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Paul Henry
THE BOG POOL
Lot 31
Result:
Not Sold
Estimate:
€120,000 - €160,000
Paul Henry RHA, 1877-1958
THE BOG POOL
Oil on canvas, 20" x 24" (50.8 x 61cm), signed.
Provenance: A Midwestern library, America; Skinner Boston, 2/3/2012; Private Collection, Galway.
Exhibited: Exhibition of Pictures by Paul and Grace ...
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Lot 31
Paul Henry
THE BOG POOL
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Lot 31
Paul Henry
THE BOG POOL
Estimate:
€120,000 - €160,000
Paul Henry RHA, 1877-1958
THE BOG POOL
Oil on canvas, 20" x 24" (50.8 x 61cm), signed.
Provenance: A Midwestern library, America; Skinner Boston, 2/3/2012; Private Collection, Galway.
Exhibited: Exhibition of Pictures by Paul and Grace Henry, Dublin Painters' Gallery, Dublin 17 June-1 July 1922 (catalogue number 6); Paintings by Paul Henry, Hackett Gallery, New York, 10-22 March 1930 (14); Paintings of Ireland by Irish Artists, Grace Horne's Gallery, Boston, 31 March-18 April 1930 (10).
Literature: The present work depicts a scene in Connemara in the West of Ireland and is dated c. 1921-2 on stylistic grounds. The Bog Pool is numbered 1264 in S. B. Kennedy's cataloguing of Paul Henry's oeuvre.
This 20 x 24in. oil-on-canvas painting evokes the landscape of the West of Ireland through its relationship to an ever-present, mood-determining sky. For artist Paul Henry, monumental cloud formations had become an eminently variable compositional device, capable of conveying atmospheres that range from dominant and oppressive to the brighter light effects that bring a more optimistic air.
In this scene, which belongs to the latter category, the warm colour tones he has used across the essential elements are even and harmonious. In this, they recall the early influence of James Abbott McNeill Whistler, who provided Henry with instruction at the Academie Carmen, during his time in Paris.
Even the peaty blackness of the cut turf is rendered in light-reflecting earth tones. Subtle highlights enliven the slopes of the distant mountains, and sunlit flecks conjure vegetation to the fore. The zig-zagging of the eponymous bog pool, the brightest hues of the sky reflected in its interior, invites us into a work in which the artist has fostered some compelling relationships.
Deploying a low-angle viewpoint has allowed him to create visual links across scale, from the turf stack in the foreground to the mountainous forms at the rear. Otherwise devoid of the presence of people, these mounds are the only evidence that humans inhabit a landscape they help to shape and which has, over the centuries, shaped them.
Susan Campbell, October 2023
THE BOG POOL
Oil on canvas, 20" x 24" (50.8 x 61cm), signed.
Provenance: A Midwestern library, America; Skinner Boston, 2/3/2012; Private Collection, Galway.
Exhibited: Exhibition of Pictures by Paul and Grace Henry, Dublin Painters' Gallery, Dublin 17 June-1 July 1922 (catalogue number 6); Paintings by Paul Henry, Hackett Gallery, New York, 10-22 March 1930 (14); Paintings of Ireland by Irish Artists, Grace Horne's Gallery, Boston, 31 March-18 April 1930 (10).
Literature: The present work depicts a scene in Connemara in the West of Ireland and is dated c. 1921-2 on stylistic grounds. The Bog Pool is numbered 1264 in S. B. Kennedy's cataloguing of Paul Henry's oeuvre.
This 20 x 24in. oil-on-canvas painting evokes the landscape of the West of Ireland through its relationship to an ever-present, mood-determining sky. For artist Paul Henry, monumental cloud formations had become an eminently variable compositional device, capable of conveying atmospheres that range from dominant and oppressive to the brighter light effects that bring a more optimistic air.
In this scene, which belongs to the latter category, the warm colour tones he has used across the essential elements are even and harmonious. In this, they recall the early influence of James Abbott McNeill Whistler, who provided Henry with instruction at the Academie Carmen, during his time in Paris.
Even the peaty blackness of the cut turf is rendered in light-reflecting earth tones. Subtle highlights enliven the slopes of the distant mountains, and sunlit flecks conjure vegetation to the fore. The zig-zagging of the eponymous bog pool, the brightest hues of the sky reflected in its interior, invites us into a work in which the artist has fostered some compelling relationships.
Deploying a low-angle viewpoint has allowed him to create visual links across scale, from the turf stack in the foreground to the mountainous forms at the rear. Otherwise devoid of the presence of people, these mounds are the only evidence that humans inhabit a landscape they help to shape and which has, over the centuries, shaped them.
Susan Campbell, October 2023
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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