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Patrick Hennessy RHA (1915-1980) BOUQUET OF ROSES, c.1964 oil on canvas signed lower left; with Ritchie Hendriks Gallery label on reverse h:13 w:16 in. Provenance: Ritchie Hendriks Gallery, Dublin, 1964; Private collection
Whyte'sPatrick Hennessy RHA (1915-1980) THE RIVER LEE oil on canvas laid on board signed lower right; titled on David Hendriks Gallery label on reverse h:12.50 w:24.25 in. Provenance: David Hendriks Gallery, Dublin; Private collection
Whyte'sPatrick Hennessy RHA (1915-1980) JOYCE oil on canvas signed lower left h:24 w:18 in. Provenance: Christie's, South Kensington, 10 July 1986, lot 49; Oriel Gallery, Dublin; Private collection, Dublin; Whyte's, 13 June 2001, lot 48; Private collection Exhibited: RHA, Dublin, 1946, catalogue no. 210
Whyte'sPatrick Hennessy RHA (1915 - 1980) Butterfly & Golden Lion, 1980 Oil on canvas, 89 x 64cm (35 x 25½) Signed Provenance: With Hendriks Gallery, Dublin, label verso
Adam'sPatrick Hennessy RHA (1915 - 1980) Roses Oil on canvas, 60.5 x 50.5 (24 x 20) Provenance: Jorgenson Fine Art, Dublin
Adam'sPatrick Hennessy RHA (1915-1980) Man Made Man and Rose Oil on Canvas, 61 x 45.5cm (24 x 18) Signed (on the airmail envelope, top right) Exhibited: Rosc 71, Irish Imagination 22 October - 29 December 1971, label verso Provenance: With David Hendriks Gallery, Dublin, label verso
Adam'sPatrick Hennessy RHA (1915-1980) Interior with Staffordshire Model of Prince Albert on Horseback Oil on canvas, 61 x 45.5cm (24 x 18) Signed
Adam'sPatrick Hennessy RHA (1915-1980) THE CHAMPAGNE BUCKET AND BIRD oil on canvas signed lower left h:15 w:24.50 in. Provenance: Adam's, 28 September 2011, lot 46; Private collection
Whyte'sPatrick Hennessy RHA (1915-1980) Still Life of Flowers with Classical Bust Oil on canvas, 70 x 66.5cm (27½ x 26¼'')
Adam'sPatrick Hennessy RHA (1915-1980) Old Man on the Street Oil on canvas, 59.5 x 44.5cm (23½ x 17½'')
Adam'sPatrick Hennessy RHA (1915 - 1980) Still Life with Fruit and Pottery Oil on board 34.5 x 45cm (13½ x 17¾)
Adam'sPatrick Hennessy RHA (1915-1980) THE KILLARNEY BOY oil on canvas signed lower left; with Guildhall Gallery [Chicago] label on reverse h:25 w:35 in. Provenance: Cottone Auctions, New York, 28 September 2019, lot 79; Private collection The American market was an important platform and lucrative revenue stream for Patrick Hennessy. His relationship with the prestigious Guildhall Galleries on Michigan Boulevard, Chicago began in 1966, however, it was much earlier in his career - towards the end of the 1940s - when he came to the attention of American audiences in a favorable review by Time Magazine of a Manhattan Gallery exhibition showing the work of twelve Irish artists, including Jack B. Yeats and Louis le Brocquy. (1) The following decade Hennessy and his life partner, the artist Henry (Harry) Robertson Craig RHA (1916-1984), played a vital role in the establishment of their friend David Hendrik's gallery at No. 3 St. Stephen's Green, Dublin. The gallery opened on 12 April 1956 and provided Hennessy - among many other artists - with financial security owing to annual solo exhibitions and participation in group shows. Opportunities for Hennessy grew in tandem with the gallery's reputation, among them a contract with the distinguished Guildhall Galleries, renowned for their professional work practices, innovative marketing, and the use of superior framers. Although undated, the present work bears the Guildhall Galleries label which places it in the latter half of the 1960s or later. Hennessy's first solo exhibition took place there in 1966, it was a success and the beginning of a mutually beneficial relationship. Testament to the achievements of artist and dealer, by 1975 Hennessy was the subject of a ten-year retrospective with the Guildhall. A small number of Kerry paintings by Patrick Hennessy have appeared at auction, unpopulated scenes in the main, among them Lakes of Killarney formerly the collection of Eoin O'Malley and Una O'Higgins O'Malley. (2) The Killarney Boy, uses a device typical of the artist, placing a figure of a young man in the foreground of a rural setting. The adolescent gazes out from the canvas, a woolen jumper knotted across a white, neatly buttoned shirt. He appears in the landscape without being part of it a recurring theme in Hennessy's oeuvre. The Killarney Boy probably dates to around 1968 based on its similarities with the privately owned Boy and Pony, Killarney of the same year (3). Adelle Hughes February 2022 For further reading see: Hennessy, De Profundis, Ed. Seán Kissane, Dublin: Irish Museum of Modern Art, 2016. Published on the occasion of the exhibition Patrick Hennessy, De Profundis, IMMA, 24 March to 24 July 2016 1. Hennessy, De Profundis, Ed. Seán Kissane, Dublin: Irish Museum of Modern Art, 2016, p.21-22 2. Adams, 12 June 2019, lot 24 3. Hennessy, De Profundis, Ed. Seán Kissane, Dublin: Irish Museum of Modern Art, 2016, p. 74 (full page illustration)
Whyte'sPatrick Hennessy RHA (1915-1980) STILL LIFE WITH ROSE oil on board signed lower left h:8 w:10 in.
Whyte'sPatrick Hennessy (Irish, 1915-1980) The Encounter signed 'Hennessy' (lower left) oil on canvas 40.5 x 63.5cm (15 15/16 x 25in). For further information on this lot please visit the Bonhams website
BonhamsPatrick Hennessy (Irish, 1915-1980) Portrait of George Skeates, Verger signed 'Hennessy' (lower left) oil on canvas 61 x 50.5cm (24 x 19 7/8in). For further information on this lot please visit the Bonhams website
BonhamsPatrick Hennessy RHA (1915-1980) The Spanish Christ oil on board signed lower left h:37 w:27 cm. Provenance: The Ritchie Hendriks Gallery, Dublin (label verso); Private Collection Not an artist to be easily categorised, there is an unique quality to the Realist paintings of Patrick Hennessy, infused as they are with a strong Surrealist sensibility. Combining two of Hennessy's preoccupations, a love of roses and a sense of the limited lifespan of humanity, this small canvas depicts the head of Christ, bearded, suffering and crowned with thorns, alongside a bouquet of pink and red roses. Seen from a high vantage point, Christ's head is depicted close-up, but turning away, as if to reject the transitory beauty of the flowers. The painting is a 'Vanitas', part of a European artistic tradition that seeks to reject the fleeting pleasures of an earthly existence and points the way instead towards a life of spiritual awareness and a sense of the infinite rather than the finite. It is one of Hennessy's more profound paintings, revealing his inner feelings and aspirations. Many of his paintings can be described as 'momento mori' or reminders of death. Apart from the red and pink petals, the painting is characterised by its sombre colouring. In the late 1930's, after studying under James McIntosh Patrick at the art school in Dundee, Hennessy returned to his native Ireland. His first exhibition in Dublin, held in 1939 at the Country Shop, was opened by Mainie Jellett. Hennessy showed regularly in Dublin from 1941 onwards, and also in Scotland, while in later years he had regular exhibitions in Chicago, where his still-lives and flower paintings sold well. While portraits feature in his early career, in later years Hennessy turned more to landscape, and, with his partner Harry Robertson Craig, began to spend winters in North Africa while working in the West of Ireland and in Cork during the summer months. For a number of years they lived in Kinsale, in a house overlooking the sea at Summercove, the dining room of which Craig decorated with murals of trellises and flowers. Peter Murray, September 2021
Morgan O'DriscollPatrick Hennessy (Irish, 1915-1980) Bound Figure signed 'Hennessy' (lower right) pastel on paper laid on board 110 x 77.5 cm. (43 1/4 x 30 1/2 in.) Executed c. 1938 For further information on this lot please visit the Bonhams website
BonhamsPatrick Hennessy (Irish, 1915-1980) Atlas Beach signed 'Hennessy' (lower left) oil on canvas 63.7 x 89.2 cm. (25 1/8 x 35 1/8 in.) Painted in 1976 For further information on this lot please visit the Bonhams website
BonhamsPatrick Hennessy RHA (1915 - 1980) Sunset Cavalcade Oil on canvas, 62.5 x 88cm (24½ x 34½) Signed Horses are a common theme in Hennessy's work, appearing in various iterations, often part of larger landscape and figural scenes, such as this seascape example. His finesse and skill as a painter were best exemplified in his depiction of animals, with an incredible eye for detail and anatomical correctness. In this present work, the features of the horses' faces are beautifully rendered, and he focuses our attention on certain details, the tautness of the muscles as they walk, the wind rushing through the white horses' mane. Hennessy was a prolific painter, fusing a photo-realist style with a strange almost surrealist character, depicting figures in isolated landscapes, works with their own hidden internal narrative. The paintings often contained visual codes that signified a clear portrayal of homosexual life, a theme which was largely ignored by the art critics in the 1960s and 70s of conservative catholic Ireland. Ireland in the post-war years, had not experienced the same developments in artistic movements as other European capitals at the time. The RHA denominated the artistic scene in Ireland in the 1940s and while Hennessey was elected an associated of the academy in 1948, it was through independent galleries such as Victor Waddington and Richie Hendriks, in particular, that he achieved significant success and much needed support throughout his career. Portraits of male figures appear predominately in his work, in which he celebrates the friendships and relationships between men. This group or cavalcade, set against the beautiful golden sky, creates a dreamlike atmosphere with the sun slowly setting behind the horizon line and casting a dappled glow across water's surface. Niamh Corcoran, June 2021 Starting Bid: € 3500
Adam'sPatrick Hennessy RHA (1915-1980) MOUNTAIN TREK oil on canvas signed lower left h:25 w:35 in. Provenance: Adam's, 31 May 2006, lot 73; Private collection
Whyte'sPatrick Hennessy RHA (1915-1980) RUINED HOUSE WITHIN A RURAL LANDSCAPE oil on canvas signed lower right h:11.50 w:15.50 in. Provenance: Adam Partridge, Cheshire, 19 January 2012, lot 685; Private collection An early work thought to date to the 1940s and probably a scene in County Cork.
Whyte'sPatrick Hennessy RHA (1915-1980) Roses in a Bedroom Oil on canvas, 40.5 x 56cm (16 x 22'') Signed; signed, inscribed and dated (19)'65 verso Provenance: With Guildhall galleries Ltd. (Chicago), inscribed verso.
Adam'ssigned lower left
Whyte'sHENNESSY, Patrick, (Irish, 1915-1980): ''Distant View of Tangier'', Oil/Canvas, 15'' x 25'', signed lower left, Gildhall Galleries Limited label affixed verso, framed, 24.5'' x 34.25''.
Burchard Galleries Inc