Bidding on this item has ended.
William John Hennessy
GATHERING APPLES, NORMANDY
Lot 30
Price Realised:
€12,000
Estimate:
€14,000 - €18,000
William John Hennessy, 1839-1917
GATHERING APPLES, NORMANDY
Oil on canvas, 71" x 40" (180.3 x 101.6cm), signed and dated 1884
Exhibited: Autumn Exhibition, Manchester, 1884, number 361; Milmo-Penny Fine Art, December 2006, catalogue ent...
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Lot 30
William John Hennessy
GATHERING APPLES, NORMANDY
Lot 30
William John Hennessy
GATHERING APPLES, NORMANDY
Estimate:
€14,000 - €18,000
William John Hennessy, 1839-1917
GATHERING APPLES, NORMANDY
Oil on canvas, 71" x 40" (180.3 x 101.6cm), signed and dated 1884
Exhibited: Autumn Exhibition, Manchester, 1884, number 361; Milmo-Penny Fine Art, December 2006, catalogue entry:
William Hennessy spent the summer months in Normandy where he had a residence close to the port of Honfleur. A school of painting, based in Saint Simeon's Inn, was already well established there. Corot, Isabey and Huet were amongst the first painters of the group. Boudin, who was born there, invited Courbet, Jongkind and Monet to join them. It was at this time that Boudin encouraged Monet to paint in the open air and it was this activity that led to the advent of Impressionism. Hennessy might have had this in mind when he painted An Impressionist at Work; Scene in a Normandy Cider Orchard, which he sent to the Royal Academy in 1881. Other Calvados works include Normandy Pippin, 1879; In a Normandy Cider Orchard, 1880 and En Fête - Calvados, 1882.
Scenes set in cider orchards recur many times in Hennessy's work. Perhaps the best known version is Fête Day in a Cider Orchard, Normandy, painted in 1878 and now in the Ulster Museum. Another related painting has just come to light. Painted in 1877, A Couple Seated Before an Inn shows a young man and woman seated at a bench with a pitcher of cider. A girl sits in the doorway wearing the traditional costume similar to that worn by the woman who bends down to gather apples in the present painting. Hennessy must have been conscious of Millet's work, when he drew this figure in her back-breaking pose.
The apples are shaken from the tree by a man with a long pole. His pose and that of the stooping woman are reminiscent of Osborne's famous orchard scene painted in Quimperle in the previous year (National Gallery of Ireland). It may be that Hennessy was familiar with Osborne's painting or that they both borrowed from the same motifs. The scene portrays an idyllic lifestyle. The orchard is set behind a traditional thatched Norman farmhouse from which an old woman approaches with an empty basket. A dappled light falls on the rich and fertile grasses that grow amongst the trees. A young woman in more modern dress has filled her basket. She leans to one side against its weight as she carries it off to the cider press.
GATHERING APPLES, NORMANDY
Oil on canvas, 71" x 40" (180.3 x 101.6cm), signed and dated 1884
Exhibited: Autumn Exhibition, Manchester, 1884, number 361; Milmo-Penny Fine Art, December 2006, catalogue entry:
William Hennessy spent the summer months in Normandy where he had a residence close to the port of Honfleur. A school of painting, based in Saint Simeon's Inn, was already well established there. Corot, Isabey and Huet were amongst the first painters of the group. Boudin, who was born there, invited Courbet, Jongkind and Monet to join them. It was at this time that Boudin encouraged Monet to paint in the open air and it was this activity that led to the advent of Impressionism. Hennessy might have had this in mind when he painted An Impressionist at Work; Scene in a Normandy Cider Orchard, which he sent to the Royal Academy in 1881. Other Calvados works include Normandy Pippin, 1879; In a Normandy Cider Orchard, 1880 and En Fête - Calvados, 1882.
Scenes set in cider orchards recur many times in Hennessy's work. Perhaps the best known version is Fête Day in a Cider Orchard, Normandy, painted in 1878 and now in the Ulster Museum. Another related painting has just come to light. Painted in 1877, A Couple Seated Before an Inn shows a young man and woman seated at a bench with a pitcher of cider. A girl sits in the doorway wearing the traditional costume similar to that worn by the woman who bends down to gather apples in the present painting. Hennessy must have been conscious of Millet's work, when he drew this figure in her back-breaking pose.
The apples are shaken from the tree by a man with a long pole. His pose and that of the stooping woman are reminiscent of Osborne's famous orchard scene painted in Quimperle in the previous year (National Gallery of Ireland). It may be that Hennessy was familiar with Osborne's painting or that they both borrowed from the same motifs. The scene portrays an idyllic lifestyle. The orchard is set behind a traditional thatched Norman farmhouse from which an old woman approaches with an empty basket. A dappled light falls on the rich and fertile grasses that grow amongst the trees. A young woman in more modern dress has filled her basket. She leans to one side against its weight as she carries it off to the cider press.
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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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