John (1923) Skelton Paintings & Artwork for Sale | John (1923) Skelton Art Value Price Guide

Nov. 21, 2024
John Skelton MBE, FRBS (Scottish, 1923-1999)
Est: £3,000 - £4,000
John Skelton MBE, FRBS (Scottish, 1923-1999) "Andromeda", patinated bronze draped with chains, on a granite base, 1987, height 123.2cm. height with base 139.7cm.
Martel Maides
Sep. 30, 2024
John Skelton (1923-2009) CANAL SUMMER, MESPIL ROAD, DUBLIN, 1975
Est: €2,500 - €3,500
John Skelton (1923-2009) CANAL SUMMER, MESPIL ROAD, DUBLIN, 1975 oil on canvas signed lower right; titled and dated on reverse h:24.50 w:32.25 in.
Whyte's
Sep. 13, 2024
John Skelton MBE, FRBS (Scottish, 1923-1999)
Est: £4,000 - £5,000
John Skelton MBE, FRBS (Scottish, 1923-1999) "Andromeda", patinated bronze draped with chains, on a granite base, 1987, height 123.2cm. height with base 139.7cm.
Martel Maides
May. 27, 2024
John Skelton (1923-2009) SUMMER, LOUGH NAFOOEY, COUNTY MAYO, 1985
Est: €3,000 - €5,000
John Skelton (1923-2009) SUMMER, LOUGH NAFOOEY, COUNTY MAYO, 1985 oil on canvas signed and dated lower leftt; titled on reverse h:19.75 w:40 in.
Whyte's
Dec. 05, 2023
JOHN SKELTON (1925-2009)
Est: €400 - €600
Winter Afternoon, Blessington Co. Wicklow. Watercolour. Signed bottom right. Dated 1985. Framed. (Irish Art) Image: 36 cm. high; 50 cm. wide; Approximate Time: 10:47 Lot Number: 66
Sheppards
Dec. 04, 2023
John Skelton (1923-2009) THE BIG CANOE, BLASKET ISLANDS, COUNTY KERRY, 1991
Est: €1,500 - €2,000
John Skelton (1923-2009) THE BIG CANOE, BLASKET ISLANDS, COUNTY KERRY, 1991 oil on canvas signed lower right; titled and dated on reverse h:16 w:20 in.
Whyte's
Apr. 28, 2023
§ John Skelton (Irish 1925-2009) Torso, 1979
Est: £1,000 - £2,000
§ John Skelton (Irish 1925-2009) Torso, 1979 signed and dated, pitch pine on a slate base (73.5cm high, 40.5cm wide (9in high, 16in wide) including base)
Lyon & Turnbull
Dec. 07, 2022
JOHN SKELTON
Est: €500 - €550
Shoreline Harvest, Dingle, Co. Kerry. Signed oil on board. Framed.
Sheppards
Nov. 16, 2022
John Skelton, Irish (1925 - 2009) "Derelict Boathouse, Clogher Head, Co. Louth," watercolour,
Est: €400 - €600
John Skelton, Irish (1925 - 2009) "Derelict Boathouse, Clogher Head, Co. Louth," watercolour, approx. 34cms x 50cms (13" x 20"), signed lower right, framed. (1)
Fonsie Mealy Auctioneers
Jun. 06, 2022
John Skelton (1923-2009) SPRING, CARLINGFORD LOUGH, COUNTY LOUTH, 1982
Est: €2,500 - €3,500
John Skelton (1923-2009) SPRING, CARLINGFORD LOUGH, COUNTY LOUTH, 1982 oil on canvas signed and dated lower left; signed, titled and dated on reverse h:24 w:30 in.
Whyte's
Apr. 24, 2022
John Skelton (Senior) 1925 - 2009 - Sleeping Cat
Est: €300 - €500
Born in Co. Armagh in 1925 John Skelton studied at Queens University in Belfast, Belfast College of Art and St Martin’s School of Art, London. It was in London that he started his professional career and where he came under the influence of the Euston Road School in the late 1940s. He moved to Dublin in 1950 and worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as a painter. He had numerous one man shows in Dublin; two in Belfast, one in Los Angeles and one in the Mystic Seaport Museum in Connecticut. Up to the late 1980s, he was a frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In later years however, his work was in such demand that he contributed to these less often. During the 1970s and early 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin. This original sketch study is donated by Balla Bán Art Gallery, Dublin.
The SumGood Art Auction
Sep. 27, 2021
John Skelton (1923-2009) IN THE JOYCE COUNTRY, CONNEMARA, COUNTY GALWAY
Est: €1,500 - €2,000
John Skelton (1923-2009) IN THE JOYCE COUNTRY, CONNEMARA, COUNTY GALWAY oil and acrylic on board signed lower right; inscribed on Oisín Gallery label on reverse h:18 w:23.50 in.
Whyte's
Sep. 27, 2021
John Skelton (1923-2009) DÚN BUNNAFAHY, ACHILL ISLAND, COUNTY MAYO, 1994
Est: €1,200 - €1,500
John Skelton (1923-2009) DÚN BUNNAFAHY, ACHILL ISLAND, COUNTY MAYO, 1994 oil on canvas signed lower centre; signed, titled and dated on artist's studio label on reverse h:12 w:16 in.
Whyte's
Sep. 27, 2021
John Skelton (1923-2009) EVENING CALM, INISBOFIN, COUNTY GALWAY, 2003
Est: €1,500 - €2,000
John Skelton (1923-2009) EVENING CALM, INISBOFIN, COUNTY GALWAY, 2003 oil on board signed lower right; signed, dated and titled on reverse h:13 w:20 in.
Whyte's
Jun. 08, 2021
John Skelton (1923 - 2009) American
Est: $500 - $800
John Skelton (1923 - 2009) Watercolor / Paper Signed ,measures 8" x 11" inches
Cutler Bay Auctions
May. 31, 2021
John Skelton (1923-2009) WEST OF IRELAND FAMILY
Est: €1,500 - €2,000
John Skelton (1923-2009) WEST OF IRELAND FAMILY oil on panel signed lower right h:10.75 w:15.75 in.
Whyte's
May. 31, 2021
John Skelton (1923-2009) UNDER THE CHERRY TREES
Est: €2,000 - €3,000
John Skelton (1923-2009) UNDER THE CHERRY TREES oil on board signed lower right h:15.50 w:21.50 in.
Whyte's
May. 31, 2021
John Skelton (1923-2009) SUMMER BOUQUET
Est: €800 - €1,000
John Skelton (1923-2009) SUMMER BOUQUET oil and acrylic on board signed and dated lower right; with Grattan Gallery label on reverse h:24 w:20 in.
Whyte's
Apr. 25, 2021
John Skelton (Senior) 1925 - 2009 - A Pair of Dublin Zoo Animal Study Sketches
Est: €350 - €550
Artwork Information: Signed: Yes Framed: Yes Original: Yes Numbered Edition: No Edition Info: N/A Artist Information: John Skelton (1925 Armagh- 2009 Dublin) started his professional career in London, where he came under influence of Euston Road School in the late 1940s. In 1946 he married Caroline, settling four years later in Dublin. He worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as a painter. He had numerous one man shows in Dublin; two in Belfast, one in Los Angeles and one in the Mystic Seaport Museum in Connecticut. Up to the late 1980s, John was frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In recent years, however, his work was in such demand that he contributed to these less often. During the 1970s and earlier 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin. Many of John Skelton’s figures can be read as elegiac: a solitary woman on a sofa, a bather staring listlessly after a swim, a farmer trekking home alone – all caught in a kind of monumental loneliness recalling the best of Edward Hopper, a long time Skelton hero. Even in his scenes of rural social life – the country fair, the shebeen – there is at times a somber note. It is caught in a child’s sad face; a farmer’s stooped back, a woman’s wistful stare. Urgency, meanwhile, expresses itself in pure paint: rhythmic brushstrokes, fields of bright, near-primary colour and other formal experiments. Like many painters, Skelton was superstitious about coming to the canvas armed with anything other than brushes and paint. Yet he was frank about the sense of loss and said:“The world I see around me is not my world any more. It’s not the world I grew up in. As you grow old, change makes you sad.” As the Irish landscape was transformed during his lifetime, the millennial Skelton was freed, as never before, from pictorial or documentary burdens. This was emphasized by a remarkable spontaneity in the handling of paint: wider brushstrokes, brighter colours. Nostalgia ceased to be respectable in contemporary painting, yet Tracey Emin could show the wooden beach hut of her Brighton childhood to great general acclaim; while Damien Hirst could devote an entire series of vitrines to the themes of death and decay without being accused of sentimentality. The new Ireland of John Skelton’s latter life, if anything, reinforced and re-energized these themes of sadness and loss. In the atmosphere of noise and youth, it became a point of honour for Skelton to mourn the passing of another world. It was quite clear from our conversations that the artist had no personal nostalgia for the hungry Ireland of the 1940s and 1950s. It was not the fearsome struggle of his farmers and fishermen that he venerated. What he valued, on the contrary, were those qualities which made them equal to the challenge. Skelton possessed those qualities himself: stubbornness, physical and emotional toughness, a sensitivity to the sacredness of ordinary. No doubt those qualities will survive in the Irish character. But a Skelton painting will always containthem. He sent his brush out in search of the ordinary, and it came back loaded with images of the transcendent and the sublime. The above article was written by Paul O’Kelly In John’s own words: “From a very early age, when I could recognize the need to draw and paint, I determined to achieve skills which would bring me beyond the difficulties of technique. This would allow me to perform and improvise in my paintings like a good jazz musician. I felt that a painting was not just a mirror image of the world, but existed parallel to it – working in somewhat the same way as a biblical parable. I discovered that pictorial energy was the result of the tension of image in opposition: in a landscape, for example, the counterpoint between the rhythm of stormy skies and solid undulating earth. These things become visible only when you look for them. When you do, you find they surrender up a painting without effort. That, I feel, is secret. Painting is visible music and can only work when, as the poet Patrick Kavanagh put it,”… you wait in the unconscious room of the heart for god to find you. I was drawn to paint certain subjects again and again, as you can clearly see in this exhibition: big endless theatre of the seasons. In recent years I have devoted more time to portraits, almost all of these made under the impartial embrace of natural light. I’m eternally thankful to have been given the means and desire, to record this treasure house of a world. I am more interested in single moments than in stories; my aim is to set down a vision, without a narrative to convey or an axe to grind. In this way I hope to convey a sense of the world which, while deeply personal, will also be recognized and understood.” From the collection of Balla Bán Art Gallery. Website: John Skelton (Senior) 1925 - 2009 Online:
The SumGood Art Auction
Apr. 25, 2021
John Skelton (Senior) 1925 - 2009 - Cottage on the beach, Laytown
Est: €300 - €500
Artwork Information: Signed: Yes Framed: Yes Original: Yes Numbered Edition: No Edition Info: N/A Artist Information: John Skelton (1925 Armagh- 2009 Dublin) started his professional career in London, where he came under influence of Euston Road School in the late 1940s. In 1946 he married Caroline, settling four years later in Dublin. He worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as a painter. He had numerous one man shows in Dublin; two in Belfast, one in Los Angeles and one in the Mystic Seaport Museum in Connecticut. Up to the late 1980s, John was frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In recent years, however, his work was in such demand that he contributed to these less often. During the 1970s and earlier 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin. Many of John Skelton’s figures can be read as elegiac: a solitary woman on a sofa, a bather staring listlessly after a swim, a farmer trekking home alone – all caught in a kind of monumental loneliness recalling the best of Edward Hopper, a long time Skelton hero. Even in his scenes of rural social life – the country fair, the shebeen – there is at times a somber note. It is caught in a child’s sad face; a farmer’s stooped back, a woman’s wistful stare. Urgency, meanwhile, expresses itself in pure paint: rhythmic brushstrokes, fields of bright, near-primary colour and other formal experiments. Like many painters, Skelton was superstitious about coming to the canvas armed with anything other than brushes and paint. Yet he was frank about the sense of loss and said:“The world I see around me is not my world any more. It’s not the world I grew up in. As you grow old, change makes you sad.” As the Irish landscape was transformed during his lifetime, the millennial Skelton was freed, as never before, from pictorial or documentary burdens. This was emphasized by a remarkable spontaneity in the handling of paint: wider brushstrokes, brighter colours. Nostalgia ceased to be respectable in contemporary painting, yet Tracey Emin could show the wooden beach hut of her Brighton childhood to great general acclaim; while Damien Hirst could devote an entire series of vitrines to the themes of death and decay without being accused of sentimentality. The new Ireland of John Skelton’s latter life, if anything, reinforced and re-energized these themes of sadness and loss. In the atmosphere of noise and youth, it became a point of honour for Skelton to mourn the passing of another world. It was quite clear from our conversations that the artist had no personal nostalgia for the hungry Ireland of the 1940s and 1950s. It was not the fearsome struggle of his farmers and fishermen that he venerated. What he valued, on the contrary, were those qualities which made them equal to the challenge. Skelton possessed those qualities himself: stubbornness, physical and emotional toughness, a sensitivity to the sacredness of ordinary. No doubt those qualities will survive in the Irish character. But a Skelton painting will always containthem. He sent his brush out in search of the ordinary, and it came back loaded with images of the transcendent and the sublime. The above article was written by Paul O’Kelly In John’s own words: “From a very early age, when I could recognize the need to draw and paint, I determined to achieve skills which would bring me beyond the difficulties of technique. This would allow me to perform and improvise in my paintings like a good jazz musician. I felt that a painting was not just a mirror image of the world, but existed parallel to it – working in somewhat the same way as a biblical parable. I discovered that pictorial energy was the result of the tension of image in opposition: in a landscape, for example, the counterpoint between the rhythm of stormy skies and solid undulating earth. These things become visible only when you look for them. When you do, you find they surrender up a painting without effort. That, I feel, is secret. Painting is visible music and can only work when, as the poet Patrick Kavanagh put it,”… you wait in the unconscious room of the heart for god to find you. I was drawn to paint certain subjects again and again, as you can clearly see in this exhibition: big endless theatre of the seasons. In recent years I have devoted more time to portraits, almost all of these made under the impartial embrace of natural light. I’m eternally thankful to have been given the means and desire, to record this treasure house of a world. I am more interested in single moments than in stories; my aim is to set down a vision, without a narrative to convey or an axe to grind. In this way I hope to convey a sense of the world which, while deeply personal, will also be recognized and understood.” From the collection of Balla Bán Art Gallery. Website: John Skelton (Senior) 1925 - 2009 Online:
The SumGood Art Auction
Apr. 24, 2021
John Skelton (Senior) 1925 - 2009 - Three sketch studies of fishermen
Est: €300 - €500
Artwork Information: Signed: Yes Framed: Yes Original: Yes Numbered Edition: No Edition Info: N/A Artist Information: John Skelton (1925 Armagh- 2009 Dublin) started his professional career in London, where he came under influence of Euston Road School in the late 1940s. In 1946 he married Caroline, settling four years later in Dublin. He worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as a painter. He had numerous one man shows in Dublin; two in Belfast, one in Los Angeles and one in the Mystic Seaport Museum in Connecticut. Up to the late 1980s, John was frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In recent years, however, his work was in such demand that he contributed to these less often. During the 1970s and earlier 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin. Many of John Skelton’s figures can be read as elegiac: a solitary woman on a sofa, a bather staring listlessly after a swim, a farmer trekking home alone – all caught in a kind of monumental loneliness recalling the best of Edward Hopper, a long time Skelton hero. Even in his scenes of rural social life – the country fair, the shebeen – there is at times a somber note. It is caught in a child’s sad face; a farmer’s stooped back, a woman’s wistful stare. Urgency, meanwhile, expresses itself in pure paint: rhythmic brushstrokes, fields of bright, near-primary colour and other formal experiments. Like many painters, Skelton was superstitious about coming to the canvas armed with anything other than brushes and paint. Yet he was frank about the sense of loss and said: “The world I see around me is not my world any more. It’s not the world I grew up in. As you grow old, change makes you sad.” As the Irish landscape was transformed during his lifetime, the millennial Skelton was freed, as never before, from pictorial or documentary burdens. This was emphasized by a remarkable spontaneity in the handling of paint: wider brushstrokes, brighter colours. Nostalgia ceased to be respectable in contemporary painting, yet Tracey Emin could show the wooden beach hut of her Brighton childhood to great general acclaim; while Damien Hirst could devote an entire series of vitrines to the themes of death and decay without being accused of sentimentality. The new Ireland of John Skelton’s latter life, if anything, reinforced and re-energized these themes of sadness and loss. In the atmosphere of noise and youth, it became a point of honour for Skelton to mourn the passing of another world. It was quite clear from our conversations that the artist had no personal nostalgia for the hungry Ireland of the 1940s and 1950s. It was not the fearsome struggle of his farmers and fishermen that he venerated. What he valued, on the contrary, were those qualities which made them equal to the challenge. Skelton possessed those qualities himself: stubbornness, physical and emotional toughness, a sensitivity to the sacredness of ordinary. No doubt those qualities will survive in the Irish character. But a Skelton painting will always containthem. He sent his brush out in search of the ordinary, and it came back loaded with images of the transcendent and the sublime. The above article was written by Paul O’Kelly In John’s own words: “From a very early age, when I could recognize the need to draw and paint, I determined to achieve skills which would bring me beyond the difficulties of technique. This would allow me to perform and improvise in my paintings like a good jazz musician. I felt that a painting was not just a mirror image of the world, but existed parallel to it – working in somewhat the same way as a biblical parable. I discovered that pictorial energy was the result of the tension of image in opposition: in a landscape, for example, the counterpoint between the rhythm of stormy skies and solid undulating earth. These things become visible only when you look for them. When you do, you find they surrender up a painting without effort. That, I feel, is secret. Painting is visible music and can only work when, as the poet Patrick Kavanagh put it, ”… you wait in the unconscious room of the heart for god to find you”. I was drawn to paint certain subjects again and again, as you can clearly see in this exhibition: big endless theatre of the seasons. In recent years I have devoted more time to portraits, almost all of these made under the impartial embrace of natural light. I’m eternally thankful to have been given the means and desire, to record this treasure house of a world. I am more interested in single moments than in stories; my aim is to set down a vision, without a narrative to convey or an axe to grind. In this way I hope to convey a sense of the world which, while deeply personal, will also be recognized and understood.” This artwork is from the collection of Balla Bán Art Gallery Website: John Skelton (Senior) 1925 - 2009 Online:
The SumGood Art Auction
Apr. 13, 2021
John Skelton (1923 - 2009) was active/lived in United Kingdom, Ireland
Est: $800 - $1,500
John Skelton (1923 - 2009) Watercolor / Paper Signed ,measures 8" x 11" inches
Cutler Bay Auctions
Mar. 22, 2021
John Skelton (1923-2009) CLIFF SURF, INISHMAAN, ARAN, COUNTY GALWAY
Est: €1,500 - €2,000
signed lower right; titled on reverse
Whyte's
Mar. 22, 2021
John Skelton (1923-2009) WEST OF IRELAND FAMILY
Est: €3,000 - €5,000
signed lower right
Whyte's
Dec. 07, 2020
John Skelton (1923-2009) TINKER MOTHER AND CHILD
Est: €2,000 - €3,000
signed upper right; signed and titled on reverse
Whyte's
Dec. 07, 2020
John Skelton (1923-2009) AFTER MASS, INISHEER, ARAN, 2001
Est: €1,500 - €2,000
signed lower left; signed, titled and dated on reverse
Whyte's
Oct. 20, 2020
John Skelton (1923-1999) Cattle in Winter Oil on board, 39.5 x 50cm (15½ x 19¾'') Signed Provenance: With Old Mill Gallery, Tullow, Co. Carlow; Sale, Whyte's, May 2018; with Jorgensen Fine Art, Dublin.
Est: €1,000 - €1,500
John Skelton (1923-1999) Cattle in Winter Oil on board, 39.5 x 50cm (15½ x 19¾'') Signed Provenance: With Old Mill Gallery, Tullow, Co. Carlow; Sale, Whyte's, May 2018; with Jorgensen Fine Art, Dublin.
Adam's
Oct. 19, 2020
John Skelton (1923-2009) LOUGH DERRIANA, COUNTY KERRY
Est: €1,200 - €1,500
signed lower right; titled on reverse
Whyte's
Sep. 02, 2020
John Skelton (1923-1999)Sea Horse, Quilty, Co. ClareWatercolour, 29.5 x 39.5cm (11½ x 15½'')Signed
Est: €500 - €700
John Skelton (1923-1999)Sea Horse, Quilty, Co. ClareWatercolour, 29.5 x 39.5cm (11½ x 15½'')Signed
Adam's
Jul. 30, 2020
§ JOHN SKELTON (1923-1999)
Est: £50 - £100
JOHN SKELTON (1923-1999) Study for reclining torso in Cornish Polyphant signed, dated and inscribed John Skelton/1968/Study for/reclining/Torso/in Cornish/Polyphant (upper right), inscribed Model MRS (lower left) pencil and chalk on brown paper 39.4 x 50.8 cm (15 1/2 x 20 in) This lot is sold without a reserve
Chiswick Auctions
Apr. 14, 2020
John Skelton Snr (1923-2009) Evening Light, Ballyferriter, Co. Kerry
Est: €4,000 - €6,000
John Skelton Snr (1923-2009) Evening Light, Ballyferriter, Co. Kerry oil on canvas signed lower right and titled verso h:61 w:76.25 cm. Provenance: Private Collection
Morgan O'Driscoll
Apr. 14, 2020
John Skelton Snr (1923-2009) Waiting for the Fog to Clear, Dunquin, Co. Kerry
Est: €3,000 - €5,000
John Skelton Snr (1923-2009) Waiting for the Fog to Clear, Dunquin, Co. Kerry oil on canvas board signed lower left h:31 w:41 cm. Provenance: Oisin Gallery, Dublin (label verso); Private Collection
Morgan O'Driscoll
Mar. 09, 2020
John Skelton (1923-2009) ATLANTIC SEABOARD, COUNTY MAYO, 2004
Est: €1,200 - €1,500
signed lower right; signed, titled and dated on reverse
Whyte's
Mar. 09, 2020
John Skelton (1923-2009) SKELLIG RISE, COUNTY KERRY
Est: €1,500 - €2,000
signed lower right; titled on reverse
Whyte's
Mar. 09, 2020
John Skelton (1923-2009) SHORE SCENE, COUNTY KERRY
Est: €1,500 - €2,000
signed lower right; titled on reverse
Whyte's
Oct. 21, 2019
John Skelton Snr (1923-2009) Spring, Dublin
Est: €1,500 - €2,500
John Skelton Snr (1923-2009) Spring, Dublin oil on board signed lower right and titled verso h:46 w:61 cm. Provenance: Private Collection John Skelton studied at Queens University in Belfast, Belfast College of Art and St Martin's School of Art, London. It was in London that he started his professional career and where he came under the influence of the Euston Road School in the late 1940s. He worked initially in advertising as Art Director and illustrator of books, most of them educational. After 1975 he worked full-time as an artist. Up to the late 1980s, Skelton was a frequent exhibitor in group shows, particularly the annual Royal Hibernian Academy and the Watercolour Society shows in Dublin. In later years however, his work was in such demand that he contributed to these less often. During the 1970s and early 1980s he earned a reputation as a gifted teacher and lecturer in the National College of Art and Design in Dublin.
Morgan O'Driscoll
Sep. 16, 2019
John Skelton (1923-2009) ATLANTIC SEABOARD, COUNTY MAYO, 2004
Est: €1,500 - €2,000
signed lower right; signed, titled and dated on reverse
Whyte's
Sep. 16, 2019
John Skelton (1923-2009) ST. STEPHEN'S GREEN, DUBLIN
Est: €1,800 - €2,200
signed lower right
Whyte's
Sep. 10, 2019
JOHN SKELTON (1923-1999)
Est: £100 - £200
JOHN SKELTON (1923-1999) Study for reclining torso in Cornish Polyphant signed, dated and inscribed 'John Skelton/1968/Study for/reclining/Torso/in Cornish/Polyphant' (upper right) pencil and chalk on brown paper 15 1/2 x 20 in. (39.4 x 50.8 cm.) Artist's Resale Right may apply to this lot.
Chiswick Auctions
Sep. 07, 2019
JOHN SKELTON (1925-2009) Irish (AR) Life Study Pencil, signed and dated '66
Est: £100 - £150
JOHN SKELTON (1925-2009) Irish (AR) Life Study Pencil, signed and dated '66, framed and glazed. 34 x 47 cm.
Rowley Fine Art Auctioneers and Valuers
Jul. 04, 2019
JOHN SKELTON (1923-1999)
Est: £200 - £400
JOHN SKELTON (1923-1999) Study for reclining torso in Cornish Polyphant signed, dated and inscribed 'John Skelton/1968/Study for/reclining/Torso/in Cornish/Polyphant' (upper right) pencil and chalk on brown paper 15 1/2 x 20 in. (39.4 x 50.8 cm.) Artist's Resale Right may apply to this lot.
Chiswick Auctions
Jun. 30, 2019
***PLEASE NOTE THE ESTIMATE IN THE PRINTED CATALOGUE SHOULD READ 600 - 800***JOHN SKELTON (1923-1999)Kilkee, Co. DownOil on board, 37 x 97cmSigned
Est: €600 - €800
***PLEASE NOTE THE ESTIMATE IN THE PRINTED CATALOGUE SHOULD READ 600 - 800***JOHN SKELTON (1923-1999)Kilkee, Co. DownOil on board, 37 x 97cmSigned
Adam's
May. 27, 2019
John Skelton (1923-2009) WINTER SCENE
Est: €1,000 - €1,500
signed lower left
Whyte's
May. 27, 2019
John Skelton (1923-2009) FIGURE WALKING ON A COUNTRY PATH
Est: €2,000 - €3,000
signed lower right
Whyte's
Apr. 29, 2019
John Skelton Snr (1923-2009) The Lazy Grazer
Est: €1,500 - €2,500
John Skelton Snr (1923-2009) The Lazy Grazer oil on canvas signed lower left h:41 w:56 cm. Provenance: Private Collection
Morgan O'Driscoll
Mar. 26, 2019
JOHN SKELTON (1923-2009) OIL ON CANVAS
Est: $300 - $500
"CALM WARMING IN ROUND STONE HARBOR" SIGNED JOHN SKELTON , LOWER LEFT , WITH LABEL INVERSO - 18" x 14" , 26" x 21 1/2" FRAMED
Echoes Antiques & Auction Gallery
Mar. 26, 2019
JOHN FRANCIS SKELTON (b. 1954) OIL ON CANVAS
Est: $200 - $300
TITLED "ROCK & FOAM" CROOKSHAVEN , COUNTY CORK , IRELAND , SIGNED JOHN FRANCIS SKELTON , LOWER LEFT - 14" x 10" , 19" x 15 1/2" FRAMED
Echoes Antiques & Auction Gallery
Mar. 04, 2019
John Skelton (1923-2009) COASTLINE, COUNTY KERRY
Est: €1,000 - €1,500
signed lower left
Whyte's