Philip Flanagan Paintings & Artwork for Sale | Philip Flanagan Art Value Price Guide

Oct. 01, 2024
Philip Flanagan (b.1960) Head Study Charcoal, 104 x 75cm Signed lower right
Est: €500 - €700
Philip Flanagan (b.1960) Head Study Charcoal, 104 x 75cm Signed lower right
Adam's
Sep. 25, 2024
Philip Flanagan (b.1960) Glenveagh Theme Acrylic on linen, 80 x 100cm (31_ x 39_'')
Est: €2,000 - €3,000
Philip Flanagan (b.1960) Glenveagh Theme Acrylic on linen, 80 x 100cm (31_ x 39_'')
Adam's
May. 29, 2024
Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso
Est: €1,500 - €2,000
Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso
Adam's
May. 21, 2024
PHILIP FLANAGAN (B. 1960) Warm Day Acrylic on linen, 60 x 80cm Signed and inscribed verso
Est: €800 - €1,200
PHILIP FLANAGAN (B. 1960) Warm Day Acrylic on linen, 60 x 80cm Signed and inscribed verso
Adam's
Sep. 27, 2023
Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso
Est: €1,500 - €2,000
Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso
Adam's
Sep. 27, 2023
Philip Flanagan (b. 1960) Warm Day Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and inscribed verso
Est: €1,000 - €1,500
Philip Flanagan (b. 1960) Warm Day Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and inscribed verso
Adam's
May. 31, 2023
Philip Flanagan (b. 1960) Inishmacsaint Gouache on paper, 40 x 50cm (15¾ x 19¾) Signed and dated 2004; also signed, inscribed and dated verso
Est: €700 - €1,000
Philip Flanagan (b. 1960) Inishmacsaint Gouache on paper, 40 x 50cm (15¾ x 19¾) Signed and dated 2004; also signed, inscribed and dated verso
Adam's
May. 31, 2023
Philip Flanagan (b. 1960) Concrete Form with Orange and Yellow Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and dated (20)'07 verso
Est: €1,000 - €1,500
Philip Flanagan (b. 1960) Concrete Form with Orange and Yellow Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and dated (20)'07 verso
Adam's
May. 09, 2023
PHILIP FLANAGAN (B.1960) Through the Garden Gate Acrylic on linen, 80 x 100cm
Est: €2,000 - €3,000
PHILIP FLANAGAN (B.1960) Through the Garden Gate Acrylic on linen, 80 x 100cm
Adam's
May. 09, 2023
PHILIP FLANAGAN (B.1960) River Bend II Oil on paper, 30 x 40cm Signed and dated (20)'03; Signed and inscribed verso
Est: €500 - €800
PHILIP FLANAGAN (B.1960) River Bend II Oil on paper, 30 x 40cm Signed and dated (20)'03; Signed and inscribed verso
Adam's
Mar. 17, 2023
Philip Flanagan (Irish, b. 1960)
Est: $2,000 - $4,000
Philip Flanagan (Irish, b. 1960) We Walked Back as the Moon Was Rising, Ta Cenc, Gozo, 2015 acrylic on canvas signed, titled and dated (verso) 63 x 47 inches. This lot is located in Chicago.
Hindman
Mar. 01, 2023
Philip Flanagan (B.1960) River Bend 2003 Conte on paper, 56 x 75cm (22 x 29½) Signed and dated (20)'03 Provenance: Collection of R.W. Wilson, Dublin
Est: €600 - €800
Philip Flanagan (B.1960) River Bend 2003 Conte on paper, 56 x 75cm (22 x 29½) Signed and dated (20)'03 Provenance: Collection of R.W. Wilson, Dublin
Adam's
Nov. 08, 2022
PHILIP FLANAGAN (B.1960) LUNNIAGH Oil on canvas, 120 x 160cm Signed and inscribed verso
Est: €3,000 - €5,000
PHILIP FLANAGAN (B.1960) LUNNIAGH Oil on canvas, 120 x 160cm Signed and inscribed verso
Adam's
Oct. 19, 2022
λ PHILIP FLANAGAN (IRISH B. 1960), WINTER LIGHT
Est: £2,000 - £3,000
λ PHILIP FLANAGAN (IRISH B. 1960)CONCRETE FORM WITH RED OVER ORANGE Acrylic on linenSigned and dated '07 (verso); further signed, titled and dated 2007 (to stretcher verso)150 x 220cm (59 x 86½ in.)Literature:Hilary Pyle (ed.), Winter Light: Philip Flanagan, Dublin, 2007, unpaged, no. 1 (illustrated in colour)
Dreweatts 1759 Fine Sales
Oct. 19, 2022
λ PHILIP FLANAGAN (IRISH B. 1960), WINTER LIGHT
Est: £2,000 - £3,000
λ PHILIP FLANAGAN (IRISH B. 1960)CONCRETE FORM WITH LEMON YELLOW Acrylic on linenSigned, titled and dated 2007 (to stretcher verso)150 x 221cm (59 x 87 in.)Literature:Hilary Pyle (ed.), Winter Light: Philip Flanagan, Dublin, 2007, unpaged, no. 3 (illustrated in colour)
Dreweatts 1759 Fine Sales
May. 10, 2022
PHILIP FLANAGAN (b.1960) Lunniagh I Oil on canvas, 120 x 160cm Signed, inscribed and dated 2022 verso
Est: €3,000 - €5,000
PHILIP FLANAGAN (b.1960) Lunniagh I Oil on canvas, 120 x 160cm Signed, inscribed and dated 2022 verso
Adam's
Nov. 02, 2021
PHILIP FLANAGAN (b.1960) Bullersten Theme, Bogpool Acrylic on linen, 120 x 160cm Signed and dated 2021 verso
Est: €3,000 - €5,000
PHILIP FLANAGAN (b.1960) Bullersten Theme, Bogpool Acrylic on linen, 120 x 160cm Signed and dated 2021 verso
Adam's
May. 11, 2021
PHILIP FLANAGAN (b.1960) Late Afternoon at the Cliffs, Ta Cenc, Gozo Acrylic on linen, 120 x 160cm S
Est: €3,000 - €5,000
PHILIP FLANAGAN (b.1960) Late Afternoon at the Cliffs, Ta Cenc, Gozo Acrylic on linen, 120 x 160cm Signed, inscribed and dated 2015 verso
Adam's
Dec. 09, 2020
Philip Flanagan (b.1960) Portrait Bust of John Hume Bronze on limestone base, 54cm overall (21¼'') Signed, dated '95 and numbered 1/6 Unique, only one cast, moulds destroyed
Est: €5,000 - €8,000
Philip Flanagan (b.1960) Portrait Bust of John Hume Bronze on limestone base, 54cm overall (21¼'') Signed, dated '95 and numbered 1/6 Unique, only one cast, moulds destroyed
Adam's
Dec. 09, 2020
Philip Flanagan (b.1960) Portrait Bust of President Michael D. Higgins Bronze on limestone base, 51cm overall (20'') Signed, dated '96 and numbered 1/6 Unique, only one cast, moulds destroyed
Est: €5,000 - €8,000
Philip Flanagan (b.1960) Portrait Bust of President Michael D. Higgins Bronze on limestone base, 51cm overall (20'') Signed, dated '96 and numbered 1/6 Unique, only one cast, moulds destroyed
Adam's
Dec. 09, 2020
Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed
Est: €7,000 - €10,000
Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed part of the group of works completed between 1988 and 1996 and exhibited as Bronze Voices. The twenty-two sitters included carry a resonance that belongs to a very particular and significant period in Irish cultural and political history. While the characters of Flanagan's sitters are at the heart of these works, they are also closely related to the highly abstracted three-dimensional heads he constructed while studying at Camberwell College of Art in London. With this formal analysis of the construction of the skull as his starting-point, these portraits move beyond a simple likeness or narrative and avoid any reliance on a particularly familiar element of a sitter's appearance. A comparison might be made with the British painter Euan Uglow, an earlier student at Camberwell, whose paintings of figures were absorbed with their construction, and the positioning of form in space, to achieve the most realistic and unified depiction of their subject. This detachment is held in balance by the artist's empathetic and sincere response to each individual sitter. Flanagan explores the gradual revelation between artist and sitter that goes beyond the act of looking and that conveys a more complete experience of a human presence. Seamus Heaney was a close friend of the Flanagan family and there is a sense of confidence and intimacy in this portrait. The highly physical nature of the surface emphasises its materiality as sculpture, with a loose treatment of the poet's hair balanced by the more formal structure of his features. There remains an elusive quality to his expression that suggests the complexity of Heaney's identity, a man connected with the physical landscape but whose response to it is expressed in thought and language. The head of Michael D Higgins is simplified at times almost to a point of abstraction. We are conscious of the sculptor's intervention, with marks left in the surface of the head that define its planes and recall the emphasis on drawing in space during Flanagan's training at Camberwell. In this work, he concentrates on an expression, Higgins' striking, almost inward gaze, rather than on aspects of individual features. While these two heads seem to have been directly related to concepts inspired by their sitters which elude a particular time, Flanagan notes, in relation to the third work here, that the 'triangular markings from the eyes to the mouth and down each side of the forehead is used to express the strain I could see John Hume was under during his brokering of the ceasefire', making a very definite connection between his subject and the daily events of his life. While Heaney and Higgins both appear to have their thoughts elsewhere as they are sitting, Flanagan creates the sense of a more guarded engagement with Hume. The gaze is direct but slightly withheld, perhaps because of the distance afforded by Hume's glasses, and his mouth is half-open as if deciding whether to speak. Flanagan's fluid modelling is his highly personal response to each sitter and reveals how significant the experience of sitting is to the evolution of a work. Rather than appearance being something detached and defined, Flanagan's experience of the subject's presence and their own personal history shapes his technical response. Patination is also significant for Flanagan; while he sought a 'brooding quality' in the darker patina of John Hume's head, the paler tone used for the portrait of Michael D. Higgins was a deliberate parallel to the Egyptian portrait sculpture that had inspired his approach to this work. He often seems to locate a single idea that underpins each work; for example, in portraying Seamus Heaney, 'the way the clay is modelled...reminds me of bog cuts... and I hope it gives the impression of Heaney as a bog king'. While these three subjects undoubtedly each carry strong individual associations, Flanagan's concentration on creating hieratic images that pass beyond the personal and become enduring images of human beings perhaps explains why Kenneth Jamison, on seeing Bronze Voices laid out formally in an exhibition, recalled the classical heads in the Palazzo Nuovo on the Capitoline. Like their Roman equivalents, this is a gathering-together of remarkable people but also an exploration of the possibilities of sculpture. Dickon Hall, November 2020
Adam's
Apr. 14, 2020
Philip Flanagan (b.1960) Rozwie Lighthouse, Rosevie, Poland
Est: €2,000 - €3,000
Philip Flanagan (b.1960) Rozwie Lighthouse, Rosevie, Poland acrylic on linen signed, titled and dated verso h:80 w:100 cm. Provenance: Acquired directly from the artist by the present owner Flanagan's paintings are all based on observations made when working in the landscape. He begins with notes made using watercolour, pencil or conté crayon. This leads to a series of drawings, moving towards simplicity and purity of composition, and eventually revealing the abstract forms that he finds beneath the surface appearances surrounding him. These are often created by building up layers of paint, with vibrant underpainting and darker or lighter pigments on top, so that the frequency of each colour works in the same way as the frequencies of each element of a musical chord.
Morgan O'Driscoll
Oct. 21, 2019
Philip Flanagan (b.1960) Along the Garden Wall, Ta Cenc, Gozo (2017)
Est: €2,000 - €3,000
Philip Flanagan (b.1960) Along the Garden Wall, Ta Cenc, Gozo (2017) acrylic on canvas signed, titled and dated verso h:80 w:100.50 cm. Provenance: Acquired directly from the artist by the present owner Flanagan works briskly, often completing a picture in two or three days, so that it retains a fluidity and a sense of spontaneity. By using acrylic paints he achieves a softer surface than is possible with oils and this contributes to the subtlety of appearance which typifies so much of his work. His pictures are distinctive both in concept and execution, and while he draws upon many influences (he acknowledges Mondrian and Elsworth Kelly especially in this regard) he is his own man. As he has said, 'I want to convey the landscape but I want to convey it in an abstract sense. I don't want to paint and draw the topography. I want to see how far you can push the thing - abstract it - and still maintain its character'. S.B. Kennedy, September 2019
Morgan O'Driscoll
Apr. 29, 2019
Philip Flanagan (b.1960) The Strand by the Yellow House, Brandon, Co Kerry (from the Tuam na Farraige Series No.1) (2017)
Est: €1,500 - €2,500
Philip Flanagan (b.1960) The Strand by the Yellow House, Brandon, Co Kerry (from the Tuam na Farraige Series No.1) (2017) oil and acrylic on linen signed, titled and dated 2017 verso with artist's archive no. 22217 h:80 w:100.50 cm. Provenance: Acquired directly from the artist by the present owner In his paintings Flanagan likes to superimpose layer upon layer of colour so as to produce a surface replete with activity and the act of construction. For example, he says, ' I might include a red layer to create an emotional charge, and if I'm putting black over that, the red will vibrate the black, animate it. I want to convey the landscape but I want to convey it in an abstract sense. I don't want to paint and draw the topography. I want to see how far you can push the thing - abstract it - and still maintain its character.' He draws upon what might term the 'psyche' of the landscape. While his paintings are based on the Irish landscape, they can also be read in the abstract, as exercises in the juxtaposition of shapes and tones, he brings a new and distinctly personal interpretation to it. Dr. S.B. Kennedy, March 2019
Morgan O'Driscoll
Apr. 29, 2019
Philip Flanagan (b.1960) Seamus Heaney (1990)
Est: €10,000 - €15,000
Philip Flanagan (b.1960) Seamus Heaney (1990) bronze on French limestone - numbered 2 from an edition of 9 signed by both the artist and Seamus Heaney h:60 w:24 d:26 cm. Provenance: Acquired directly from the artist by the present owner As an artist Philip Flanagan first came to public attention in the early 1990's with a number of commissioned portrait heads of prominent Irish actors, writers, musicians, politicians and others. Flanagan explores not only the physicality of the sitter, but also quietly reveals the character within. 'Seamus agreed to sit for me and we made it up in Donegal. I decided that, because I had such a limited time to make the head that I would make it more like a large charcoal drawing, in that I would keep everything very general - a very loose kind of modelling, but at the same time a tight framework of measurement under the surface, so that the head would not stray away from my intention to get a likeness, and to express Heaney's personality. ' The emphasis on structure is a throwback to the artist's early sculptural training in the ' Coldstream tradition', that is, on precise observation and measurement of the forms of the figure, practised at the Camberwell School of art in London where Flanagan was a student in the early 1980's. Dr. S.B. Kennedy, March 2019
Morgan O'Driscoll
Nov. 22, 2017
Philip Flanagan (b.1960)Portrait Bust of Seamus Heaney Bronze on limestone base, 31.5 x 57cm overall (12½ x 22½'')Signed with artist's device and signed AC (Artist's Copy), edition of 9Signed also by poet Seamus Heaney and dated 1990 on plaque in
Est: €5,000 - €7,000
Philip Flanagan (b.1960)Portrait Bust of Seamus Heaney Bronze on limestone base, 31.5 x 57cm overall (12½ x 22½'')Signed with artist's device and signed AC (Artist's Copy), edition of 9Signed also by poet Seamus Heaney and dated 1990 on plaque insideProvenance: The Eamonn Mallie Collection, bought from Shambles Gallery, Hillsborough.If knowing your sitter as a sculptor stands for anything then there was no excuse for Philip Flanagan not unlocking the soul of Seamus Heaney. TP Flanagan, Sheelagh his wife, Seamus Heaney and his wife Marie had been friends for over half a century. Terry responded to Heaney's poems in paint and vice versa and TP's son Philip, who trained as a sculptor at Camberwell College in England, would have known Seamus Heaney from childhood.I purchased this Heaney (AP) head from Sheelagh Flanagan in the early Nineties. I had no reticence in parting with my money. I had met Heaney several times down the years and despite the fact that our legs hung out of the same nest in many ways, we did not get beyond a passing acquaintance. I loved the way Flanagan latched onto Heaney's rural ruggedness and his unruly head of hair. The artist didn't play at nicey nicey..he went rural. I had a discussion with the Irish sculptor Rowan Gillespie about when is the right time to paint or sculpt a head. He contends this is a matter of judgement. Gillespie lamented he had not had the opportunity to sculpt Polish Pope John Paul II, not as the handsome fatherly figure he was when he surfaced firstly, but as he was dying in public wracked with disease. Over the years I have seen some very poor sculptural attempts at winning the essence of Heaney. Flanagan left me with no doubts in his choice of timing to capture Heaney. For some time Heaney's head has faced motionlessly out into our street as its maker Flanagan walks by. I wonder what thoughts go through Philip's head Perhaps he will share those thoughts with me one day. I will not have that luxury in the case of Heaney. My neighbour who went to Annahorish Primary School attended by Heaney, told me The day Seamus Heaney was leaving our school our teacher Mrs Murphy told us 'a genius' is leaving our school today. I still find it hard to believe, having penned the words 'Noli timere, the book closed on this genius son of a South Derry farmer. Think however of what Heaney left us in 'Cure at Troy.' So hope for a great sea-changeOn the far side of revenge.Believe that further shoreIs reachable from here.Believe in miracleAnd cures and healing wells. Eamonn MallieBeneath my finger and my thumbMy snug pen restsUnder my windows, a clean rasping soundWhen the spade sinks into gravelly groundMy father digging, I look downTill his straining rump among the flowerbedsBends low, comes up twenty years awayStooping in rhythm through potato drillsWhere he was diggingThe coarse boot nestled against the leg, the shaftAgainst the inside knee, was levered firmlyHe rooted out tall tops, buried the bright edge deepTo scatter new potatoes that we pickedLoving their cool hardness in our handsBy God the old man could handle a spadeJust like his old manMy grandfather cut more turf in a dayThan any other man on Toners BogOnce I carried him milk in a bottleCorked sloppily with paper. He straightened upTo drink it, then fell to it right awayNicking and slicing neatly, heaving sodsOver his shoulder, going down for the good turf,DiggingThe cold smell of potato mould, the squelch and slapOf soggy peat, the curt cuts of an edgeThrough living roots awaken in my headBut Ive no spade to follow men like themBetween my finger and my thumb The squat pen rests. Ill dig with it.Seamus Heaney, Digging from Death of a Naturalist, 1966This head of Seamus Heaney was made in the cottage at Roughra in August 1990. Seamus Heaney agreed to sit with me and we made it up in Donegal. There were three sittings for the head, each sitting lasting two hours. I decided that, because I had such a limited time to make the head, I wou
Adam's

Lots Per Page:

Philip Flanagan Sold at Auction Prices

b. 1960 -

Upcoming Lots

Past Lots

0 Lots

Auction Date

Seller

Seller Location

Price Range

Philip Flanagan (b.1960) Head Study Charcoal, 104 x 75cm Signed lower right

Philip Flanagan (b.1960) Glenveagh Theme Acrylic on linen, 80 x 100cm (31_ x 39_'')

Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso

PHILIP FLANAGAN (B. 1960) Warm Day Acrylic on linen, 60 x 80cm Signed and inscribed verso

Philip Flanagan (b.1960) Moonlight Walk from Ta Cence, Gozo Acrylic on linen, 60 x 80cm (23½ x 31½) Signed, inscribed and dated 2017 verso

Philip Flanagan (b. 1960) Warm Day Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and inscribed verso

Philip Flanagan (b. 1960) Inishmacsaint Gouache on paper, 40 x 50cm (15¾ x 19¾) Signed and dated 2004; also signed, inscribed and dated verso

Philip Flanagan (b. 1960) Concrete Form with Orange and Yellow Acrylic on linen, 60 x 80cm (23½ x 31½) Signed and dated (20)'07 verso

PHILIP FLANAGAN (B.1960) Through the Garden Gate Acrylic on linen, 80 x 100cm

PHILIP FLANAGAN (B.1960) River Bend II Oil on paper, 30 x 40cm Signed and dated (20)'03; Signed and inscribed verso

Philip Flanagan (Irish, b. 1960)

Philip Flanagan (B.1960) River Bend 2003 Conte on paper, 56 x 75cm (22 x 29½) Signed and dated (20)'03 Provenance: Collection of R.W. Wilson, Dublin

PHILIP FLANAGAN (B.1960) LUNNIAGH Oil on canvas, 120 x 160cm Signed and inscribed verso

λ PHILIP FLANAGAN (IRISH B. 1960), WINTER LIGHT

λ PHILIP FLANAGAN (IRISH B. 1960), WINTER LIGHT

PHILIP FLANAGAN (b.1960) Lunniagh I Oil on canvas, 120 x 160cm Signed, inscribed and dated 2022 verso

PHILIP FLANAGAN (b.1960) Bullersten Theme, Bogpool Acrylic on linen, 120 x 160cm Signed and dated 2021 verso

PHILIP FLANAGAN (b.1960) Late Afternoon at the Cliffs, Ta Cenc, Gozo Acrylic on linen, 120 x 160cm S

Philip Flanagan (b.1960) Portrait Bust of John Hume Bronze on limestone base, 54cm overall (21¼'') Signed, dated '95 and numbered 1/6 Unique, only one cast, moulds destroyed

Philip Flanagan (b.1960) Portrait Bust of President Michael D. Higgins Bronze on limestone base, 51cm overall (20'') Signed, dated '96 and numbered 1/6 Unique, only one cast, moulds destroyed

Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed

Philip Flanagan (b.1960) Rozwie Lighthouse, Rosevie, Poland

Philip Flanagan (b.1960) Along the Garden Wall, Ta Cenc, Gozo (2017)

Philip Flanagan (b.1960) The Strand by the Yellow House, Brandon, Co Kerry (from the Tuam na Farraige Series No.1) (2017)

Philip Flanagan (b.1960) Seamus Heaney (1990)

Philip Flanagan (b.1960)Portrait Bust of Seamus Heaney Bronze on limestone base, 31.5 x 57cm overall (12½ x 22½'')Signed with artist's device and signed AC (Artist's Copy), edition of 9Signed also by poet Seamus Heaney and dated 1990 on plaque in

Popular Artists

Bid On-the-Go!

Philip Flanagan Sold at Auction Prices

b. 1960 -

Upcoming Lots

Past Lots

0 Lots

Categories

Auction Date

Seller

Seller Location

Price Range

Popular Artists

Get Invaluable on Your Phone

Bid On-the-Go!