Camille Souter Paintings & Artwork for Sale | Camille Souter Art Value Price Guide

Sep. 30, 2024
Camille Souter HRHA (1929-2023) WINTER EVENING, CALARY, 1964
Est: €10,000 - €15,000
Camille Souter HRHA (1929-2023) WINTER EVENING, CALARY, 1964 oil on paper laid on board signed and dated lower right; inscribed on Dawson Gallery label on reverse h:12 w:19 in. Provenance: Mr. Timothy Goulding; with Dawson Gallery, Dublin; Private collection; de Veres, 27 September 2005, lot 76; Private collection Exhibited: Irish Exhibition of Living Art, 1965, catalogue no. 76 A couple of months after the birth of her daughter Emma in 1962, Camille Souter and her family moved out of a Gatelodge in Enniskerry, to settle into a small cottage on nearby Calary Bog, Co. Wicklow. Commentators have generally assumed that with her move to Calary she drifted away from "abstraction" towards a more "realist" style concerned primarily with the landscape. This is, however, something of an over-simplification. So too the notion that her interest in light is comparable to that of other Irish painters of her generation. Certainly, her subject matter became more readily identifiable but this was due to a greater emphasis on drawing. In the late 1950's, the strong lines of her earliest work gave way to a more fluid, and random application of paint. In Calary they began to reassert themselves, literally drawing one's attention to particular aspects of the land. Here spatial tension is created between the strong horizontal lines in the distance and the painterly, vertical brushstrokes, suggestive of cultivation, in the immediate foreground. Perspective has not been applied academically, bringing the land closer to the viewer than one might normally expect, or presenting it as though seen from above. This compositional approach became characteristic of many of her landscapes well into the 1970's. In an interview, Souter suggested that one of the greatest things about the Irish countryside was its "classic lines". These seem to have struck her more forcibly in Calary than anywhere else. The title of the work "Calary Bog" reminds us that the artist was not interested in painting some generalised, romantic, mythical, archetype of the Irish landscape but specific places as she saw them at different times of the day and year and under varying conditions of light and weather. In this regard, she stands out from the painters with whom she is usually compared. Patrick Collins, for example, would frequently shroud his paintings in semi- mythical or imagined mist. He would often paint late into the night under artificial light, "I don't think it matters a damn...Plein air, al fresco, it doesn't matter at all. All art is artificial...do it in the dark, do it in the basement". Souter for her part only ever painted in daylight (though usually indoors) in a serious attempt to recreate what her eyes perceived. The natural order with its cycles of growth and decay, always counter-acted the pretensions of the Self. Garrett Cormican
Whyte's
Sep. 25, 2024
Camille Souter HRHA (1929 -2023) Fish (1956) Oil on paper, 13.5 x 19cm (5_ x 7_'') Signed and dated (19)'56 Provenance: With David Hendrik's Gallery, Dublin, where purchased by Eric & Beatrice Baird, Co. Wicklow; Their sale, these rooms 31 M
Est: €5,000 - €8,000
Camille Souter HRHA (1929 -2023) Fish (1956) Oil on paper, 13.5 x 19cm (5_ x 7_'') Signed and dated (19)'56 Provenance: With David Hendrik's Gallery, Dublin, where purchased by Eric & Beatrice Baird, Co. Wicklow; Their sale, these rooms 31 March 2004, lot 74; With Taylor Gallery, Belfast; Private Collection Literature: Garrett Cormican, 'Camille Souter: The Mirror on the Sea', Dublin 2006, No. 12, Illustration p.214
Adam's
May. 27, 2024
Camille Souter HRHA (1929-2023) HOOPS, 1968
Est: €10,000 - €15,000
Camille Souter HRHA (1929-2023) HOOPS, 1968 oil and aluminium paint on paper signed lower right; with Dawson Gallery label on reverse h:14 w:24.50 in. Provenance: Dawson Gallery, Dublin; Collection of the artist Father Jack P. Hanlon (1913-1968); Adam's, 11 December 1991, lot 28; Private collection; Adam's 17 June 1992, lot unknown; With Frederick Gallery, Dublin; Private collection Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 259, p. 272
Whyte's
May. 02, 2024
Two Clowns Fooling
Est: €5,000 - €7,000
Camille Souter H.R.H.A. 1929 - 2023 Two Clowns Fooling signed Camille Souter and dated 1964 (lower centre); also titled on the verso; further titled on the reverse of the backing board ink, oil, watercolour on paper laid down on card unframed: 49 by 73.5 cm.; 19 1/4 by 29 in. Executed in 1964. ----------------------------------------------------- Camille Souter H.R.H.A. 1929 - 2023 Two Clowns Fooling signé Camille Souter et daté 1964 (en bas à centre); également titré (au revers); de plus titré au verso du panneau incre, huile, aquarelle sur papier sans cadre: 49 by 73.5 cm.; 19 1/4 by 29 in. Exécuté en 1964.
Sotheby's
Sep. 27, 2023
Camille Souter HRHA (1929 - 2023) 'The 2 Old Turnips' (1973) Oil on paper on board, 17.5 x 21.6cm (6¾ x 8½) Signed and dated 1973; Signed and inscribed with title verso Provenance: With The Dawson Gallery, label verso; Christie's, London, 'The
Est: €5,000 - €8,000
Camille Souter HRHA (1929 - 2023) 'The 2 Old Turnips' (1973) Oil on paper on board, 17.5 x 21.6cm (6¾ x 8½) Signed and dated 1973; Signed and inscribed with title verso Provenance: With The Dawson Gallery, label verso; Christie's, London, 'The Irish Sale', May 17th 2002, lot no. 115
Adam's
May. 31, 2023
Camille Souter HRHA (1929-2023) Bewley's 8.45, Filling the Sugar Oil on paper on board, 18 x 18cm (7 x 7) Signed; inscribed verso Provenance: With The Dawson Gallery, Dublin, December 1975 where purchased, thence by descent to the present owne
Est: €5,000 - €7,000
Camille Souter HRHA (1929-2023) Bewley's 8.45, Filling the Sugar Oil on paper on board, 18 x 18cm (7 x 7) Signed; inscribed verso Provenance: With The Dawson Gallery, Dublin, December 1975 where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther ODriscoll, Kildare Exhibited: Dublin, Douglas Hyde Gallery, 1980, addenda no. 11 Literature: Garrett Cormican, 'Camille Souter- The Mirror in the Sea' 2006, catalogue no. 365, full page illustration, p. 297. This is one of a relatively small number of works by Camille Souter where a human figure takes centre stage. Camille Souter is best known for her landscapes. Part of the reason for this was her respect for other peoples privacy. If you were going to paint another person, particularly in a realistic way in which they might be recognized, she would have considered it necessary to ask their permission. This painting is, however, a more of an impressionistic genre piece. Until recent times before the proliferation of coffee shops from the mid 1990s onward, Bewleys was something of a Dublin institution. People would go there to have their breakfast before doing their Christmas shopping, do the Irish Times crossword while having a coffee, or just going about their daily business. Trinity students would often arrive there first thing in the morning after the Trinity Ball there being nowhere else to eat open in the city centre in the early hours. The title of this work suggests a daily routine in Bewleys of filling the sugar bowls to prepare for the day ahead and begs the question: just how much sugar did Dubliners consume daily in the 1970s There are no figures seated in the background or to either side of the table. The sole protagonist is totally absorbed by her task. It captures a very intimate, quiet moment. While reminiscent or Bonnards work on one level, Souters palette is much more muted. This in keeping with the interior of Bewleys itself and seems reflective of the first semi-somnolent moments of day; one imagines while the artist waited for a first coffee. Garrett Cormican, April 2023
Adam's
May. 31, 2023
Camille Souter HRHA (1929-2023) La Verit L'Espresso Mixed media on paper, 54 x 40cm (21¼ x 15¾) Signed and dated June 1957 Provenance: With The Dawson Gallery, Dublin, where purchased, framing label verso, thence by descent to the present owne
Est: €10,000 - €15,000
Camille Souter HRHA (1929-2023) La Verit L'Espresso Mixed media on paper, 54 x 40cm (21¼ x 15¾) Signed and dated June 1957 Provenance: With The Dawson Gallery, Dublin, where purchased, framing label verso, thence by descent to the present owners; The Estates of Dr. John & Mary Esther ODriscoll, Kildare Dating from 1957, La Verit LEspresso is an excellent example of Camille Souters early work. Her earliest surviving paintings date from 1955-1956. The use of newspaper as a painting support was unheard of in Ireland at the time and something she began to experiment with while on her first trip to Italy from September-December 1955. By January 1956, she had returned to Ireland. She would give birth to her daughter Michele in July 1956 and would have her first exhibition in Dublin in December. Numerous paintings by Souter from 1955-1957 were painted on newspaper. Given this work is on Italian newspaper (LEspresso was founded as a weekly magazine in Rome in October 1955), one wonders whether this work was commenced in Italy and completed in Ireland in 1957 as suggested by the date on the lower right. Alternatively, she might have brought some Italian newspaper home with her in 1956 and only worked on it later. Stylistically, this work appears more advanced than some of those dated 1955 or those painted on Irish newspaper in the collection of the Irish Museum of Modern Art dated 1956. The use of black lines and the relatively abstract appearance of the work invites comparison with American Abstract Expressionist artists like Franz Kline. The small scale of the painting and its use of cheap materials like newspaper is temperamentally far more European than American however. In a vast and wealthy country like the United States, mid-century American artists tended to express themselves on an unabashedly large scale, unrestrained by a long history of painting. By contrast, post-war Europe was re-building itself and after years of rations, the enormous scale of American painting might have seemed something of an anachronism. Unlike Jackson Pollock, Mark Rothko or Willem de Kooning Souters use of newspaper as a painting support inevitably keeps things on a human, intimate scale and routed in the real world. One is never inclined to view it as entirely abstract or non-representational even if her subject is hard to pin down. The use of cheaper materials such as newspaper could also be said to anticipate the later Italian Arte Povera movement (which surfaced from 1967 to 1972) and to a lesser extent, Pop Art. With its strong black calligraphic lines over joyfully coloured patches of yellow, orange, blue and white, this painting almost has the appearance of stained glass. The conspicuous appearance of text from the newspaper is also reminiscent of advertising hoardings where some later layers of posters have peeled away to reveal older advertisements underneath. It is notable that just over a month later Souter would paint a work titled Out of a Window on newspaper. That work was inspired by a view from the window she worked under in her basement flat in Upper Fitzwilliam Street, Dublin. La Verit LEspresso also alludes to world events beyond the painting itself even if these are deliberately left undefined. Garrett Cormican, April 2023
Adam's
May. 29, 2023
Camille Souter HRHA (1929-2023) PREGNANCY, 1968
Est: €20,000 - €30,000
Camille Souter HRHA (1929-2023) PREGNANCY, 1968 oil on paper signed and dated lower right; with Dawson Gallery and ROSC labels on reverse h:27 w:18.50 in. Provenance: Dawson Gallery, Dublin; James J. Stafford Esq.; Private collection; Whyte's, 30 November 2009, lot 40; Private collection Exhibited: 'The Irish Imagination', ROSC, 22 October to 29 December 1971 Literature: Garrett Cormican, 'Camille Souter: The Mirror in The Sea', Whyte's, Dublin, 2006, catalogue no. 254, illustrated p.92 Matter, weight and physicality probably aren’t the first words that spring to mind when one thinks of Camille Souter’s paintings. Indeed, people have usually associated her work with the opposite, with the vocabulary of Impressionism, loose brushwork, softly delineated contours and a focus on the intangible, fleeting shimmer of light. These ideas are not however as opposite as they initially appear. In the context of her landscapes, for example, Souter appears to be acutely concerned with the passage of the seasons, cycles of growth and decay produced by light. Physical processes of growth and decay are a recurring theme in Souter’s oeuvre. One thinks particularly of her paintings of dead fish, dead basking sharks and paintings of bloody meat from the 1970s. One could associate these with death alone but the fish and meat also provided food for people to eat. The dead basking sharks provided oil and other materials to sustain human life. Souter also painted subjects related to birth and regeneration. Pregnancy depicts a friend of the artist and was drawn directly from life. It is, like most of Souter’s paintings of people, an intimate and sympathetic portrait. Having given birth to five children herself (the last in 1965), Souter would have identified strongly with her model’s condition. (See footnote) While the brushwork might appear light and impressionistic, the figure with her distended belly and prominently positioned thighs seems to be anchored by a heavy weight. This is a private scene. The sitter does not look directly at the viewer and any recognisable facial features have been effectively concealed. Souter usually explains this by saying that she often finds back views more interesting, more mysterious. One can’t help feeling that there may be more to it than that though. Generally speaking, Souter tends to depict people as they actually are, shorn of all affectation – not always, perhaps, how they would like to be seen. In this instance, maybe, there is a concern that the sitter might have found the artist’s gaze intrusive and Souter would certainly understand if she did. Souter despises posing for photographs. She is not very keen to have her own portrait painted, either. In conversation, the artist usually refers to this work as Silese When Pregnant. It was, however, originally exhibited under the more generic title Pregnancy so that the identity or privacy of her sitter would be protected. Garrett Cormican Footnote: An earlier painting, Things Inside (exhibited under the alternative title Figures in Embryo), was inspired by the artist’s pregnancy in 1957 with her daughter Gino. This painting was sold at Whyte’s as lot 49 on 30 April 2007 for €22,000.
Whyte's
May. 29, 2023
Camille Souter HRHA (1929-2023) PELTING RAIN NEAR ASHFORD, COUNTY WICKLOW, 1966
Est: €12,000 - €18,000
Camille Souter HRHA (1929-2023) PELTING RAIN NEAR ASHFORD, COUNTY WICKLOW, 1966 oil on paper signed and dated lower left; titled and with Solomon Gallery label on reverse h:22 w:30 in. Provenance: Solomon Gallery, Dublin, 2003; Private collection Literature: Garrett Cormican, 'Camille Souter: The Mirror in The Sea', Whyte's, Dublin, 2006, catalogue no. 237, illustrated p.271
Whyte's
May. 10, 2023
Shoulder Runway
Est: €3,000 - €5,000
Camille Souter 1929 - 2023 Shoulder Runway signed with initials C. S. (lower right) oil on paper unframed: 9 by 28cm.; 7½ by 11in. framed: 54 by 63cm.; 21¼ by 24¾in. Executed circa 1980. __________________________________________________________________________ Camille Souter 1929 - 2023 Shoulder Runway signé avec les initiales C.S. (en bas à droit) huile sur papier sans cadre: 9 by 28cm.; 7½ by 11in. cadre: 54 by 63cm.; 21¼ by 24¾in. Exécuté vers 1980.
Sotheby's
Apr. 18, 2023
Camille Souter HRHA (1929-2023) Iron Gates (1962)
Est: €12,000 - €18,000
Camille Souter HRHA (1929-2023) Iron Gates (1962) oil on paper laid on board signed and dated 'Camille Souter 1962' lower centre h:64 w:102 cm. Provenance: Christie's, London 'The Irish Sale & 20th Century British Art', 14th May 2004, lot no 409; Private Collection Literature: Garrett Cormican 'Camille Souter, The Mirror on the Sea', published by Whyte's, Dublin, illustrated on page 249 A significant proportion of Camille Souter's work from the mid-1950s (she regarded paintings made prior to then as immature) to at least the mid-1960s and further, bring to mind Paul Klee's famous definition of a drawing as a line going for a walk. Line was central to Souter's painting of the time. And she seemed to relish its sheer freedom in being able to wander around a pictorial space, creating loops and arabesques. She wasn't imitating Klee, consciously or otherwise, but exploring the possibilities of her own inventive freedom. In the latter part of 1955 she went to Italy with fellow artist Ralph Rumney. She experienced great poverty and hardship - starving in Trieste, as she recalled - but the stay shaped her as an artist. Rumney was then a fine painter, and a good guide to what was going on in contemporary art. The exceptionally experimental work of some of the artists of the CoBrA group, as it was known (in many ways the European equivalent of American Abstract Expressionism) provided constructive examples of what was possible. Rumney went on to other ways of making art, beyond painting, but from that point on Souter was a serious and committed painter. Back in Ireland, she gradually applied everything she had learned to her local surroundings, including Achill Island, which she found to be extremely stimulating. She and the sculptor Frank Morris married in 1960; they were, she said, destined to be together. Two years later they managed to acquire a small farmhouse on Calary Bog in Co Wicklow. They moved in ahead of winter 1962 - a harsh, bitterly cold season in a fairly spartan setting. This vibrant, immensely cheerful painting, in which Souter delights in the looping scroll work of the iron gate against a warm, effervescent textural ground, surely reflects her happiness at the time. Souter was widely esteemed as one of the finest Irish painters of the 20th century from her arrival on the artistic scene in 1956. Aidan Dunne, March 2023
Morgan O'Driscoll
Mar. 01, 2023
Camille Souter HRHA (b. 1929) First into Calabria Mixed media, 63 x 100cm (23¾ x 39¼) Signed and dated 1962 Provenance: With The Dawson Gallery, Dublin, label verso; Collection of Sir Basil Goulding Exhibited: New York, 1963, 12 Irish Pai
Est: €10,000 - €15,000
Camille Souter HRHA (b. 1929) First into Calabria Mixed media, 63 x 100cm (23¾ x 39¼) Signed and dated 1962 Provenance: With The Dawson Gallery, Dublin, label verso; Collection of Sir Basil Goulding Exhibited: New York, 1963, 12 Irish Painters, Cat. 63
Adam's
Mar. 01, 2023
Camille Souter HRHA (b.1929) Red Achill Oil on paper, 30 x 38cm (11¾ x 15) Signed Provenance: From the Collection of Patrick MacEntee, SC With Taylor Galleries label verso
Est: €5,000 - €8,000
Camille Souter HRHA (b.1929) Red Achill Oil on paper, 30 x 38cm (11¾ x 15) Signed Provenance: Formerly the Collection of Sir Basil Goulding; From the Collection of Patrick MacEntee, SC; With Taylor Galleries, Dublin, label verso Exhibited: Taylor Galleries, Dublin, 1982, no.79 Literature: Cormican, Garrett, Camille Souter, The Mirror in the Sea, 2006, Cat. no. 22a, p.321.
Adam's
Dec. 07, 2022
Camille Souter RHA HRNA (b.1929) Untitled Oil and mixed media on newsprint, 37.5 x 27cm (15 x 10¾) Signed Provenance: Dr Michael Scott, Architect, Dublin; with The Frederick Gallery, Dublin. December 2001 Literature: Garrett Cormican, Cam
Est: €8,000 - €12,000
Camille Souter RHA HRNA (b.1929) Untitled Oil and mixed media on newsprint, 37.5 x 27cm (15 x 10¾) Signed Provenance: Dr Michael Scott, Architect, Dublin; with The Frederick Gallery, Dublin. December 2001 Literature: Garrett Cormican, Camille Souter 'The Mirror on the Sea' Dublin, illustrated p.226
Adam's
Dec. 08, 2021
Camille Souter HRHA (b.1929) Untitled Oil on newspaper, 37 x 27cm (14½ x 10½'') Signed, inscribed 'Dublin' and dated (19)'57 Provenance: Collection of Dr. Michael Scott, Dublin; With The Frederick Gallery, Dublin, December 2001; Private Collect
Est: €7,000 - €10,000
Camille Souter HRHA (b.1929) Untitled Oil on newspaper, 37 x 27cm (14½ x 10½'') Signed, inscribed 'Dublin' and dated (19)'57 Provenance: Collection of Dr. Michael Scott, Dublin; With The Frederick Gallery, Dublin, December 2001; Private Collection, Dublin. Literature: Garrett Cormican, 'Camille Souter - The Mirror on the Sea', illustrated p.227. Largely self-taught, Camille Souter's earlier work shows the influence of Abstract Expressionism, particularly the strong, emotive calligraphic styles of Klee and Pollock. In 1956/57 she had her first solo shows in Dublin restaurants and London galleries. The present work dates from about this time and its energetic abstraction is something she carried through her work while in Italy and beyond, the newspaper as support becoming an integral part of the composition. Having won an Italian Government Scholarship in 1958 she worked in Italy before returning to Ireland and Achill the following year, where, partly through lack of money she began to use unusual types of paint such as aluminium bicycle paint. There, her painting moved away from the excitement and experiments of Abstract Expressionism and resolved into a quieter quasi-Impressionist mode of landscape painting.
Adam's
Jun. 02, 2021
Camille Souter HRHA (b.1929) - Cycling to Chioggia
Est: €15,000 - €25,000
Camille Souter HRHA (b.1929) Cycling to Chioggia Oil , plaka and printer's ink on paper, 68.5 x 48.1cm (27 x 19'') Signed and dated April (19)'61 Provenance: With Taylor Galleries, label verso; ex Basil Goulding Collection; Literature: 'The Mirror in the Sea: Camille Souter' by Garrett Cormican, catalogue no.130. Camille Souter, who first went to Italy in her mid-twenties, said that 'the first time I went to Italy I felt I was going home.' It was, also, where she began to sell her paintings: 'it was in Trieste, Melegnano and Milan that I really started to sell'. A second trip to Italy in 1958 came about when she was awarded an Italian Government Scholarship and she, then twenty-nine, headed off with three very small children, Natasha, Shelley, Gino, aged three, two and one. And 'contrary to several reports, I did not cycle across Europe on a bicycle!' But this work Cycling to Chioggia would suggest that in Italy she did cycle to Chioggia, a little fishing town fifteen miles south of Venice. Painted in April 1961, it's a memory painting. As is Il Papa E' Morto, also dated 'April 61', a work that remembers the newspaper headlines announcing the death of Pius XII that Souter saw when she was there in October 1958. A third work, Buon Divertimento [meaning Good Time], a work dated 1958, is similar in terms of palette and technique. Of these three Italian-themed works Cycling to Chioggia is the one that sings with life and movement. Bold strokes, marvellously brushworked in plum and blue verticals and that zinging light- orange against a very light puce, create a work that is filled with energy and a delightful sense of humour. A vertical stroke at the base grounds the work and as the eye moves upwards it meets nine wheels outlined with childlike delight to achieve a lovely airiness. Pollock and Klein could certainly be seen as influences and asked if her work, in the 1950s, had been influenced by Jackson Pollock, Souter replied: 'all painting is action painting' and 'I thought of all that Jackson Pollock period as a good, exciting way to use paint. It gave me the feeling that you can do anything with paint' adding that 'seeing the Pollocks and Kleins in Paris I knew I could use anything - aluminium paint, black enamel bicycle paint, a wonderful salmon pink, and a few precious tubes of cadmiums. It opened the door, so when I had no money I realised I can use anything, any kind of paint.' Souter's use of oil, plaka paint and printer's ink for Cycling to Chioggia proves that. Born Northampton 1929 and originally called Betty Pamela Holmes, she moved to Ireland 'when I was about three-and-a-half'. After school, Souter, who 'wanted to be a nurse from the age of seven or eight', went to London at nineteen to train at Guy's. Having had TB when she was twenty-one, and being 'wan and thin' was named Camille after the tubercular heroine in the Alexandre Dumas novel La Dame aux Camélias. Her husband Gordon Souter meant the new surname. Elusive, private, and no self-promoter of her own work, Camille Souter believes that 'as a painter you spend your time looking out on the world. You almost feel as if you're invisible because your job is looking.' Her output, though small, is highly-prized. Souter has had a studio home in Achill since 1956 and her Achill studio is 'a black metal shed. Two skylights. Very private. Concrete floor. Six girders had to be sunk deep into cement because of the weather.' Souter only paints in natural light and prefers that her works be viewed in daylight. Robert O'Byrne sees her as 'a painter of outstanding skill and sensitivity'. Brian Fallon praises her 'perfectionist working methods'. For Fallon, she has held 'a central position in Irish painting' and he describes her vision as 'a very human and affectionate one'. Camille Souter was elected Saoi of Aosdana in 2008, the first woman painter and the second woman ever to be so honoured and when Trinity College conferred an honorary Litt.D on Camille Souter in June 2015 she was described as 'an exceptional painter' and 'one of the most revered living artists in Ireland'. Her work is held in important collections including The Hugh Lane, IMMA, Ulster Museum, Crawford Art Gallery, The Arts Council, OPW, UCD, TCD, UCC. Asked if a painting should say something she replied: 'It has to have a subject matter, otherwise it's just design. There has to be some passion behind it, a rapport between the painter and the world. A painting is pulling in so many things from light, time, subject matter'. For Souter, 'a painter is trying to grasp a vital element in almost a second of time'. And just as time is always a vital element in a novel, so too in painting. In Souter's Cycling to Chioggia, time is present . . . . In this instance, an exhilarating and happy time. Niall MacMonagle, May 2021 Starting Bid: € 10500
Adam's
Apr. 28, 2021
Camille Souter (Irish, born 1929) Outside Mullingar, Early Morning
Est: £8,000 - £12,000
Camille Souter (Irish, born 1929) Outside Mullingar, Early Morning signed and dated 'Camille Souter 1971' (lower right) oil on card, laid on board 56.5 x 75.5cm (22 1/4 x 29 3/4in). For further information on this lot please visit the Bonhams website
Bonhams
Mar. 22, 2021
Camille Souter HRHA (b. 1929) INTERNAZIONALE, 1950
Est: €8,000 - €12,000
signed lower right; with Ritchie Hendriks label dated 1965 on reverse
Whyte's
Dec. 09, 2020
Camille Souter HRHA (b.1929) Callary Bog in Winter Mist Oil on board, 43 x 41cm (17 x 16¼'') PLEASE NOTE this piece does not come from the Collection of Terence deVere White as stated in the catalogue
Est: €7,000 - €10,000
Camille Souter HRHA (b.1929) Callary Bog in Winter Mist Oil on board, 43 x 41cm (17 x 16¼'') PLEASE NOTE this piece does not come from the Collection of Terence deVere White as stated in the catalogue
Adam's
Dec. 07, 2020
Camille Souter HRHA (b.1929) UNTITLED, 1956
Est: €3,000 - €5,000
signed and dated upper left
Whyte's
Oct. 20, 2020
Camille Souter HRHA (b.1929) The Unknown (1957) Oil on newspaper on board, 39.5 x 55cm (15½ x 21¾'') Signed and dated August (19)'57 Provenance: Sale, DeVeres, June 2018, where purchased; with Jorgensen Fine Art, Dublin.
Est: €7,000 - €10,000
Camille Souter HRHA (b.1929) The Unknown (1957) Oil on newspaper on board, 39.5 x 55cm (15½ x 21¾'') Signed and dated August (19)'57 Provenance: Sale, DeVeres, June 2018, where purchased; with Jorgensen Fine Art, Dublin.
Adam's
Oct. 20, 2020
Camille Souter HRHA (b.1929) Carnival at Galway (1956) Oil on paper, 20.5 x 16cm (8 x 6¼'') Signed and dated (19)'56 Provenance: George & Maura McClelland Collection; with Jorgensen Fine Art, Dublin.
Est: €3,000 - €5,000
Camille Souter HRHA (b.1929) Carnival at Galway (1956) Oil on paper, 20.5 x 16cm (8 x 6¼'') Signed and dated (19)'56 Provenance: George & Maura McClelland Collection; with Jorgensen Fine Art, Dublin.
Adam's
Oct. 19, 2020
Camille Souter HRHA (b.1929) THE KNOCKOUT, 1974 (DIPTYCH)
Est: €10,000 - €15,000
one section signed upper right; the other section signed lower left; inscribed to the artist on label on reverse
Whyte's
Sep. 23, 2020
CAMILLE SOUTER
Est: €500 - €800
Abstract study Mixed media
Sheppards
Oct. 23, 2019
Camille Souter HRHA (b.1929)Winter CameDiptych, mixed media on paper, 40 x 50cm each (15¾ x 19¾)Both signed, inscribed 'Winter' and dated 1963Provenance: Ex Basil Goulding Collection.Exhibited: Drogheda/Castlebar 'Camille Souter/Nano Reid Retro
Est: €12,000 - €18,000
Camille Souter HRHA (b.1929)Winter CameDiptych, mixed media on paper, 40 x 50cm each (15¾ x 19¾)Both signed, inscribed 'Winter' and dated 1963Provenance: Ex Basil Goulding Collection.Exhibited: Drogheda/Castlebar 'Camille Souter/Nano Reid Retrospective Exhibition', 1999, Catalogue No.19. University of Limerick, 'Familiar Faces', 2008;
Adam's
Oct. 23, 2019
Camille Souter HRHA (b.1929)Telegraph Poles and Forestry, Co. Wicklow 1996Oil on paper, 32 x 24cm (12½ x 9½)Signed and dated 1996Provenance: With Taylor Galleries, Dublin.Exhibited: 'Camille Souter/Nano Reid Retrospective Exhibition', Drogheda/
Est: €2,000 - €3,000
Camille Souter HRHA (b.1929)Telegraph Poles and Forestry, Co. Wicklow 1996Oil on paper, 32 x 24cm (12½ x 9½)Signed and dated 1996Provenance: With Taylor Galleries, Dublin.Exhibited: 'Camille Souter/Nano Reid Retrospective Exhibition', Drogheda/Castlebar, 1999, Catalogue No.17.
Adam's
Oct. 23, 2019
Camille Souter HRHA (b.1929)Fooling in the TentOil on board, 58.5 x 79cm (23 x 31¼)Signed and dated 1974Provenance: Collection Sir Basil Goulding; With The Dawson Gallery, Dublin; With Taylor Galleries, Dublin December 1982, Catalogue No.81.Exh
Est: €15,000 - €20,000
Camille Souter HRHA (b.1929)Fooling in the TentOil on board, 58.5 x 79cm (23 x 31¼)Signed and dated 1974Provenance: Collection Sir Basil Goulding; With The Dawson Gallery, Dublin; With Taylor Galleries, Dublin December 1982, Catalogue No.81.Exhibited: University of Limerick, 'Familiar Faces', 2008; 'Camille Souter/Nano Reid Retrospective' exhibition, Drogheda and Castlebar 1999, full colour plate in catalogue.Literature: Garrett Cormican, 'Camille Souter: The Mirror in the Sea', 2006, illustrated.Camille Souter has worked in series from the beginning of her career in 1955. She has an insatiable curiosity and when a subject interests her, she will usually address it in a number of works. Fooling in the Tent is one of a series of paintings based on Clowns and Clowning that Souter produced in the 1950s and early 1960s. At the time she was bringing her young children to the Circus in Bray and Booterstown. This work recalls one such experience. As with her earliest monotypes of the Circus from 1955, the scene is highly abstracted. The figures are represented through symbols in a fashion reminiscent of psychic automatism. The two triangles on the upper right are a clearly a short hand for the peaked hats of the clowns who could be juggling on a high wire. Equally, the vertical lines on either side of the work may call to mind a trapeze. The gelatinous dribbles of cream enamel paint and arcing grey lines have been applied with enormous urgency. One never gets the feeling we are looking at something static or lifeless as one might had the scene been captured in painstaking, photographic, detail. There is a joyous vitality to the paint application that is perfectly tailored to the subject and very direct. Garrett Cormican, August 2019
Adam's
Oct. 23, 2019
Camille Souter HRHA (b.1929)The Slaughtered Cow Ten Minutes DeadOil on paper, 76 x 58.5cm (30 x 23)Signed, inscribed and dated 1973Provenance: With Taylor Galleries, label verso; Basil Goulding Collection.Exhibited: ROSC, Cork, 1980; 'Six Arti
Est: €15,000 - €25,000
Camille Souter HRHA (b.1929)The Slaughtered Cow Ten Minutes DeadOil on paper, 76 x 58.5cm (30 x 23)Signed, inscribed and dated 1973Provenance: With Taylor Galleries, label verso; Basil Goulding Collection.Exhibited: ROSC, Cork, 1980; 'Six Artists from Ireland', European touring exhibition, colour illustration in catalogue; University of Limerick, 'Familiar Faces', 2008, colour illustration in catalogue; 'Camille Souter/Nano Reid Retrospective' exhibition, Drogheda and Castlebar 1999, full page colour illustration.Image used as a Christmas card by Irish Malt Exports Ltd.This work was the last and largest of a series of around 22 paintings inspired by a visit to Les Halles in Paris in the early 1970s. At the time, some of Pariss best known abattoirs operated in the area, though they were moved out of it in 1971. Souter was particularly struck by the beauty and colour of the hanging meat. She had been interested in biology since childhood and had painted a series of works based on dead basking sharks in Achill during the 1960s so it is perhaps not surprising she would be drawn to the subject. Souters take on meat is markedly different to that of many of the other artists that have addressed the subject. Unlike Rembrandts Slaughtered Ox, or Chaim Soutines paintings of meat, for example, there are no obvious allusions to religion. Most of the works in the Meat series are relatively small. They are also awash with blood. The paint is generally applied thinly, emphasising the fluid properties of the blood present rather than the tactility of the flesh. The black paint of the cows back in this work does however have real weight. The title, tells us that the cow has only recently been slaughtered but signs of life can take time to dissipate. The flesh and blood may still be warm. Its right eye still seems to be open. We can only wonder if it realised or realises what has happened to it. Garrett Cormican
Adam's
Oct. 21, 2019
Camille Souter HRHA (b.1929) Winter Vine, Dublin (1958)
Est: €10,000 - €15,000
Camille Souter HRHA (b.1929) Winter Vine, Dublin (1958) oil on canvas signed lower right, titled and dated '58 verso h:45.75 w:61 cm. Provenance: David Hendriks Gallery, Dublin (label verso); Collection of Gordon Lambert; Private Collection Exhibited: Irish Exhibition of Living Art Literature: 'Camille Souter: The Mirror in the Sea' by Garrett Cormican; Cat No.71, page 235 illustrated. Souter elected Saoi in Aosdána, has painted at a measured pace all of her life, from the 1950s when Michael Scott and Basil Goulding purchased her work. Today she is represented in all of the major collections and is much sought after by private collectors. Early influences are Paul Klee, Francis Bacon and Lucien Freud. Souter has ploughed her own field, to become a major Irish female artist of the 20th and 21st Century. This painting from the Gordon Lambert collection, inspired from her period in Italy was exhibited in the Irish Living Art Exhibition.
Morgan O'Driscoll
Sep. 16, 2019
Camille Souter HRHA (b.1929) UNTITLED, 1958
Est: €5,000 - €7,000
signed and dated upper right
Whyte's
Mar. 27, 2019
Camille Souter HRHA (b.1929)Pale ShapesOil on Japanese Tissue, 32 x 42.5cm (12½ x 16¾'')Signed and dated 1961Provenance: With Peppercanister Gallery, Dublin; Collection of Sir Basil Goulding.
Est: €6,000 - €10,000
Camille Souter HRHA (b.1929)Pale ShapesOil on Japanese Tissue, 32 x 42.5cm (12½ x 16¾'')Signed and dated 1961Provenance: With Peppercanister Gallery, Dublin; Collection of Sir Basil Goulding.
Adam's
Feb. 26, 2019
CAMILLE SOUTER, 1929
Est: €300 - €500
Mixed media on paper
Sheppards
Nov. 26, 2018
Camille Souter HRHA (b.1929) LOOKING BACK, CHIOGGIA, 1960
Est: €5,000 - €7,000
signed and dated lower right; inscribed with title, artist name and provenance on Dawson Gallery label on reverse
Whyte's
Nov. 26, 2018
Camille Souter HRHA (b.1929) INTERNAL FRACTURE, 1992
Est: €4,000 - €6,000
signed lower left; signed and titled on reverse
Whyte's
Nov. 12, 2018
Camille Souter HRHA (b.1929) Plaice (1976)
Est: €4,000 - €6,000
Camille Souter HRHA (b.1929) Plaice (1976) oil on mulberry paper signed lower right and dated 1976 h:36.70 w:49.50 cm. Provenance: Collection of the artist Derek Hill; Christie's London, 17th May 2001, Lot 323; Jorgensen Fine Art, Dublin 2001 (label verso); Private Collection Exhibited: The Dawson Gallery, Dublin (label verso); Some Irish Fish, 1977, number 1; Jorgensen Fine Art, Dublin July 2001 Literature: Camille Souter: The Mirror in the Sea by Garrett Cormican; reference 336, page 290 & illustrated on page 292 In Paris in the early 1970s, Camille Souter visited a slaughterhouse and was struck by the unsettling beauty of the butchered animals. Back in Ireland, the experience launched her into a series of paintings of meat .Thus primed, she noticed "a rather lovely display" in the window of a Bray fishmongers. Thereafter, she set up studio near the fish market - now gone - in Dublin city centre. This sensitive study of a plaice was number one in the catalogue of her 1977 exhibition at the Dawson Gallery, Some Irish Fish. The painter Derek Hill thought highly enough of it to acquire it. Souter's approach is tender, but also pragmatic, in musing on the mystery of life and death. As she noted, she fished herself, and she loved to eat fish.
Morgan O'Driscoll
Oct. 01, 2018
Camille Souter HRHA (b.1929) UNTITLED ABSTRACT, 1956
Est: €3,000 - €5,000
signed and dated ["Dublin 1956"] lower right
Whyte's
Apr. 30, 2018
Camille Souter HRHA (b.1929) Japanese Composition II (1956)
Est: €4,000 - €6,000
Camille Souter HRHA (b.1929) Japanese Composition II (1956) gouache and watercolour on Japanese tissue signed and dated '56 lower centre h:37.25 w:49.50 cm. Provenance: Collection of Sir Basil Goulding; His Estate Sale; Taylor Galleries, Dublin, 1982; Private Collection Literature: Camille Souter - The Mirror and the Sea by Garret Cormican, catalogue no.28, page 216 (illustrated page 218). Brought up in Glenageary, as Betty Pamela Holmes, Camille Souter went to London to study nursing at Guys Hospital and, while there, was diagnosed with TB. That could have been disastrous but she was never gravely ill, she said, and a year's recuperation, mainly spent reading, changed her life. Back in London and working as a private nurse, she absorbed the cultural buzz of Soho and started to paint. Klee and Miro were important to her, as were Pollock and Franz Kline, who showed you could make art with anything. All those influences are apparent here in the spontaneity, the audacious use of line and judicious choice of colour of this playful but accomplished composition.
Morgan O'Driscoll
Dec. 11, 2017
Camille Souter HRHA (b.1929) CAMILLE SOUTER: THE MIRROR IN THE SEA by GARRETT CORMICAN
Est: €100 - €150
numbered and signed by author and artist on editions page, rear
Whyte's
Sep. 27, 2017
Camille Souter HRHA (b.1929)Calary When We Got Back (1964)Oil on board, 79 x 57cm (31 x 22½'')Signed and dated 1964; inscribed with title versoProvenance: UTV Art CollectionExhibited: The UTV Art Collection Exhibitions including this work hel
Est: €10,000 - €15,000
Camille Souter HRHA (b.1929)Calary When We Got Back (1964)Oil on board, 79 x 57cm (31 x 22½'')Signed and dated 1964; inscribed with title versoProvenance: UTV Art CollectionExhibited: The UTV Art Collection Exhibitions including this work held at: Armagh County Museum, April 2000; O'Rahilly Building, UCC, Cork, March 2002; Fermanagh County Museum, September / October 2003; Monaghan County Museum, March 2004; The Naughton Gallery, Queens University Belfast, January / February 2006'Towards Abstraction' exhibition, The Highlanes Gallery, Spring 2007.Literature: 'Camille Souter: The Mirror in the Sea' by Garrett Cormican, full page illustration p.71; 'UTV Art Collection', 2009, illustrated p.53This painting, Calary When We Came back (1964), begs a number of questions; where had the artist returned from, what might have happened in her absence The golden glow of light from the field and the comfortable but dreamlike allure of the cottage perched at its summit suggest relief at coming home. Camille Souter does not allow narrative to dominate in her work but this painting combined with the title, which was certainly imposed after its completion, reinforce the idea that this was a welcome return. Compositionally it is very like another very fine painting, Forgotten Island near Venice painted in the same year. Both paintings employ the same compositional elements of high horizon line, repeated vertical lines in the foreground to draw the eye upward and a floating moon above. The palette too is very similar so it would seem as if both paintings emerged from the same stream of consciousness, yet it is the differences that are most telling. The forgotten Adriatic island is barely defined, it has no features other than a blurred landmass and a serried line of bare trees, whereas Calary When We Came Back abounds in suggestions of detail from the wild vegetation in the foreground and the geological striations of the field to the house itself, with the moon emerging from the halo of mist to welcome the family back.Camille Souter always works in natural light conditions. She believes that artificial lighting distorts colour and asks that audiences be allowed to experience her work in naturally lit galleries. Garret Cormican, her biographer describes her life in Calary, where there was no electricity. Souter would paint from early morning but adamantly refused to work into the afternoon, saying, I like to work from first light until around 3 p.m.. Then I go back in the evening, but the light goes wrong in the afternoon. I hate afternoon light. That uncompromising integrity and discipline in relation to light is evident in every nuance in this painting. Calary was a place of great freedom for Souter and her husband the sculptor, Frank Morris. In an era which also celebrated the work of Jack Yeats, Paul Henry and Patrick Collins, the artist and critic Brian ODoherty described Souter as one of the principal painters in Ireland to develop an atmospheric style of painting.Lady Angela Antrim, whose name is written on the back of the painting, bought work for Ulster Television, which like RTE built up an art collection in recognition of its role as a visual medium. It goes back to the time when the firm was founded in 1959. The late Theo Snoddy records that when the firm opened in Havelock House on the Ormeau Road in 1959, she told the Earl of Antrim, Chairman of the Board and her husband, Look, youve got to get some pictures on the walls here because the place looks bare. Lady Antrim, an artist herself, clearly recognised quality as this is one of Souters finest works from an exceptionally productive period in her career. Because the early acquisitions were to embellish the building, they were not constrained to purchase Ulster art only, which later became a condition for collecting.Catherine MarshallAugust 2017
Adam's
Sep. 27, 2017
CAMILLE SOUTER | Basement
Est: £800 - £1,200
oil on newspaper
Sotheby's
May. 31, 2017
Camille Souter HRHA (b.1929)Turn of the Year: The SpringOil on paper, 44 x 51cm (17¼ x 20'')Signed and dated (19)'58Provenance: From the collection of the late Sir Basil Goulding and thence by descent.Literature: 'Camille Souter: The Mirror in t
Est: €5,000 - €7,000
Camille Souter HRHA (b.1929)Turn of the Year: The SpringOil on paper, 44 x 51cm (17¼ x 20'')Signed and dated (19)'58Provenance: From the collection of the late Sir Basil Goulding and thence by descent.Literature: 'Camille Souter: The Mirror in the Sea' by Garrett Cormican, 2006, Catalogue No.94 (p.237), illustrated.This work appears to have been part of a series as Sir Basil Goulding also owned a similar sized piece called 'Turn of the Year: Late Summer'.
Adam's
May. 29, 2017
Camille Souter HRHA (b.1929) JAPANESE COMPOSITION II, 1956
Est: €6,000 - €8,000
signed and dated lower centre
Whyte's
May. 29, 2017
Camille Souter HRHA (b.1929) UNTITLED, 1958
Est: €6,000 - €12,000
signed and dated upper right
Whyte's
Apr. 10, 2017
Camille Souter HRHA (b.1929) Winter Vine, Dublin (1958)
Est: €15,000 - €20,000
Camille Souter HRHA (b.1929) Winter Vine, Dublin (1958) oil on canvas signed lower right ,signed, titled & dated ''58 on reverse h:45.75 d:61 cm. Provenance: David Hendriks Gallery, Dublin (label verso); Collection of Gordon Lambert; Private Collection Exhibited: Irish Exhibition of Living Art (label verso) Souter elected Saoi in Aosdána, has painted at a measured pace all of her life, from the 1950s when Michael Scott and Basil Goulding purchased her work. Today she is represented in all of the major collections and is much sought after by private collectors. Early influences are Paul Klee, Francis Bacon and Lucien Freud. Souter has ploughed her own field, to become a major Irish female artist of the 20th and 21st Century. This painting from the Gordon Lambert collection, inspired from her period in Italy was exhibited in the Irish Living Art Exhibition .
Morgan O'Driscoll
Dec. 07, 2016
Camille Souter HRHA (b.1929)Iron Gates (1962)Oil on paper laid on board, 62 x 101.5cm (24¼ x 40'')Signed and dated 1962 and inscribed 'Calary'Literature: 'Camille Souter: Mirror in the Sea', Garrett Cormican, 2006, Cat. No.155, illustrated p.249.
Est: €12,000 - €16,000
Camille Souter HRHA (b.1929)Iron Gates (1962)Oil on paper laid on board, 62 x 101.5cm (24¼ x 40'')Signed and dated 1962 and inscribed 'Calary'Literature: 'Camille Souter: Mirror in the Sea', Garrett Cormican, 2006, Cat. No.155, illustrated p.249.Camille Souter (b.1929) moved to live in County Wicklow with her husband, the sculptor Frank Morris in the early 1960s and two of her children were born there. The couple lived in a gate lodge in Enniskerry at first but moved to a house near Calary Bog which they bought for 600. This was where she met Sir Basil Goulding who became her most important collector. Calary was the happiest time of my life, she told Niall McMonagle in 2009. Following Morriss tragically early death in 1970 she lived in other places, mainly Achill, but retained her house in Calary until the late 1990s.When asked does she think of herself as Irish, even though born in England, Souters response was I think you are where you live, where you give your vital work energies and where you absorb. That concentration on the stimuli in the immediate environment is one of her most telling characteristics and permeates Iron Gates. It is one of several paintings of gates, all dating from the early 1960s and there is a clear similarity between this painting and another, called Bed Ends in the yard also from 1962. They celebrate the imaginative power of everyday objects and experience, and document Souters awareness of the relentless alterations to the landscape. She recalls the artist Anne Yeats telling her that one of the first changes was when the bed ends disappeared from the gap in the field. Souter didnt need to be told. Calary, despite its punishing bogland and muddy roads, was a domesticated landscape when compared to Souters other great love, Achill. What is compelling is the level of energy she brings to those very different environments. The work in Calary took on a more relaxing, horizontal emphasis, enlivened here, by the calligraphic flourishes of the wrought iron work. The magic, however, comes from the intensity of the light. Instead of the black and silver palette of Achill, this and her other paintings from Calary in 1962, radiate heat, and sunshine, in a flurry of soft reds and yellows. The paint is applied in thin, shimmering layers, in keeping with the artists comment, I never liked thick paint because not enough light can go through it and her desire that her work should be seen in natural, rather than artificial light.Camille Souter is a self-taught artist, a Saoi of Aosdána, and her work is included in all major Irish collections.Catherine Marshall
Adam's
Dec. 05, 2016
Camille Souter (1929-), UNTITLED ABSTRACT, 1956, Mixed-media oil and ink on thin paper mounted at the edges to a card support; signed and dated 56 at Dublin lower right, Sheet, Irregularly shaped 10" x 7" — 25.4 x 17.8 cm.
Est: $3,000 - $5,000
CAMILLE SOUTER (1929-), IRISHUNTITLED ABSTRACT, 1956Mixed-media oil and ink on thin paper mounted at the edges to a card support; signed and dated 56 at Dublin lower rightSheet, Irregularly shaped 10" x 7" — 25.4 x 17.8 cm.Note:This work was executed the year the artist returned to Ireland having studied nursing at Guy’s Hospital, London. She took up painting while on a trip to Italy while recovering from an illness in the mid-1950s.Estimate: $3,000—5,000
Waddington's
Nov. 28, 2016
Camille Souter HRHA (b.1929) ABSTRACT NO. II, 1961
Est: €2,000 - €3,000
signed lower right; with Ritchie Hendriks Gallery label on reverse
Whyte's
Nov. 28, 2016
Camille Souter HRHA (b.1929) CARNIVAL AT GALWAY, 1956
Est: €3,000 - €5,000
signed and dated lower right; titled and dated on reverse
Whyte's

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