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Paul Henry
SUNNY DAY CONNEMARA
Lot 23
Price Realised:
€105,000
Estimate:
€70,000 - €100,000
Paul Henry RHA, 1877-1958
SUNNY DAY, CONNEMARA, c.1932
Oil on canvas, 14" x 16" (35.5 x 40.8cm), signed. In original Combridge gallery frame (label verso).
After many years of difficulties both professionally and personally, the early 1930's bro... Read more
Lot 23
Paul Henry
SUNNY DAY CONNEMARA
DVTV Click Here To View VideoSUNNY DAY, CONNEMARA, c.1932
Oil on canvas, 14" x 16" (35.5 x 40.8cm), signed. In original Combridge gallery frame (label verso).
After many years of difficulties both professionally and personally, the early 1930's bro... Read more
Lot 23
Paul Henry
SUNNY DAY CONNEMARA
Estimate:
€70,000 - €100,000
Paul Henry RHA, 1877-1958
SUNNY DAY, CONNEMARA, c.1932
Oil on canvas, 14" x 16" (35.5 x 40.8cm), signed. In original Combridge gallery frame (label verso).
After many years of difficulties both professionally and personally, the early 1930's brought Henry a degree of contentment on both fronts. With a tacit understanding that their marriage was finally over, Grace, his wife since 1903, unhappily stepped aside and allowed Paul's relationship with Mabel Young to establish itself on a more formal basis having been a clandestine affair since 1924. Mabel rented Carrigoona Cottage in Kilmacanogue, Co. Wicklow from 1927 with Paul moving there in September 1929. This was to be his first permanent home in over 30 years and with the building of a studio on the property, his artistic base in the years to come, having vacated his Merrion Row studio in April 1930. From August that year Henry began what was to prove to be a very successful relationship with Combridge's Gallery in Dublin over the following 20 years.
Anchored in this newfound domestic and professional stability came a greater consistency of artistic output which, from the mid 1920's, had proved somewhat variable. By 1932, around which time Sunny Day, Connemara would have been painted, his work is imbued with a renewed vigour and confidence of brushwork. 'His handling of paint is adroit, forms and structures being set down directly, described with great economy of means and with little re-painting or changes in concept. This stage of development was to last until the late 1930's.' S.B.Kennedy, Paul Henry, Paintings, Drawings, Illustrations, Yale, 2007, p. 72.
While there is clearly no lack of spontaneous, bravura brushwork to these paintings, of which Sunny Day, Connemara is a fine example, there does seem to be a greater interest in their compositional pattern. It is from these patterns, with a gradual omission, for the most part, of figures and animals that a more simplified and idealised image of Ireland emerges. These paintings iconic simplicity was to be the catalyst for Henry's unique interpretation of Ireland, becoming the quintessential images that could sell tourism in the still nascent Free State to the world through the medium of travel posters and by extension raise Irelands profile as a whole. The inclusion of four oils and two drawings by Henry in the Exposition d'Art Irlandais at the Musee d'Art Ancien in Brussels in 1930 is significant and underlines how his vision of Ireland had been assimilated politically as 'the official face of Irish art'.
SUNNY DAY, CONNEMARA, c.1932
Oil on canvas, 14" x 16" (35.5 x 40.8cm), signed. In original Combridge gallery frame (label verso).
After many years of difficulties both professionally and personally, the early 1930's brought Henry a degree of contentment on both fronts. With a tacit understanding that their marriage was finally over, Grace, his wife since 1903, unhappily stepped aside and allowed Paul's relationship with Mabel Young to establish itself on a more formal basis having been a clandestine affair since 1924. Mabel rented Carrigoona Cottage in Kilmacanogue, Co. Wicklow from 1927 with Paul moving there in September 1929. This was to be his first permanent home in over 30 years and with the building of a studio on the property, his artistic base in the years to come, having vacated his Merrion Row studio in April 1930. From August that year Henry began what was to prove to be a very successful relationship with Combridge's Gallery in Dublin over the following 20 years.
Anchored in this newfound domestic and professional stability came a greater consistency of artistic output which, from the mid 1920's, had proved somewhat variable. By 1932, around which time Sunny Day, Connemara would have been painted, his work is imbued with a renewed vigour and confidence of brushwork. 'His handling of paint is adroit, forms and structures being set down directly, described with great economy of means and with little re-painting or changes in concept. This stage of development was to last until the late 1930's.' S.B.Kennedy, Paul Henry, Paintings, Drawings, Illustrations, Yale, 2007, p. 72.
While there is clearly no lack of spontaneous, bravura brushwork to these paintings, of which Sunny Day, Connemara is a fine example, there does seem to be a greater interest in their compositional pattern. It is from these patterns, with a gradual omission, for the most part, of figures and animals that a more simplified and idealised image of Ireland emerges. These paintings iconic simplicity was to be the catalyst for Henry's unique interpretation of Ireland, becoming the quintessential images that could sell tourism in the still nascent Free State to the world through the medium of travel posters and by extension raise Irelands profile as a whole. The inclusion of four oils and two drawings by Henry in the Exposition d'Art Irlandais at the Musee d'Art Ancien in Brussels in 1930 is significant and underlines how his vision of Ireland had been assimilated politically as 'the official face of Irish art'.
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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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