John Skelton (Senior)

 

 

JOHN SKELTON (SENIOR)

All mixed media studies are from the estate of John Skelton (snr) and are framed. Artworks are all framed and come with a letter of authentication from John’s son, John Francis SKelton, as well as Balla Bán Art Gallery official gallery receipt.

 

John Skelton (Senior). Tinker Woman and Child. Oil on canvas board 120x48cm

“Woodland Stream, Bellowstown, Co. Meath 1997. Watercolour 52x43cm

 


Mixed Media Study (framed)


“Irish Coastal Scene” (watercolour) Framed


“Spring, Stephens Green” (mixed media) Framed

John Skelton Snr - Outdoor Cafe - Mixed media
Outdoor Cafe – Mixed Media Study – Framed


“Achill Island, Mayo” (Watercolour Studies) Framed

 


Mixed Media Study – Framed


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)

John Skelton drawings mixed media
Mixed Media Study “Aran Islander Fishermen” (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)

 


Mixed Media Study (framed)


Reverse side of the above Mixed Media Study


Mixed Media Study (framed)

 


“Maggie Smith as Virginia Woolf” – Mixed Media Study (framed)

 


Mixed Media Study (framed)

 


Mixed Media Study (framed)


Mixed Media Study (framed)

 


Mixed Media Study (framed)


Mixed Media Study (framed)


McDaids Pub, Dublin 1967 (Mixed Media Study)

 


Mixed Media Study (framed)


Mixed Media Study (framed)

 


Mixed Media Study (framed)

 


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)

 


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)

 

John Skelton Snr - Two Horses -  Mixed Media Study
Two Horses – Mixed Media Study


“Study of a Dog” – Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)


Mixed Media Study (framed)

 


Abstract Watercolour (framed)


Abstract Watercolour 2 (framed)

John Skelton Senior Cliffs of Moher and Lough Gealain, The Burren. Graphite on Paper 24x18cm.1
John Skelton Senior – Achill, Mayo. Graphite 15x16cm (28x30cm framed)
John Skelton Senior – Apple Blossom. Graphite 16x21cm (29x34cm framed)
John Skelton Senior – Art Students at Class. Felt tip pen 30x20cm (32x42cm framed)
John Skelton Senior – At the Fair. Graphite 19x29cm (23x42cm)
John Skelton Senior – At the Footsteps. Felt tip pen 29x22cm (43x36cm framed)
John Skelton Senior – Back Lane, Dublin. Felt Tip Pen 12x16cm (26x30cm framed)
John Skelton Senior – Bathing Child. Horse & Carriage. Man with High Hat. Mixed Media 29x19cm. (43x33cm framed)
John Skelton Senior – Connemara Landscape & Morning Mist, Co. Kildare and handwritten notes. Mixed Media 22x28cm (36x42cm framed)
John Skelton Senior – Cottage and Stone Wall study. Mixed Media 22x29cm. (35x42cm framed)
John Skelton Senior – Cottage on the Beach, Laytown. Mixed Media 20x30cm (32x42cm framed)
John Skelton Senior – Court Room Sketch. Graphite 20x29cm (33x43cm framed)
John Skelton Senior – Cowboy and Horses, Dublin Horse Show. Felt Tip Pen 20x29cm (33x43cm framed)
John Skelton Senior – Deer Study. Phoenix Park. Mixed Media 18x18cm (31x31cm framed)
John Skelton Senior – Deer, Phoenix Park (with a newspaper photo). Felt Tip Pen 25x20cm (38x33cm framed)
John Skelton Senior – Dublin Street Scene study sketch and handwritten notes. Mixed Media 22x28cm (35x42cm framed)
John Skelton Senior – Eight Minature Sketch Studies.
Graphite 20x30cm. (43x33cm framed)
John Skelton Senior – Farm Houses.
Mixed Media 22x28cm (36x43cm)
John Skelton Senior – Field study with horse.
Graphite 24x20cm. (38x33cm framed)
John Skelton Senior – Figure as Landscape. Graphite 22x26cm.
(34x39cm framed)
John Skelton Senior – Figure Sketches. Felt Tip Pen 30x20cm. (43x34cm framed)
John Skelton Senior – Figure walking in the snow. Mixed Media 29x21cm (43x35cm framed)
John Skelton Senior – Figures. Head Study.Kneeling figure. Mixed media 26x20cm. (41x36cm framed)
John Skelton Senior – Figures and Canoe studies. Graphite 26x21cm (39x34cm framed)
John Skelton Senior – Forest and Stream. Mixed Media Study 26x21cm.. (41x35cm framed)
John Skelton Senior – Forest Trees. Mixed Media 13x19cm. (26x33cm framed)
John Skelton Senior – Forest Trees. Mixed Media 13x19cm (26x33cm framed)
John Skelton Senior – Forest Trees and Field. Mixed Media Sketch and Study Notes
John Skelton Senior – Forest Walk. Mixed Media Study 26x21cm (41x35cm framed)
John Skelton Senior – Girl washing dishes. Mixed Media
John Skelton Senior – Horse and Jockey Study. Graphite 22x15cm. (35x28cm framed)
John Skelton Senior – Horses and Jockey, Dublin Horse Show. Felt Tip Pen 20x29cm (33x43cm framed)
John Skelton Senior – In the Library. Felt tip pen 20x25cm (33x38cm framed)
John Skelton Senior – Jogger & Figure Study. Mixed Media 18x23cm (31x37cm framed)
John Skelton Senior – Monk and scroll. Felt Tip Pen 21x26cm. (34x39cm framed)
John Skelton Senior – Paul (a son of the artist). Graphite 18x25cm (31x38cm framed)
John Skelton Senior – Paul reading. Mixed Media 18x18cm (31x31cm framed)
John Skelton Senior – Portrait Preparatory Sketches and handwritten notes. Felt Tip Pen 30x20cm. (43x33cm framed)
John Skelton Senior – Powerscourt Waterfall. Mixed Media 24x17cm (38x31cm framed)
John Skelton Senior – Reverse of Cottage & Stone Wall. Landscape, mountains and lake with handwritten notes. Felt Tip Pen 22x29cm. (35x42cm framed)
John Skelton Senior – Reverse of Paul (John Skeltons son). Pathway Walk. Felt Tip Pen 16x24cm. (31x38cm framed)
John Skelton Senior – Reverse side of Figure Sketches. Figures Sketches 30x20cm. (43x34cm framed)
John Skelton Senior – Seated Figure. Felt Tip Pen 22x15cm (35x28cm framed)
John Skelton Senior – Sketch studies of horses. Mixed Media 19x29cm (33x43cm framed)
John Skelton Senior – Sleeping Cat. Mixed Media 22x28cm (35x42cm framed)
John Skelton Senior – St Audeons Church, Dublin. Felt Tip Pen 12x16cm (26x30cm framed)
John Skelton Senior – Study of a Seated Figure. Mixed Media 30x20cm (43x34cm framed)
John Skelton Senior – Study of an old tree. Mixed Media 22x28cm (41x35cm framed)
John Skelton Senior – Study of Three Figures. Mixed Media 20x26cm (39x34cm framed)
John Skelton Senior – Tailors Guild Hall. Felt tip pen 12x17cm (26x30cm framed)
John Skelton Senior – The Colleoni Statue, Venice. Ink 20x29cm
(33x43cm framed)
John Skelton Senior – The Hunt. Graphite 17x28cm (31x41cm framed)
John Skelton Senior – The White Cloud. Mixed Media Studies. Mixed Media 24x18cm (37x31cm framed)
John Skelton Senior – Turf Cutter. Graphite 19x29cm (33x43cm framed)
John Skelton Senior – Two figures with dog. Mixed Media 29x19cm (43x33cm)
John Skelton Senior – Two Sketch studies Caste Grounds and Horses. Graphite 30x20cm (43x33cm framed)
John Skelton Senior – W.B. Yeats – Albert Powell, National Gallery. Mixed Media 28x19cm (41x33cm framed)
John Skelton Senior – Zebras and Giraffe. Dublin Zoo. Felt Tip Pen 19x29cm
(33x43cm framed)



“The Country Farmhouse”. Framed Print

JOHN SKELTON (SNR)
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.”