Lot 95: Samuel C. Taylor (1870-1944) The Return of the

Samuel C. Taylor (1870-1944) The Return of the Sardine Fleet Oil on canvas, 56 x 43cm (22 x 17") Signed Provenance: Samuel Taylor Studio Sale, De Veres, 16 June 1998, Full page illustration back cover, where it was purchased by the current owner. Exhibited: Peintres Irlandais an Bretagne, Musée de Pont Aven, Pont Aven 26 June-27 September, 1999, Cat. No. 52. Irish Painters in Brittany, Crawford Municipal Art Gallery, Cork, May-July 2001. Literature: Catherine Puget, [et al] 1999, Peintres Irlandais en Bretagne, Musée du Pont Aven. Illustrated on p.92 From a distinguished private collection. From 'Peintres Irlandais en Bretagne': Samuel Taylor was born Belfast in 1870. He attended the Belfast School of Art in the 1890's where he won several prizes. He married in 1902 and moved with his wife to London. It was not until he was over forty that he began painting in Brittany, but the experience of working there revolutionised his painting. From 1911-13, Taylor made summer visits to Concarneau, Le Pouldu, Guemene and also visited Quimper, Quimperle and Pont Aven. He became friends with English artist Joseph Milner-Kite, the American Henry Dearth, and with Norman Garstin. In summer 1912, he went to Guemene-sur-Scorff to join Garstin's summer class there, he then joined Dearth at Le Pouldu where he was influenced not only by Dearth but also Jean-Pegot. By 1913, Taylor returned to Concarneau and his Breton visits became prolific, he produced many colourful studies of the scenery in a Post-Impressionist manner, applying paint boldly with a palette knife. Just before and after the First World War, Taylor exhibited Breton pictures in Dublin. He returned to Belfast, where he worked as a teacher, and painted portraits and Irish landscapes. His daughter Anne was also an artist. Taylor's Breton composition depicts a young girl standing watchfully on the dock with the walls of Ville-Close behind her. This scene is characterized by the treatment of the evening light, which reflects on the neck of the young girl and on her hand. The tranquil and dream-like atmosphere is evoked by the use of colour, which enchants the scene.