x 17cm (10 x 6¾) Provenance: The Artist's Studio; Collection of Antoinette & Patrick J. Murphy

              Adam's
            • Mary Swanzy HRHA (1882-1978) - The Pink House
              Jun. 02, 2021

              Mary Swanzy HRHA (1882-1978) - The Pink House

              Est: €6,000 - €10,000

              Mary Swanzy HRHA (1882-1978) The Pink House Oil on board, 45 x 27.5cm (17¾ x 10¾'') Signed Starting Bid: € 4200

              Adam's
            • Mary Swanzy HRHA (1882-1978) - Fishing Boat Moored
              Jun. 02, 2021

              Mary Swanzy HRHA (1882-1978) - Fishing Boat Moored

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978) Fishing Boat Moored Coloured Pencil, 17 x 25cm (7 x 10'') Provenance: With Pyms Gallery, London. Starting Bid: € 700

              Adam's
            • Mary Swanzy HRHA (1882-1978) - Busy Harbour Scene
              Jun. 02, 2021

              Mary Swanzy HRHA (1882-1978) - Busy Harbour Scene

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978) Busy Harbour Scene Coloured Pencil, 19.5 x 25.5cm (7½ x 9¾'') Provenance: With Pyms Gallery, London; Christie's, London, 'The Mary Swanzy Studio Sale', May 2007. Starting Bid: € 700

              Adam's
            • Mary Swanzy HRHA (1882-1978) THE SHIP INN
              May. 31, 2021

              Mary Swanzy HRHA (1882-1978) THE SHIP INN

              Est: €3,500 - €4,500

              Mary Swanzy HRHA (1882-1978) THE SHIP INN oil on board signed lower left; with Dawson Gallery label on reverse h:10.50  w:15 in.

              Whyte's
            • Mary Swanzy HRHA (1882-1978) Cat in the Suburbs Oil on board, 50 x 60cm (20 x 24'') Exhibited: Mary Swanzy Retrospective, Hugh Lane Gallery, June 1968, Cat. No. 65 The image of a white cat appears in several pictures by Swanzy, including 'The
              Dec. 09, 2020

              Mary Swanzy HRHA (1882-1978) Cat in the Suburbs Oil on board, 50 x 60cm (20 x 24'') Exhibited: Mary Swanzy Retrospective, Hugh Lane Gallery, June 1968, Cat. No. 65 The image of a white cat appears in several pictures by Swanzy, including 'The

              Est: €8,000 - €12,000

              Mary Swanzy HRHA (1882-1978) Cat in the Suburbs Oil on board, 50 x 60cm (20 x 24'') Exhibited: Mary Swanzy Retrospective, Hugh Lane Gallery, June 1968, Cat. No. 65 The image of a white cat appears in several pictures by Swanzy, including 'The Clown', 'Cat on the Terrace' and the present picture, suggesting that she may have owned such a pet in her later life, or remembered it from her childhood. Her view in all these pictures is plainly one of affection. 'Cat on a Terrace' included in the Mary Swanzy Exhibition at The Dawson Gallery in 1974, shows the animal sleeping, head resting on a ledge, facing towards the viewer, with its tail curled beside it. The sleeping cat in the present picture is viewed from the side. Its tail is curled beside it, but its front paw it tucked op, so that its pink pads are visible. It is evidently a particular cat for it has slight tortoiseshell markings on its head, and a pink collar with a golf bell around its neck. The cracked gatepost on which the cat sits, and the crumbling gateposts and wall with faded posters behind the old village, and neglected orchard of trees, are suggestive of neglect and decay, of times passed and memories of earlier days: perhaps a crumbling demesne which Swanzy remembered from her childhood in Ireland or from life in England, combined with a pretty Mediterranean or Balkan village with red and blue roofs, and orchards, remembered from her travels after the First World War. In spite of the friendly cat in the foreground, there is a faded, nostalgic mood, empty of people telling of other days, the losses of War, and the departure of friends. The run down setting is contrasted by the straight lines of the avenue that runs into the distance. Swanzy employs a soft palette of whites, pale pinks, yellows, pale greens and reds, to convey a faded dreamy atmosphere. 'Cat in the Suburbs' was included in the large Mary Swanzy Retrospective Exhibition held at the Hugh Lane Gallery in Dublin in 1968. Julian Campbell

              Adam's
            • Mary Swanzy HRHA (1882-1978) Sleep Walker (1941)
              Oct. 27, 2020

              Mary Swanzy HRHA (1882-1978) Sleep Walker (1941)

              Est: €8,000 - €12,000

              Mary Swanzy HRHA (1882-1978) Sleep Walker (1941) oil on canvas signed lower right and dated '41 h:46  w:53.50 cm. Provenance: Christie's, London, Artist's Studio Sale, 10th May 2007, Lot 320; Peppercanister Gallery, Dublin (label verso); Private Collection Born into a comfortable though strict Dublin household - her titled father was instrumental in establishing the Royal Victoria Eye and Ear Hospital and the family home was on Merrion Sq - Mary Swanzy blossomed in the nourishing environment of Alexandra College. Theatre and art were her early enthusiasms. In time she came to concentrate on art and John Butler Yeats was among her teachers. Sarah Purser became a friend, and encouraged her to study in Paris, where she was a hard-working, dutiful student. Prompted towards becoming a professional portrait painter by her father, she gave it a try and was very capable, but did not warm to it. Her parents' death left her sad but gave her financial independence and she opted to travel. She also worked hard and established herself as a painter. In 1920, the turbulent political situation in Ireland spurred her to travel again, quite extensively. Most famously, she gravitated towards the tropics and visited Honolulu and Samoa, relishing the warmth, light, colour and sensuality, all of which enriched her work. Rather than returning to Dublin, she opted to settle in London (while spending several of the war years in Dublin with one of her sisters). By 1941, she had experimented with aspects of the trends in art of the Machine Age, Expressionism and even Surrealism, to varying effect. Sleep Walker, with its allegorical elements, including the nude sonambulist, a shattered urn, portfolios, a concentric globe and allusions to time and loss, vividly deployed in a manner that recalls the graphic decisiveness of Max Beckmann's work, is an especially successful synthesis of all of these influences plus the continuity of her French training. It is also personally expressive in a way that is quite rare in her output. Aidan Dunne, October 2020

              Morgan O'Driscoll
            • Mary Swanzy HRHA (1882-1978) PREPARING THE MEAL, SAMOA, circa 1919-25
              Oct. 19, 2020

              Mary Swanzy HRHA (1882-1978) PREPARING THE MEAL, SAMOA, circa 1919-25

              Est: €30,000 - €50,000

              signed lower right, inscribed label on reverse and with studio stamp on stretcher

              Whyte's
            • Mary Swanzy, H.R.H.A. (1882-1978) - Pink-roofed town, France
              Sep. 29, 2020

              Mary Swanzy, H.R.H.A. (1882-1978) - Pink-roofed town, France

              Est: £6,000 - £8,000

              Mary Swanzy, H.R.H.A. (1882-1978) Pink-roofed town, France oil on canvas 16 ¾ x 20 7/8 in. (42.5 x 53 cm.)

              Christie's
            • Mary Swanzy HRHA (1882-1978)Crouching Figure with Bowed HeadOil on canvas, 51 x 61cm (20 x 24'')Signed and dated (19)'41Provenance: With Pyms Gallery, London, Catalogue No.52.
              Dec. 04, 2019

              Mary Swanzy HRHA (1882-1978)Crouching Figure with Bowed HeadOil on canvas, 51 x 61cm (20 x 24'')Signed and dated (19)'41Provenance: With Pyms Gallery, London, Catalogue No.52.

              Est: €10,000 - €15,000

              Mary Swanzy HRHA (1882-1978)Crouching Figure with Bowed HeadOil on canvas, 51 x 61cm (20 x 24'')Signed and dated (19)'41Provenance: With Pyms Gallery, London, Catalogue No.52.

              Adam's
            • Mary Swanzy HRHA (1882-1978) SUR LE BORD DE LA FORET [FIGURE WITH SHELL]
              Dec. 02, 2019

              Mary Swanzy HRHA (1882-1978) SUR LE BORD DE LA FORET [FIGURE WITH SHELL]

              Est: €30,000 - €35,000

              signed lower left; inscribed with title in French and numbered [5] on canvas on reverse; also titled (in English) on Dawson Gallery label on reverse; a second label verso shows title in English, date [1961] and number [4]

              Whyte's
            • Mary Swanzy HRHA (1882-1978)Death of a MannequinOil on board, 42 x 23cm (16½ x 9)Signed and dated (19)'44Provenance: With The Dawson Gallery, Dublin.The impact of the third war in Swanzy’s lifetime and the shifting post-war social conditions b
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Death of a MannequinOil on board, 42 x 23cm (16½ x 9)Signed and dated (19)'44Provenance: With The Dawson Gallery, Dublin.The impact of the third war in Swanzy’s lifetime and the shifting post-war social conditions b

              Est: €3,000 - €5,000

              Mary Swanzy HRHA (1882-1978)Death of a MannequinOil on board, 42 x 23cm (16½ x 9)Signed and dated (19)'44Provenance: With The Dawson Gallery, Dublin.The impact of the third war in Swanzy’s lifetime and the shifting post-war social conditions became the focus of her brush from the mid forties into the 1960s. In the manner of Blake or Hogarth she adopts a commentary on declining standards of behavior as evidenced in this painting of the mannequin, a theme she revisited in a number of paintings. Her views on the limits placed on women were forthright in late old age when she stated her life would have been very different had she been a Henry and not a Mary.Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)The Temple Offering (1943)Oil on canvas, 75 x 63cm (29½ x 24¾)SignedProvenance: With The Dawson Gallery, 1974.Exhibited: Cork, ROSC 1980, 'Irish Art 1943-1973'.Temple Offerings was completed in the Coolock home of
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)The Temple Offering (1943)Oil on canvas, 75 x 63cm (29½ x 24¾)SignedProvenance: With The Dawson Gallery, 1974.Exhibited: Cork, ROSC 1980, 'Irish Art 1943-1973'.Temple Offerings was completed in the Coolock home of

              Est: €15,000 - €25,000

              Mary Swanzy HRHA (1882-1978)The Temple Offering (1943)Oil on canvas, 75 x 63cm (29½ x 24¾)SignedProvenance: With The Dawson Gallery, 1974.Exhibited: Cork, ROSC 1980, 'Irish Art 1943-1973'.Temple Offerings was completed in the Coolock home of Muriel Tullo, Swanzy’s younger sister, where the artist relocated from 1942-1945 to avoid the wartime bombing in London. It was a highly productive period for her having been absent from Ireland for almost twenty years. She re-engaged in the cultural life of her native city, as a founder member of the Dublin Painters Society in 1920, exhibiting frequently in the Stephens Green gallery on her return. Swanzy’s painting evolved during this period into a rich narrative, often allegorical style. In many respects it was the period, which saw her find her own voice, which she rarely moved away from for the remainder of her eighty-year career or hobby as she termed it in a somewhat acidic comment on her status as a female painter.In Temple Offerings she layers her images using thin glazes that create a translucent and delicate quality while her use of colour becomes quite heated and intense, similar almost to stained glass. At the same time she lends a sculptural quality to the modeling of her classical figures, landscapes and architecture, birds are frequently seen in this work. Her referencing of the classical world is broad and inclusive of many global traditions; Celtic deities appeared to mankind as birds and doves and pigeons were considered sacred. Her friend Evie Hone was known to have admired this work greatly.Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)The Italian GirlOil on board, 30 x 25cm (12 x 9¾)SignedProvenance: The artist's studio.Mary Swanzy intended to settle in Florence following the death of her father in 1913 however, she was forced to return to Dublin
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)The Italian GirlOil on board, 30 x 25cm (12 x 9¾)SignedProvenance: The artist's studio.Mary Swanzy intended to settle in Florence following the death of her father in 1913 however, she was forced to return to Dublin

              Est: €5,000 - €7,000

              Mary Swanzy HRHA (1882-1978)The Italian GirlOil on board, 30 x 25cm (12 x 9¾)SignedProvenance: The artist's studio.Mary Swanzy intended to settle in Florence following the death of her father in 1913 however, she was forced to return to Dublin with the outbreak of war. This painting underlines her constant faith in the old masters, the great men as she called them. The Italian Girl is reminiscent of Vermeer’s Girl with the Pearl Earring 1665 while also sharing ground with Swanzy’s contemporary Modigliani (1814-1920). Building on the characteristics typical of Mannerist paintings that elongated figures for emotional effect Swanzy relies on her drawing, outlining the features in her assured line while the modeling of the figure is loose and sketchy in style. The heavier greens at the outer edges of the composition create a dramatic focus for the figure whose gaze is focused away from the viewer not typical of Swanzy’s portraits. She creates a strong presence with the figure filling the frame using the headdress to balance the composition with its hotspots of pure cadmium yellow generating lights in a very traditional manner. As in all genres of painting Swanzy undertakes, she exacts a personal exploration of style rather than being influenced by any single oeuvre.Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)The Three Ages of Woman (c.1970)Oil on canvas, 75 x 62cm (29½ x 24¼)Exhibited: Taylor Galleries, Dublin, solo exhibition, 1986, from where purchased.This was the last painting on the artist's easel before her death.
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)The Three Ages of Woman (c.1970)Oil on canvas, 75 x 62cm (29½ x 24¼)Exhibited: Taylor Galleries, Dublin, solo exhibition, 1986, from where purchased.This was the last painting on the artist's easel before her death.

              Est: €20,000 - €30,000

              Mary Swanzy HRHA (1882-1978)The Three Ages of Woman (c.1970)Oil on canvas, 75 x 62cm (29½ x 24¼)Exhibited: Taylor Galleries, Dublin, solo exhibition, 1986, from where purchased.This was the last painting on the artist's easel before her death.Mary Swanzy’s facility for drawing with her brush and extensive understanding of colour sings of the three ages of woman in this work; it is likely to refer to her own life given she was in her late eighties when it was completed. Titled by the current owner with Miss Swanzy’s knowledge, as she disliked naming her work preferring to see what others would make of the paintings.The central Pierrot figure, a clown or everyman character whose main characteristic is of naïveté is dressed in white, a reference to death perhaps in this case as Swanzy contemplates her own end of life. It echoes a number of earlier works that feature Chinese or Japanese figures. Swanzy revered Chinese painting and her interest in world religions is in evidence from as early as the 1920s. As she became more limited in her ability to travel so her immediate surroundings feature more heavily in her later paintings. The shed was in the garden of the Blackheath home and the little green cat, a porcelain figure from her collection. Her use of the fox may be a reference to her regular use of the term “as cute as a fox” to describe characters in her knowledge. She remained astute and observant all through her life. The use of animal imagery is a common feature in her paintings from the 1940s; she uses them to build metaphors in the narrative. Her father is recorded as having used animal metaphors in his speech so perhaps a lifelong habit of indirect speech continued in Swanzy’s painting.The lively handling of the paint and directional strokes of pure pigment has a freshness and immediacy akin to watercolour in the hands of a master. Swanzy died in 1978 in her nineties painting right up to her death despite arthritis requiring her to tape her brushes to her fingers. Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)Abstract CompositionsPastel, 26 x 19cm (10¼ x 7½)
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Abstract CompositionsPastel, 26 x 19cm (10¼ x 7½)

              Est: €600 - €800

              Mary Swanzy HRHA (1882-1978)Abstract CompositionsPastel, 26 x 19cm (10¼ x 7½)

              Adam's
            • Mary Swanzy HRHA (1882-1978)Townscape with Palm TreesColoured pencil, 25.5 x 17cm (10 x 6¾)Provenance: The Artist's Studio.
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Townscape with Palm TreesColoured pencil, 25.5 x 17cm (10 x 6¾)Provenance: The Artist's Studio.

              Est: €1,500 - €2,000

              Mary Swanzy HRHA (1882-1978)Townscape with Palm TreesColoured pencil, 25.5 x 17cm (10 x 6¾)Provenance: The Artist's Studio.

              Adam's
            • Mary Swanzy HRHA (1882-1978)Street Parade, CzechoslovakiaColoured pencil, 19.5 x 25cm Provenance: The Artist's Studio.
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Street Parade, CzechoslovakiaColoured pencil, 19.5 x 25cm Provenance: The Artist's Studio.

              Est: €2,000 - €3,000

              Mary Swanzy HRHA (1882-1978)Street Parade, CzechoslovakiaColoured pencil, 19.5 x 25cm Provenance: The Artist's Studio.

              Adam's
            • Mary Swanzy HRHA (1882-1978)Market Place, CzechoslovakiaColoured Pencil, 20 x 25cm (8 x 9¾)Provenance: With The Peppercanister Gallery, Dublin.
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Market Place, CzechoslovakiaColoured Pencil, 20 x 25cm (8 x 9¾)Provenance: With The Peppercanister Gallery, Dublin.

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978)Market Place, CzechoslovakiaColoured Pencil, 20 x 25cm (8 x 9¾)Provenance: With The Peppercanister Gallery, Dublin.

              Adam's
            • Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, '
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, '

              Est: €80,000 - €100,000

              Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981; University of Limerick, 'Familiar Faces', 2008; Clifden Arts Week.Literature: S.B. Kennedy, 'Irish Art and Modernism', illustrated with colour plate; 'Analysing Cubism', IMMA, illustrated p.85; IMMA, 'Mary Swanzy - Voyages', illustrated p.121 and 211.White Tower combines architecture and environment in a powerful example of Swanzy’s interpretation of cubism, perhaps the only Irish cubist painter of landscape, Swanzy is not one of the students of Lhote or Gleizes that dominate the later modernist school in Dublin. She slowly develops her singular interpretation of the emerging trend on a study trip to Paris in 1906 where she witnessed Picasso’s unframed portrait of Gertrude Stein in her apartment. Swanzy first exhibited at The Salon des Indépendants in 1914 when Robert and Sonia Turk Delaunay were both strongly represented with their influential lyrical style of Salon Cubism known as Orphism.Her visit to New York in 1925 returning from Samoa and Hawaii produced many drawings of skyscrapers and she is also known to have visited the Italian town of San Gemignano with its skyline of medieval towers; this painting is perhaps a layering of those historical and modernist concerns. The portrait format heightens the scale of the towers while Swanzy anchors the viewpoint with natural forms and an earthy palette in the foreground. The airy brushwork of the blues framed by the white geometrics allows the subject to soar. Her use of perspective goes against the strict cubist concern of flattening of the picture plane however it illustrates Swanzy’s independence of vision and ability to see things from her own point of view. The circular motif she adopts has something of the dynamism of futurist concerns with movement while also containing an element of Celtic interlace in the swooping elliptical lines she employs. Her economy of colour and the use of pinks and violets to balance the palette is Swanzy at her most confident. The use of flowers is somewhat reminiscent of her contemporary Georgia O Keefe (1887-1986).Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)St. Doulough's Church, CoolockOil on board, 19.5 x 24.5cm (7¾ x 9½)Signed and dated (19)'43Provenance: Ms. Mary St. Clair Swanzy Tullo.
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)St. Doulough's Church, CoolockOil on board, 19.5 x 24.5cm (7¾ x 9½)Signed and dated (19)'43Provenance: Ms. Mary St. Clair Swanzy Tullo.

              Est: €2,000 - €3,000

              Mary Swanzy HRHA (1882-1978)St. Doulough's Church, CoolockOil on board, 19.5 x 24.5cm (7¾ x 9½)Signed and dated (19)'43Provenance: Ms. Mary St. Clair Swanzy Tullo.

              Adam's
            • Mary Swanzy HRHA (1882-1978)Olive Trees and LandscapeOil on board, 21 x 29cm (8¼ x 11½)SignedProvenance: With The Dawson Gallery, Dublin.Swanzy maintained her engagement with landscape painting throughout her life traveling to visit Italy and
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Olive Trees and LandscapeOil on board, 21 x 29cm (8¼ x 11½)SignedProvenance: With The Dawson Gallery, Dublin.Swanzy maintained her engagement with landscape painting throughout her life traveling to visit Italy and

              Est: €4,000 - €6,000

              Mary Swanzy HRHA (1882-1978)Olive Trees and LandscapeOil on board, 21 x 29cm (8¼ x 11½)SignedProvenance: With The Dawson Gallery, Dublin.Swanzy maintained her engagement with landscape painting throughout her life traveling to visit Italy and France into old age. The modeling of the church with the outlined overlapping forms of the trees in Churchyard suggest the influence of Cézanne, the father of modernism, as does the linking of the distant mountains with the tree in the foreground using distinctive brushstrokes in Olive Trees and Landscape.Liz Cullinan

              Adam's
            • Mary Swanzy HRHA (1882-1978)Cubist LandscapeOil on canvas, 39.5 x 60cm (15½ x 23¾)SignedThis landscape belongs to the school of Synthetic Cubism where vision becomes the subject of the painting. The fracturing of the subject, a small harbor of
              Oct. 23, 2019

              Mary Swanzy HRHA (1882-1978)Cubist LandscapeOil on canvas, 39.5 x 60cm (15½ x 23¾)SignedThis landscape belongs to the school of Synthetic Cubism where vision becomes the subject of the painting. The fracturing of the subject, a small harbor of

              Est: €15,000 - €20,000

              Mary Swanzy HRHA (1882-1978)Cubist LandscapeOil on canvas, 39.5 x 60cm (15½ x 23¾)SignedThis landscape belongs to the school of Synthetic Cubism where vision becomes the subject of the painting. The fracturing of the subject, a small harbor of boats on the left, framed by the artificial walls on one side and the natural landscape in the distance is achieved using narrow elliptical forms that mirror the contours of the boats. Swanzy defies the conventions of cubism by continuing to create perspective within the painting and using the splitting of the image to assist her in this exercise. Her palette is controlled in a complex study where the vertical arcs adopt neutral tones while the oranges and yellows flattened the plane. Her technical articulation of colour in this manner is unlike any other of the Irish cubist painters.Liz Cullinane, September 2019

              Adam's
            • Mary Swanzy HRHAFarm Buildings near St. Brendan's, MalahideOil on canvas, 51 x 61 cm (20¾ x 24)SignedProvenance: New Ireland Assurance Collection
              Sep. 25, 2019

              Mary Swanzy HRHAFarm Buildings near St. Brendan's, MalahideOil on canvas, 51 x 61 cm (20¾ x 24)SignedProvenance: New Ireland Assurance Collection

              Est: €8,000 - €12,000

              Mary Swanzy HRHAFarm Buildings near St. Brendan's, MalahideOil on canvas, 51 x 61 cm (20¾ x 24)SignedProvenance: New Ireland Assurance Collection

              Adam's
            • Mary Swanzy HRHA (1882-1978)Samoan Village (Samoa, 1930)Pastel, 24.5 x 18.75 cm (9½ x 7½)Provenance: With Pyms Gallery, London; Peter Nahum, London
              Sep. 25, 2019

              Mary Swanzy HRHA (1882-1978)Samoan Village (Samoa, 1930)Pastel, 24.5 x 18.75 cm (9½ x 7½)Provenance: With Pyms Gallery, London; Peter Nahum, London

              Est: €1,000 - €1,500

              Mary Swanzy HRHA (1882-1978)Samoan Village (Samoa, 1930)Pastel, 24.5 x 18.75 cm (9½ x 7½)Provenance: With Pyms Gallery, London; Peter Nahum, London

              Adam's
            • Mary Swanzy HRHA (1882-1978) CART IN CZECHOSLOVAKIA
              Sep. 16, 2019

              Mary Swanzy HRHA (1882-1978) CART IN CZECHOSLOVAKIA

              Est: €600 - €800

              with Pyms Gallery label on reverse

              Whyte's
            • Mary Swanzy HRHA (1882-1978)South of France Landscape (c.1915)Oil on canvas, 53 x 45cm (20¾ x 17¾'')SignedProvenance: Collection of Patrick and Antoinette Murphy; Gifted to the current owners by the artist in 1970.Literature: Patrick J. Murphy,
              Jun. 12, 2019

              Mary Swanzy HRHA (1882-1978)South of France Landscape (c.1915)Oil on canvas, 53 x 45cm (20¾ x 17¾'')SignedProvenance: Collection of Patrick and Antoinette Murphy; Gifted to the current owners by the artist in 1970.Literature: Patrick J. Murphy,

              Est: €20,000 - €30,000

              Mary Swanzy HRHA (1882-1978)South of France Landscape (c.1915)Oil on canvas, 53 x 45cm (20¾ x 17¾'')SignedProvenance: Collection of Patrick and Antoinette Murphy; Gifted to the current owners by the artist in 1970.Literature: Patrick J. Murphy, 'An Art Lover's Guide to the French Riviera', Artisan House 2016, full page illustration page 174.Mary Swanzy 1882-1978 travelled extensively in Europe from childhood right up to her eighties. A visit to Valle de Grasse in the south of France in 1905 to attend an informal studio after her portrait studies in Paris changed her view on painting, allowing her to question and engage with the new modernist shifts that heralded Cubism. It was her father’s wish that portraiture might become her chosen profession however, landscape painting was to become the natural home for Swanzy’s brush. She planned to settle in Florence but the First World War forced a return to Dublin. In 1914 Swanzy exhibited for the first time in the Salon des Independents later becoming a committee member. She also regularly exhibited with the Beaux Artes.Visiting the Alpes Maritime on the border with Italy Swanzy records her delight at her fellow countrywoman, Sarah Purser challenging Gertrude Stein, noting that Miss Stein was not accustomed to having someone stand up to her. European landscapes with their intensity of colour informed many years of Swanzy’s lifelong obsession with painting. In this picture South of France c.1915 Swanzy is drawing with her brush, a technique that became central to her practice, retaining an immediacy and honesty to her modernist search for truth. Her response to the natural world is somewhat in the manner of an impressionist painter, she is in the moment and sensitive to her surroundings, using washes of pure colour much as a watercolourist would do. The result is fresh and lively. Swanzy feels nature through her brush, the surface is active, busy, taking her knowledge of divisionist colour theory, evidenced in some of her portraits from this period. Hard contrasts interrupt the picture plane sending the eye back and forth, questioning the perspective that Swanzy interrogates within the rules of formal composition. In this work as many others she selects dramatic high points to look down upon or low points which force the viewer to look upward, suggesting a narrative between the painter and her subject. The heavy prussian blue in the top corner creates a tension echoed in the black tree trunks and the path or bank along the bottom of the frame.The faded terracotta pink typical of buildings in the south of France and Italy, becomes a signature colour for Swanzy echoing classical uses of pink in Renaissance portraits and Mannerist painting. By 1923 when Swanzy travels to Hawaii, before visiting Samoa and New York, she is declared in the professions column of the SS Montcalm’s manifesto as a landscape painter; most of the women on board are recorded as wives, sisters or mothers.?Safe to say she has made her decision and landscape rather than people, nature over society is her choice by this time. Liz Cullinane 2019

              Adam's
            • Mary Swanzy HRHA (1882-1978)The Connoisseur (Grace Henry)Oil on board, 22 x 16cm (8¾ x 6¼'')Signed
              Jun. 12, 2019

              Mary Swanzy HRHA (1882-1978)The Connoisseur (Grace Henry)Oil on board, 22 x 16cm (8¾ x 6¼'')Signed

              Est: €3,000 - €4,000

              Mary Swanzy HRHA (1882-1978)The Connoisseur (Grace Henry)Oil on board, 22 x 16cm (8¾ x 6¼'')Signed

              Adam's
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