PODS, BAHAMAS, 1985 Tony O'Malley HRHA (1913-2003)
Signature: signed and dated lower left; gallery label on reverse Medium: acrylic and collage on paper Dimensions: 36 by 56cm., 14 by 22in. Exhibited: 'Paintings 1950-1995', Coram Gallery, London, and Taylor Galleries, Dublin, both 1996, catalogue no. 39 After 1973 Tony O’Malley’s palette was influenced for many years by long visits to the Bahamas, where his wife Jane's family lived. Working in a nature based abstract idiom since the early sixties, hi... is response to light was always a core aspect of his practice. Although work from the fifties and sixties, such as Ripe Cornfield in the Wind (1966), show earlier uses of bright colour, once visits to the Bahamas and later Lanzarote became habitual, he seemed to develop two palettes, one Cornish and Irish and the other Bahamian more
PODS, BAHAMAS, 1985 Tony O'Malley HRHA (1913-2003)
Signature: signed and dated lower left; gallery label on reverse Medium: acrylic and collage on paper Dimensions: 36 by 56cm., 14 by 22in. Exhibited: 'Paintings 1950-1995', Coram Gallery, London, and Taylor Galleries, Dublin, both 1996, catalogue no. 39 After 1973 Tony O’Malley’s palette was influenced for many years by long visits to the Bahamas, where his wife Jane's family lived. Working in a nature based abstract idiom since the early sixties, hi... is response to light was always a core aspect of his practice. Although work from the fifties and sixties, such as Ripe Cornfield in the Wind (1966), show earlier uses of bright colour, once visits to the Bahamas and later Lanzarote became habitual, he seemed to develop two palettes, one Cornish and Irish and the other Bahamian more
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