32
Paul Henry RHA (1876-1958) THE BLUE HILLS OF CONNEMARA, 1933 oil on canvas signed lower right;
1/5
Description
Paul Henry RHA (1876-1958)
THE BLUE HILLS OF CONNEMARA, 1933
oil on canvas
signed lower right; titled in pencil on stretcher on reverse
20 by 24in. (50.8 by 61cm)
29 by 33in. (73.7 by 83.8cm)
This work appears to be in excellent condition.
Combridge Gallery, Dublin; Where acquired by Eustace Shott in the late 1940s; Gifted by the Shott family to the father of the present owner
Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.263, catalogue no. 818 (illustrated)
Dr S.B. Kennedy notes in his catalogue raisonné on the artist that the present work is, ‘inscribed with the title and date on reverse. Reproduced as a colour print by the Combridge Gallery, Dublin, c.1937. There is a sense of agelessness to the work of Paul Henry that has endured the test of time and trends. From the period of 1929 to 1933 - when the present work was painted – Paul Henry’s reputation in Irish art was secured and this was partly as a result of the mass distribution of tourism posters incorporating images of his works as well as the sale of photolithographic prints from his original oils, many of which were sold through Combridge’s Fine Art, Dublin from the 1930s. Kennedy notes that, …”By the late 1920s he had, almost single-handedly, defined a way of seeing and an attitude towards the Irish landscape that was convincing, would endure and which, in part, helped to formulate a popular vision of Irish identity. Added to this he had introduced a degree of realism to Irish painting that was to prove influential on a number – one might almost say a ‘school’ – of followers, of whom his fellow Northerners James Humbert Craig and Frank McKelvey are perhaps the best remembered… The views and attitudes established by these artists usually depict a rural world of men and women at ease with themselves and their surroundings; it was widely projected in publications of the time, for example Saorstát Eireann, Irish Free State Official Handbook” which was published in 1932, the year before the present work was painted. It was of course fantasy, but it endured. Perhaps it was necessary, for after 1922 the new state urgently required a sense of identity and cultural history that would link its ancient past in a morally unbroken way with the present. Thus, with the subsequent espousal of the West in particular the landscape qua place suddenly assumed an importance it had never had before… In this process, Henry’s work fitted the bill beautifully.” The 1930s was a pivotal decade for Paul Henry which saw him exhibit extensively in Europe, the United States and in Dublin, from 1930, with Combridge’s Gallery which hosted the first of two one man shows that year and became his regular Dublin venue for the next two decades. Kennedys notes, “This period in Henry’s oeuvre demonstrates his particular understanding of the landscape borne through the experience of living in such places, a consciousness of the soft subtle terrain and dankness of the bog, the meagre lifestyle of the people it supports and the paucity of any crops grown there, the moody stillness of the scene with its suggestion of a life unchanged for centuries.” This sizeable work in oil - The Blue Hills Connemara - was acquired by Eustace Shott in the late 1940s from Combridge’s. That the painting had been specifically selected for reproduction by the gallery in 1937 as a photolithographic print is significant and demonstrates the strength of the work in terms of both its artistic merit and its innate power to communicate that sense of Irishness and identity to artistic audiences and the wider general public at that time. Kennedy observes, “…Because such images are familiar to us, notably through their widespread reproduction – during the artist’s lifetime and since – it is easy to ignore the achievement that they represent. Previously depictions of the West were in the main romantic and stereotypical… it was only after Jack B. Yeats went there in the early 1900s that a more realistic view of the landscape and of the life of its people began to emerge...” . Thus The Blue Hills Connemara will be at once both familiar and novel to those viewing the original oil painting some 80 years since it sold into a private Irish collection. For further reading see Kennedy, chapters nine and ten, p67-73.
THE BLUE HILLS OF CONNEMARA, 1933
oil on canvas
signed lower right; titled in pencil on stretcher on reverse
20 by 24in. (50.8 by 61cm)
29 by 33in. (73.7 by 83.8cm)
This work appears to be in excellent condition.
Combridge Gallery, Dublin; Where acquired by Eustace Shott in the late 1940s; Gifted by the Shott family to the father of the present owner
Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.263, catalogue no. 818 (illustrated)
Dr S.B. Kennedy notes in his catalogue raisonné on the artist that the present work is, ‘inscribed with the title and date on reverse. Reproduced as a colour print by the Combridge Gallery, Dublin, c.1937. There is a sense of agelessness to the work of Paul Henry that has endured the test of time and trends. From the period of 1929 to 1933 - when the present work was painted – Paul Henry’s reputation in Irish art was secured and this was partly as a result of the mass distribution of tourism posters incorporating images of his works as well as the sale of photolithographic prints from his original oils, many of which were sold through Combridge’s Fine Art, Dublin from the 1930s. Kennedy notes that, …”By the late 1920s he had, almost single-handedly, defined a way of seeing and an attitude towards the Irish landscape that was convincing, would endure and which, in part, helped to formulate a popular vision of Irish identity. Added to this he had introduced a degree of realism to Irish painting that was to prove influential on a number – one might almost say a ‘school’ – of followers, of whom his fellow Northerners James Humbert Craig and Frank McKelvey are perhaps the best remembered… The views and attitudes established by these artists usually depict a rural world of men and women at ease with themselves and their surroundings; it was widely projected in publications of the time, for example Saorstát Eireann, Irish Free State Official Handbook” which was published in 1932, the year before the present work was painted. It was of course fantasy, but it endured. Perhaps it was necessary, for after 1922 the new state urgently required a sense of identity and cultural history that would link its ancient past in a morally unbroken way with the present. Thus, with the subsequent espousal of the West in particular the landscape qua place suddenly assumed an importance it had never had before… In this process, Henry’s work fitted the bill beautifully.” The 1930s was a pivotal decade for Paul Henry which saw him exhibit extensively in Europe, the United States and in Dublin, from 1930, with Combridge’s Gallery which hosted the first of two one man shows that year and became his regular Dublin venue for the next two decades. Kennedys notes, “This period in Henry’s oeuvre demonstrates his particular understanding of the landscape borne through the experience of living in such places, a consciousness of the soft subtle terrain and dankness of the bog, the meagre lifestyle of the people it supports and the paucity of any crops grown there, the moody stillness of the scene with its suggestion of a life unchanged for centuries.” This sizeable work in oil - The Blue Hills Connemara - was acquired by Eustace Shott in the late 1940s from Combridge’s. That the painting had been specifically selected for reproduction by the gallery in 1937 as a photolithographic print is significant and demonstrates the strength of the work in terms of both its artistic merit and its innate power to communicate that sense of Irishness and identity to artistic audiences and the wider general public at that time. Kennedy observes, “…Because such images are familiar to us, notably through their widespread reproduction – during the artist’s lifetime and since – it is easy to ignore the achievement that they represent. Previously depictions of the West were in the main romantic and stereotypical… it was only after Jack B. Yeats went there in the early 1900s that a more realistic view of the landscape and of the life of its people began to emerge...” . Thus The Blue Hills Connemara will be at once both familiar and novel to those viewing the original oil painting some 80 years since it sold into a private Irish collection. For further reading see Kennedy, chapters nine and ten, p67-73.
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Paul Henry RHA (1876-1958)
THE BLUE HILLS OF CONNEMARA, 1933
oil on canvas
signed lower right; titled in pencil on stretcher on reverse
20 by 24in. (50.8 by 61cm)
29 by 33in. (73.7 by 83.8cm)
This work appears to be in excellent condition.
Combridge Gallery, Dublin; Where acquired by Eustace Shott in the late 1940s; Gifted by the Shott family to the father of the present owner
Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.263, catalogue no. 818 (illustrated)
Dr S.B. Kennedy notes in his catalogue raisonné on the artist that the present work is, ‘inscribed with the title and date on reverse. Reproduced as a colour print by the Combridge Gallery, Dublin, c.1937. There is a sense of agelessness to the work of Paul Henry that has endured the test of time and trends. From the period of 1929 to 1933 - when the present work was painted – Paul Henry’s reputation in Irish art was secured and this was partly as a result of the mass distribution of tourism posters incorporating images of his works as well as the sale of photolithographic prints from his original oils, many of which were sold through Combridge’s Fine Art, Dublin from the 1930s. Kennedy notes that, …”By the late 1920s he had, almost single-handedly, defined a way of seeing and an attitude towards the Irish landscape that was convincing, would endure and which, in part, helped to formulate a popular vision of Irish identity. Added to this he had introduced a degree of realism to Irish painting that was to prove influential on a number – one might almost say a ‘school’ – of followers, of whom his fellow Northerners James Humbert Craig and Frank McKelvey are perhaps the best remembered… The views and attitudes established by these artists usually depict a rural world of men and women at ease with themselves and their surroundings; it was widely projected in publications of the time, for example Saorstát Eireann, Irish Free State Official Handbook” which was published in 1932, the year before the present work was painted. It was of course fantasy, but it endured. Perhaps it was necessary, for after 1922 the new state urgently required a sense of identity and cultural history that would link its ancient past in a morally unbroken way with the present. Thus, with the subsequent espousal of the West in particular the landscape qua place suddenly assumed an importance it had never had before… In this process, Henry’s work fitted the bill beautifully.” The 1930s was a pivotal decade for Paul Henry which saw him exhibit extensively in Europe, the United States and in Dublin, from 1930, with Combridge’s Gallery which hosted the first of two one man shows that year and became his regular Dublin venue for the next two decades. Kennedys notes, “This period in Henry’s oeuvre demonstrates his particular understanding of the landscape borne through the experience of living in such places, a consciousness of the soft subtle terrain and dankness of the bog, the meagre lifestyle of the people it supports and the paucity of any crops grown there, the moody stillness of the scene with its suggestion of a life unchanged for centuries.” This sizeable work in oil - The Blue Hills Connemara - was acquired by Eustace Shott in the late 1940s from Combridge’s. That the painting had been specifically selected for reproduction by the gallery in 1937 as a photolithographic print is significant and demonstrates the strength of the work in terms of both its artistic merit and its innate power to communicate that sense of Irishness and identity to artistic audiences and the wider general public at that time. Kennedy observes, “…Because such images are familiar to us, notably through their widespread reproduction – during the artist’s lifetime and since – it is easy to ignore the achievement that they represent. Previously depictions of the West were in the main romantic and stereotypical… it was only after Jack B. Yeats went there in the early 1900s that a more realistic view of the landscape and of the life of its people began to emerge...” . Thus The Blue Hills Connemara will be at once both familiar and novel to those viewing the original oil painting some 80 years since it sold into a private Irish collection. For further reading see Kennedy, chapters nine and ten, p67-73.
THE BLUE HILLS OF CONNEMARA, 1933
oil on canvas
signed lower right; titled in pencil on stretcher on reverse
20 by 24in. (50.8 by 61cm)
29 by 33in. (73.7 by 83.8cm)
This work appears to be in excellent condition.
Combridge Gallery, Dublin; Where acquired by Eustace Shott in the late 1940s; Gifted by the Shott family to the father of the present owner
Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.263, catalogue no. 818 (illustrated)
Dr S.B. Kennedy notes in his catalogue raisonné on the artist that the present work is, ‘inscribed with the title and date on reverse. Reproduced as a colour print by the Combridge Gallery, Dublin, c.1937. There is a sense of agelessness to the work of Paul Henry that has endured the test of time and trends. From the period of 1929 to 1933 - when the present work was painted – Paul Henry’s reputation in Irish art was secured and this was partly as a result of the mass distribution of tourism posters incorporating images of his works as well as the sale of photolithographic prints from his original oils, many of which were sold through Combridge’s Fine Art, Dublin from the 1930s. Kennedy notes that, …”By the late 1920s he had, almost single-handedly, defined a way of seeing and an attitude towards the Irish landscape that was convincing, would endure and which, in part, helped to formulate a popular vision of Irish identity. Added to this he had introduced a degree of realism to Irish painting that was to prove influential on a number – one might almost say a ‘school’ – of followers, of whom his fellow Northerners James Humbert Craig and Frank McKelvey are perhaps the best remembered… The views and attitudes established by these artists usually depict a rural world of men and women at ease with themselves and their surroundings; it was widely projected in publications of the time, for example Saorstát Eireann, Irish Free State Official Handbook” which was published in 1932, the year before the present work was painted. It was of course fantasy, but it endured. Perhaps it was necessary, for after 1922 the new state urgently required a sense of identity and cultural history that would link its ancient past in a morally unbroken way with the present. Thus, with the subsequent espousal of the West in particular the landscape qua place suddenly assumed an importance it had never had before… In this process, Henry’s work fitted the bill beautifully.” The 1930s was a pivotal decade for Paul Henry which saw him exhibit extensively in Europe, the United States and in Dublin, from 1930, with Combridge’s Gallery which hosted the first of two one man shows that year and became his regular Dublin venue for the next two decades. Kennedys notes, “This period in Henry’s oeuvre demonstrates his particular understanding of the landscape borne through the experience of living in such places, a consciousness of the soft subtle terrain and dankness of the bog, the meagre lifestyle of the people it supports and the paucity of any crops grown there, the moody stillness of the scene with its suggestion of a life unchanged for centuries.” This sizeable work in oil - The Blue Hills Connemara - was acquired by Eustace Shott in the late 1940s from Combridge’s. That the painting had been specifically selected for reproduction by the gallery in 1937 as a photolithographic print is significant and demonstrates the strength of the work in terms of both its artistic merit and its innate power to communicate that sense of Irishness and identity to artistic audiences and the wider general public at that time. Kennedy observes, “…Because such images are familiar to us, notably through their widespread reproduction – during the artist’s lifetime and since – it is easy to ignore the achievement that they represent. Previously depictions of the West were in the main romantic and stereotypical… it was only after Jack B. Yeats went there in the early 1900s that a more realistic view of the landscape and of the life of its people began to emerge...” . Thus The Blue Hills Connemara will be at once both familiar and novel to those viewing the original oil painting some 80 years since it sold into a private Irish collection. For further reading see Kennedy, chapters nine and ten, p67-73.
Exceptional Irish Art
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38 Molesworth Street
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Dublin
D02KF80
Ireland
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The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within fourteen days of the date of sale.
Important Information
Whyte’s is pleased to present this outstanding auction of Irish art. Artists represented in the collection include Walter Osborne, William Orpen, Jack Yeats, Paul Henry, George Russell (Æ), Wiliam Conor,Maurice MacGonigal, Gerard Dillon, Colin Middleton, Norah McGuinness, Dan O’Neill, Louis le Brocquy, TP Flanagan, Tony O’Malley, Camille Souter, Kenneth Webb, Donald Teskey, John Doherty and many others.
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The buyer shall pay the Auctioneer a commission at the rate of 25% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable).
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Auction Description:
Whyte’s is pleased to present this outstanding auction of Irish art. Artists represented in the collection include Walter Osborne, William Orpen, Jack Yeats, Paul Henry, George Russell (Æ), Wiliam Conor,Maurice MacGonigal, Gerard Dillon, Colin Middleton, Norah McGuinness, Dan O’Neill, Louis le Brocquy, TP Flanagan, Tony O’Malley, Camille Souter, Kenneth Webb, Donald Teskey, John Doherty and many others.
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Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the auctioneer" exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of the auctioneers, and attention is particularly drawn to clause 5 in our full Terms & Conditions. Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by the auctioneers.
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