SOLD
Country of origin: Ireland
Medium: Oil on panel
Signed: Signed lower right
Dated: c. 1930
Condition: Very good original condition
Size: 14.00" x 18.00" (35.6cm x 45.7cm)
Framed Size: 20.00" x 24.00" (50.8cm x 61.0cm)
Provenance: Private collection - United States
1909
Oil on panel
£3,300.00
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The Artists Garden
by Henri Duhem
c. 1910
Oil on canvas
£23,000.00
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Provencher’s Mill – Moret-Sur-Loing
by Pierre Eugene Montezin
1947
Oil on canvas
£5,850.00
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La Plage a Soorts-Hossegor
by Maurice Brianchon
1881
Oil on canvas
£79,500.00
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Le peintre en plein air
by Charles Theophile Angrand
1940
Oil on canvas
£6,950.00
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Route a Mougins
by Jules Cavailles
c. 1880
Oil on canvas
£6,200.00
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Fishing on a stream by the coast – Normandy
by Jean Baptiste Antoine Guillemet
1915
Oil on panel
£2,650.00
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The Great War – Soldier & horse on a road
by Andre Devambez
1937
Oil on original canvas
£9,950.00
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The Old Farmyard – Sørup
by Peder Mork Monsted
1903
Oil on canvas
£22,500.00
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Pont D’Austerlitz
by Nikolai Aleksandrovich Tarkhoff
1909
Oil on panel
£3,750.00
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Figures in a village
by Henri Duhem
1910
Oil on canvas
£21,500.00
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La Moisson a Thomery
by Pierre Eugene Montezin
c. 1910
Oil on board
£6,450.00
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Port d’Honfleur
by Henri Lienard De Saint Delis
Maurice MacGonigal was the son of a painter and decorator from Sligo. He served as an apprentice to his uncle, the designer and stained glass artist Joshua Clarke, before attending the Dublin Metropolitan School of Art from 1923 to 1926. In 1932 he took up a teaching position in the same school. In 1931 he became an associate of the Royal Hibernian Academy and in 1933 he was appointed a full member. He was President of the Academy from 1962 to 1977.
Along with Sean Keating, McGonigal is considered one of the pioneers of the Irish National Realist School. During World War I, McGonigal subscribed to a general censorship which refused to acknowledge the atrocities of the war and the ensuing unrest in Europe. Determined to cast a positive light over post-independence Ireland, he abandoned social-realist themes addressed in his earlier work ( The Dockers, 1933-1934) for idealised evocations of social solidarity in Ireland's rural community. In Bean Agus a Naoidheanan (1942), a robust mother seated with her well-nourished child in a coastal landscape recalls Raphael's Madonna of the Meadow.