View More Videos
Bidding on this item has ended.
Paul Henry
COTTAGES, WEST OF IRELAND
Lot 13
Price Realised:
€80,000
Estimate:
€100,000 - €150,000
Paul Henry RHA, 1876-1958
COTTAGES, WEST OF IRELAND
Oil on board, 14" x 16" (36 x 41cm), signed.
Provenance: Adams, Dublin 26th March 1997 (lot 65); Jorgensen Fine Art, Dublin (label verso); where acquired by the present owner.
Literature... Read more
Lot 13
Paul Henry
COTTAGES, WEST OF IRELAND
DVTV Click Here To View VideoCOTTAGES, WEST OF IRELAND
Oil on board, 14" x 16" (36 x 41cm), signed.
Provenance: Adams, Dublin 26th March 1997 (lot 65); Jorgensen Fine Art, Dublin (label verso); where acquired by the present owner.
Literature... Read more
Lot 13
Paul Henry
COTTAGES, WEST OF IRELAND
Estimate:
€100,000 - €150,000
Paul Henry RHA, 1876-1958
COTTAGES, WEST OF IRELAND
Oil on board, 14" x 16" (36 x 41cm), signed.
Provenance: Adams, Dublin 26th March 1997 (lot 65); Jorgensen Fine Art, Dublin (label verso); where acquired by the present owner.
Literature: 'Paul Henry - Paintings, Drawings, Illustrations' by Dr S.B Kennedy,? Cat. no. 948, p.287 (illus). This may be a scene in Co Kerry, possibly near Glenbeigh, in which case the distant mountains are the MacGillycuddy Reeks. Dated 1935-45 on stylistic grounds.
Having spent most of his time in the West in counties Mayo and Galway, Paul Henry first visited Kerry in the early 1930s. This painting is believed to be an example of work he created en plein air or from drawings as a result of this and subsequent trips. Its most significant feature is the expanse of billowing clouds that appear to extend the composition upwards.
The sense of movement this lends the image is but one among a symphony of gentle animations that work together to evoke a living landscape. By comparison with the handling of the sky, the verticality of the mountains is downplayed. Instead, they undulate along the horizontal, forming a shifting backdrop to the small group of cottages leaning into slanted ground.
In keeping with this lyrical interplay of elements, the artist's brushwork, too, is varied, alternating between up-down, left-right passages of paint and applications that follow the contours of their subjects. The overall effect is one of harmony, reinforced by a sky and mountains rendered in low-contrast shades, so that the majority of the painting is mid-toned with a muted, yet penetrating radiance.
Colour from the clouds is picked up (and possibly reflected) in a small patch of white in the centre foreground. It is here, in the lower portion of the scene, that the greatest detail - such as there is - can be found. A path leads diagonally from the bottom-right corner to the cluster of low-lying buildings. Resolutely positioned to one side of the image, their white-washed exteriors are balanced on the other by the blacks of the peat stacks, shown as equal in scale.
Susan Campbell, October 2023
COTTAGES, WEST OF IRELAND
Oil on board, 14" x 16" (36 x 41cm), signed.
Provenance: Adams, Dublin 26th March 1997 (lot 65); Jorgensen Fine Art, Dublin (label verso); where acquired by the present owner.
Literature: 'Paul Henry - Paintings, Drawings, Illustrations' by Dr S.B Kennedy,? Cat. no. 948, p.287 (illus). This may be a scene in Co Kerry, possibly near Glenbeigh, in which case the distant mountains are the MacGillycuddy Reeks. Dated 1935-45 on stylistic grounds.
Having spent most of his time in the West in counties Mayo and Galway, Paul Henry first visited Kerry in the early 1930s. This painting is believed to be an example of work he created en plein air or from drawings as a result of this and subsequent trips. Its most significant feature is the expanse of billowing clouds that appear to extend the composition upwards.
The sense of movement this lends the image is but one among a symphony of gentle animations that work together to evoke a living landscape. By comparison with the handling of the sky, the verticality of the mountains is downplayed. Instead, they undulate along the horizontal, forming a shifting backdrop to the small group of cottages leaning into slanted ground.
In keeping with this lyrical interplay of elements, the artist's brushwork, too, is varied, alternating between up-down, left-right passages of paint and applications that follow the contours of their subjects. The overall effect is one of harmony, reinforced by a sky and mountains rendered in low-contrast shades, so that the majority of the painting is mid-toned with a muted, yet penetrating radiance.
Colour from the clouds is picked up (and possibly reflected) in a small patch of white in the centre foreground. It is here, in the lower portion of the scene, that the greatest detail - such as there is - can be found. A path leads diagonally from the bottom-right corner to the cluster of low-lying buildings. Resolutely positioned to one side of the image, their white-washed exteriors are balanced on the other by the blacks of the peat stacks, shown as equal in scale.
Susan Campbell, October 2023
- Enquire
- View all lots by this artist
- How bidding works
Please note: You will require a deVeres account in order to bid. Please register via the website. Each lot will close numerically. If there is late bidding the time may be extended which could delay subsequent lots. The lots will start to close from 2.00pm on auction day, closing at 45 second intervals.
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.
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.
Sign-up to our auction alert
Signup for personalised Irish art recommendations, invitations to viewings and auctions, articles and more.