Lani Helena Irwin Sold at Auction Prices

b. 1947 -

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  • LANI IRWIN, THREE MANNEQUINS, 1977, O/C.
    Jun. 04, 2022

    LANI IRWIN, THREE MANNEQUINS, 1977, O/C.

    Est: $800 - $1,200

    Irwin, Lani (Maryland, b. 1947). Untitled, a group of three mannequin figures. 1977-78. Oil on canvas. Signed and dated l.r. and on verso. Sight: 20" x 16". Frame: 21 1/4" x 17 1/4".

    Quinn's Auction Galleries
  • LANI IRWIN. (American, b. 1947). KOMEI'S ORAGAMI, signed, titled and dated 1986 verso. Oil on canvas.
    Apr. 22, 2018

    LANI IRWIN. (American, b. 1947). KOMEI'S ORAGAMI, signed, titled and dated 1986 verso. Oil on canvas.

    Est: $500 - $700

    LANI IRWIN. (American, b. 1947). KOMEI'S ORAGAMI, signed, titled and dated 1986 verso. Oil on canvas - Framed, 36 in. x 28 in.

    Sloans & Kenyon
  • LANI IRWIN (AMERICAN, 1947-) THE GREEN TABLE II, 1986 Alkyd on linen: 48 x 48 in.
    Jul. 26, 2014

    LANI IRWIN (AMERICAN, 1947-) THE GREEN TABLE II, 1986 Alkyd on linen: 48 x 48 in.

    Est: $400 - $600

    LANI IRWIN (AMERICAN, 1947-) THE GREEN TABLE II, 1986 Alkyd on linen: 48 x 48 in. Framed; center left signed and dated Lani Irwin 1986 Provenance: Private Collection, Washington, D.C.

    Potomack Company
  • Lani Irwin framed oil on panel 17" x 15"
    Sep. 11, 2013

    Lani Irwin framed oil on panel 17" x 15"

    Est: $200 - $300

    "With Noise Maker" 1985

    Quinn's Auction Galleries
  • LANI IRWIN (American, b.1947-) Mannequin Painting
    Apr. 07, 2013

    LANI IRWIN (American, b.1947-) Mannequin Painting

    Est: $300 - $500

    LANI IRWIN (American, b. 1947- ) "Eclipse". Oil on linen with artist painted frame. Signed upper left LANI IRWIN 1996. Good condition with light scratch left side. Katharina Rich Perlow Gallery label on reverse. Painting measures 11 ¾" x 10". Frame measures 15 ¾" x 13 ¾". From the artist's website: "Born in Annapolis, Maryland in 1947, Irwin traveled throughout Europe as a child, studied in Munich and Grenoble, and earned B.A. and M.F.A. degrees from American University in Washington, D.C. She has been exhibiting since the mid-1970s, and examples of her work can be found in the Hirshhorn Museum, the National Museum of American Art and the Corcoran Gallery of Art. Since 1987 Irwin has lived and worked, alongside her husband, the painter Alan Feltus, just outside the Umbrian city of Assisi. Irwin has been including mannequins in her tableaux for years, specifically several Italian church mannequins from the eighteenth or early nineteenth century. With their nearly life-size scale and naturalistic flesh tones, mannequins are among the most convincing of human simulacra, and their ambiguous status-somewhere between object and figure-makes them a disturbing presence. All figurative artists are illusionists, to some extent, but Irwin calls attention to the painter's role as trickster and stage manager. Although the church mannequins were originally supposed to be completed with elaborate wigs and clothing, Irwin depicts them without hair and arms, or reveals the mechanics of the form underneath, the perfunctory wooden bodies and ball-socket arms. The flesh tints, rosy lips and dark brows of these props can give them a startling humanity, especially in their vulnerable undressed state. Slowly building up layers of oil on linen, Irwin achieves a flat and very smooth surface. Her brushstrokes do not call attention to themselves. What unifies these compositions most strikingly, however, may be her unusual chromatic harmonies. In the early 1980s dusty rose and slate blue, brick and sage green predominated. On the threshold between reality and illusion, Irwin's paintings are simultaneously reticent and dramatic."

    Myers Fine Art
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