Patricia O'Brien Paintings & Artwork for Sale | Patricia O'Brien Art Value Price Guide

Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), L'OFFERANDE
Est: £1,500 - £2,000
λ PATRICIA O'BRIEN (IRISH B. 1927)L'OFFERANDE Oil on canvasSigned and dated '80 (lower right); further signed, titled and inscribed to frame (verso)91 x 116cm (35¾ x 45½ in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), THE FLOWER GARDEN
Est: £1,000 - £1,500
λ PATRICIA O'BRIEN (IRISH B. 1927)THE FLOWER GARDEN Oil on canvas Signed and dated '82 (lower left); titled and inscribed to frame (verso)76 x 63cm (29¾ x 24¾ in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), THE OFFERING
Est: £1,000 - £1,500
λ PATRICIA O'BRIEN (IRISH B. 1927)THE OFFERING Signed (lower right)91 x 122cm (35¾ x 48 in.)Provenance:Solomon Gallery, Dublin Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), THE YELLOW HAT
Est: £800 - £1,200
λ PATRICIA O'BRIEN (IRISH B. 1927)THE YELLOW HAT Oil on canvas Signed and dated '96 (upper right); titled to frame (verso)102 x 61cm (40 x 24 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), THE LESSON
Est: £800 - £1,200
λ PATRICIA O'BRIEN (IRISH B. 1927)THE LESSON Oil on canvas Signed and dated '90 (lower right); further signed and titled to frame (verso)81 x 100cm (31¾ x 39¼ in.)Exhibited:London, Stephen Bartley Gallery, 1990 Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 25, 2023
λ PATRICIA O'BRIEN (IRISH B. 1927), BIRDS OF PREY
Est: £400 - £600
λ PATRICIA O'BRIEN (IRISH B. 1927)BIRDS OF PREY Oil on canvas Signed and dated '94 (lower left); titled to frame (verso) 36 x 31cm (14 x 12 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an out-and-out discovery in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled The Fruit Eaters became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond.
Dreweatts 1759 Fine Sales
Oct. 12, 2015
Patricia O'Brien (20th/21st Century) Female Study
Est: €300 - €500
Patricia O'Brien (20th/21st Century) Female Study oil on canvas signed top right h:35.50 w:27.50 cm. Provenance: Solomon Gallery, Dublin Private Collection
Morgan O'Driscoll
Sep. 26, 2015
Patricia O'Brien, 20th century Man with a Catetching, from an edition of 10, signed lower right12 x 8½in. (30 x 24cm.)
Est: £50 - £70
Patricia O'Brien, 20th century Man with a Cat etching, from an edition of 10, signed lower right 12 x 8 1/2in. (30 x 24cm.)
Martel Maides
Mar. 28, 2013
Patricia O'Brien The Dressing Table II, 10.75 x 13in.
Est: £100 - £150
Patricia O'Brien oil on canvas, The Dressing Table II, signed and dated '81, 10.75 x 13in.
Gorringes
Feb. 11, 2010
Patricia O'Brien 'Amaryllis' 24 x 16in.
Est: £400 - £600
Patricia O'Brien oil on canvas 'Amaryllis' signed and dated '86 24 x 16in.
Gorringes