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Paul Henry Sold at Auction Prices

Painter, Landscape painter, b. 1876 - d. 1958

Artist Paul Henry started his career wanting to capture the spirit of Ireland through his various landscape paintings.He decided to make art his full-time career after moving to attend the Belfast School of Art. He studied under Jean-Paul Laurens, spending a short time in Paris before traveling to London where met and married his wife Grace. The pair moved back to Paris for two years where he continued to hone his craft. 

Paul Henry's prints include charcoal sketches, a medium he developed during his time in Paris. Paul Henry's paintings depicting the crystal blue lakes and rolling hillsides of West Ireland are among his most collectible. Artist Paul Henry has been noted as one of Ireland's best-known artists of the 20th century. Many of his and other artists fantastic landscape paintings for sale can be found online. 

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  • Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11¾ x 15¾'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33; Private Col
    Dec. 04, 2024

    Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11¾ x 15¾'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33; Private Col

    Est: €40,000 - €60,000

    Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11¾ x 15¾'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33; Private Collection Paul Henry was born in Belfast in 1877 and attended the Belfast School of Art. He travelled to Paris in 1898, where he studied at the Academie Julian and was influenced by the rural realism of Jean Francois Millet. He later moved to Academie Carmen recently opened by James Abbott McNeill Whistler, whose influence can be seen in the present work. In Paris he met his first wife Grace and in 1903 they were married. After a period in London working as an illustrator, Henry moved to Achill Island in 1912, where the local landscape became the main subject for his oil paintings. In 1920 Henry moved to Dublin where, along with his wife and other painters such as Jack B. Yeats and Mary Swanzy, he helped found the Society of Dublin Painters. He stayed in Dublin for twelve years, with frequent trips back to the West of Ireland, and then moved to Co. Wicklow with the artist Mabel Young, who he married in 1954. The present work, which dates to the late 1930s on stylistic grounds, displays Henry’s keen interest in pure landscape. It is taken to a pure form in this work, a simple scene, dominated by the range of grey hued mountains and stratified clouds with subtle pale yellow and off-white tints but this is off-set by the turf stacks, set perilously close to the bogland river that meanders through the landscape. The same turf stacks remind the viewer that the human presence is never too far away and that even a remote Connemara bogland bears the impact of man’s effort to sustain himself. Henry often painted evening scenes, enjoying the changing of the light, as dusk is falling, casting shadows across the landscape. A sense of stillness pervades the scene and he has used a limited palette to distil everything down to the essential elements. Widely considered the most significant Irish landscape painter, Paul Henry’s works can be found in the collections of the National Gallery of Ireland, Hugh Lane Gallery, Irish Museum of Modern Art, Ulster Museum, Victoria and Albert Museum in London, and the National Museum of Modern Art in Paris.

    Adam's
  • Paul Henry RHA (1877-1958) A Bog Road in Kerry (c.1934/9) Oil on canvas 35 x 40cm (13¾ x 15¾”) Signed; inscribed with title verso Provenance: Sale, these rooms, 9/10/1980, lot 44, illus.; with Oriel Gallery, Dublin; Private collection, Dublin.
    Dec. 04, 2024

    Paul Henry RHA (1877-1958) A Bog Road in Kerry (c.1934/9) Oil on canvas 35 x 40cm (13¾ x 15¾”) Signed; inscribed with title verso Provenance: Sale, these rooms, 9/10/1980, lot 44, illus.; with Oriel Gallery, Dublin; Private collection, Dublin.

    Est: €60,000 - €80,000

    Paul Henry RHA (1877-1958) A Bog Road in Kerry (c.1934/9) Oil on canvas 35 x 40cm (13¾ x 15¾”) Signed; inscribed with title verso Provenance: Sale, these rooms, 9/10/1980, lot 44, illus.; with Oriel Gallery, Dublin; Private collection, Dublin. Literature: Dr. S.B. Kennedy, 'Paul Henry - Paintings, Drawings, Illustrations', Yale 2007, Catalogue no.904, Illus. p. 279 A feint inscription on the reverse suggests that the title is A Bog Road in Kerry and the composition, freedom of brushwork and style certainly confirms this suggestion and also suggests a likely date in the mid to late 1930s. The work is very much in keeping with Henry’s work of this period and is aligned with those works that Dr. S.B. Kennedy suggests are scenes in Co. Kerry - with simple bogland compositions and vigorous brushstrokes. The delicately modeled deep blue mountains provide a sense of solidity to the work and the inky blackness of the turf stacks grounds the composition, while the pale browns in the foreground generates much welcome lightness. Paul Henry liked the Dingle Peninsula and was always happy there. ‘It is lovely. Wherever one turns there is material for dozens of pictures’, he wrote to James Healy, his dealer in America. He explored the whole area (Mabel, his second wife, had a motor car) which reminded him of Cape Cod, ‘very lonely & wild but not very paintable...nicer at a distance’, he ventured to Healy. But he made numerous sketches which later, in the studio, were turned into paintings. This painting may have been made from one of those sketches.

    Adam's
  • Paul Henry RHA (1876-1958) MOUNTAINS AND LAKE, c.1930-6
    Dec. 02, 2024

    Paul Henry RHA (1876-1958) MOUNTAINS AND LAKE, c.1930-6

    Est: €50,000 - €70,000

    Paul Henry RHA (1876-1958) MOUNTAINS AND LAKE, c.1930-6 oil on board signed lower left h:7.50  w:11 in. Provenance: Charles Gilmore Gallery, Belfast, 2011; Private collection Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 253, catalogue no. 769 (illustrated in colour) Dated 1930 to 1936 on stylistic grounds in Dr SB Kennedy's catalogue raisonné, Mountain and Lake (numbered 769) depicts a small cluster of whitewashed cottages before a body of water with a blue grey mountain range and an expanse of sky in the distance. Compositionally, the painting bears similarities to a number of slightly earlier works such as the larger, A Village in Connemara c.1922-29 (sold through Whyte's, 30 November 2004, lot 55 €120,000). That example, Kennedy suggests, depicted Achill Sound with Corraun in the background and uses a similar device to the present work to draw the viewer into the scene; the strategic positioning in the foreground of the grey rocks protruding from the grass to the left of centre. In the present work, a still body of water - reflecting the static clouds above it - and the modest dwellings with their neat turf stacks to the right complete the first part of the painting which is executed in coarse, impastoed brushstrokes that evoke the harsh reality of life in the west. A dark middle ground stretches the length of the board dividing the painting in two. There is a noticeable difference between the handling of the paint to the upper portion of the composition, which is softer in tone and with a more delicate application of the medium. The late 1920s and early 1930s were tumultuous years in Paul Henry's personal life, many of which were spent on Achill. The break-up of his marriage to first wife, Grace, was a drawn-out affair and the stresses, both financial and emotional, took their toll. Professionally however, his reputation was secure, due in part to the mass distribution of posters based on his paintings, which became lasting images of the Irish landscape. Two striking examples from the 1930s can be found in the collection of the National Gallery of Ireland (NGI 4077 & 4734) one of which was bequeathed by his second wife, Mrs M. Henry (née Young) in 1974. Adelle Hughes November 2024

    Whyte's
  • Paul Henry RHA (1876-1958) KILLARY BAY, CONNEMARA, c.1910-15
    Dec. 02, 2024

    Paul Henry RHA (1876-1958) KILLARY BAY, CONNEMARA, c.1910-15

    Est: €100,000 - €150,000

    Paul Henry RHA (1876-1958) KILLARY BAY, CONNEMARA, c.1910-15 oil on canvas signed lower left; titled in pencil on stretcher on reverse h:14  w:16 in. Provenance: Acquired directly from the artist by the previous owner's grandfather; Whyte's, 28 May 2018, lot 27; Private collection Henry painted a number of sailing boats like this, but in later years. This is the earliest noted as the dot in the signature illustrates. It would have been done shortly after he settled on Achill between 1910 and 1915 or thereabouts. The overall treatment of the scene is typical of Henry: from the handling of the clouds; the gentle light catching the mountains; the near foreground and especially the light striking the water are all typical Henry. Acquired by descent from the previous owner's grandfather, an amateur artist who painted with Paul Henry in the West of Ireland. Dr S.B. Kennedy April 2018

    Whyte's
  • Attributed to Paul Henry (Irish, 1877-1958), an estuary landscape
    Nov. 29, 2024

    Attributed to Paul Henry (Irish, 1877-1958), an estuary landscape

    Est: £2,000 - £4,000

    Attributed to Paul Henry (Irish, 1877-1958) An estuary landscape, west of Ireland, maybe Connemara Signed lower right Oil on artists board Dimensions: 12 in. (H) x 15.5 in. (W)

    Sloane Street Auctions
  • PAUL HENRY R. H. A. (1876 - 1958)
    Nov. 26, 2024

    PAUL HENRY R. H. A. (1876 - 1958)

    Est: €100 - €150

    Connemara Village. Print. Framed. PICTURES AND PRINTS Tuesday 26th November 2024 Approximate Time 14:40:20

    Sheppards
  • PAUL HENRY [IRISH] 1876-1958 [ATTRIBUTED] "HILLSIDE VILLAGE" OIL ON CANVAS, SIGNED LOWER RIGHT, 72X56CMS, FRAMED. CONDITION: SOME SMALL CANVAS THINS, REQUIRES CLEANING.
    Nov. 24, 2024

    PAUL HENRY [IRISH] 1876-1958 [ATTRIBUTED] "HILLSIDE VILLAGE" OIL ON CANVAS, SIGNED LOWER RIGHT, 72X56CMS, FRAMED. CONDITION: SOME SMALL CANVAS THINS, REQUIRES CLEANING.

    Est: -

    PAUL HENRY [Irish] 1876-1958 [attributed] "Hillside Village" oil on canvas, signed lower right, 72x56cms, framed. Condition: some small canvas thins, requires cleaning. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.

    WA Art Auctions
  • PAUL HENRY, R.H.A. (1877-1958). Portrait of G.K. Chesterton. Conté on tissu
    Nov. 19, 2024

    PAUL HENRY, R.H.A. (1877-1958). Portrait of G.K. Chesterton. Conté on tissu

    Est: £1,200 - £1,800

    PAUL HENRY, R.H.A. (1877-1958). Portrait of G.K. Chesterton. Conté on tissue-thin paper 7 1⁄8 x 4 1⁄8 in. (18.1 x 10.5 cm.).

    Christie's
  • In the Manner of Paul Henry, Irish 1877-1958 - Oil on Canvas - Connemara
    Nov. 14, 2024

    In the Manner of Paul Henry, Irish 1877-1958 - Oil on Canvas - Connemara

    Est: $20,000 - $30,000

    In the manner of Paul Henry Irish 1877-1958 Cottages Connemara Oil on Canvas 27 x 20 inches Signed lower left

    Dallas Auction Gallery
  • Paul Henry, RHA (Irish 1877-1958) Lough Derg, phot
    Oct. 24, 2024

    Paul Henry, RHA (Irish 1877-1958) Lough Derg, phot

    Est: £80 - £120

    Paul Henry, RHA (Irish 1877-1958) Lough Derg, photo-lithographic coloured print, illustration used by L.M.S. Travel Company Ireland This Year, 54 x 54cm.

    Ewbank's
  • Original ca. 1920s Ireland Connemara Travel Poster
    Oct. 19, 2024

    Original ca. 1920s Ireland Connemara Travel Poster

    Est: $300 - $400

    Henry, Paul 1876 - 1958 LMS - Connemara - Ireland this Year Lithograph ca. 1928 35 x 24.8 in. (89 x 63 cm) Printer: no information Condition Details: (B-) on linen (old), tears and creases at the edges and in image, minor surface browning, minor staining, top and bottom margins a little trimmed#Ireland #Travel

    PosterConnection Inc.
  • Paul Henry, RHA (1876-1958). Sheephaven, Donegal, Ireland For Holidays. Ori
    Oct. 16, 2024

    Paul Henry, RHA (1876-1958). Sheephaven, Donegal, Ireland For Holidays. Ori

    Est: €300 - €600

    Paul Henry, RHA (1876-1958). Sheephaven, Donegal, Ireland For Holidays. Original 1920's Poster. Illustrated folder from any London Midland or Scottish Railway Station or Agency. E.R.O. 53350, Staffords, Netherfield. c.25in wide, c.40in tall

    Purcell Auctioneers
  • Paul Henry, RHA (1876-1958). Dingle Peninsula, Kerry, "Cropped" Original 19
    Oct. 16, 2024

    Paul Henry, RHA (1876-1958). Dingle Peninsula, Kerry, "Cropped" Original 19

    Est: €200 - €400

    Paul Henry, RHA (1876-1958). Dingle Peninsula, Kerry, "Cropped" Original 1920's Railway Poster. c.22in wide, c.26in tall. Frame size, c.30in wide, 34in tall. Original framers label verso, The Art Shop, 208 Lower Rathmines Road, Dublin.

    Purcell Auctioneers
  • Paul Henry (1876 - 1958), after, Village by a Lake, Ireland, signed in penc
    Oct. 10, 2024

    Paul Henry (1876 - 1958), after, Village by a Lake, Ireland, signed in penc

    Est: £100 - £200

    Paul Henry (1876 - 1958), after, Village by a Lake, Ireland, signed in pencil lower right margin, blind stamp lower left, by W. J. Stacey, of London, lithograph, 38cm x 43cm.

    Bamfords Auctioneers and Valuers Ltd
  • Paul Henry RHA (1876-1958) KEEL BAY, ACHILL, c.1910-15
    Sep. 30, 2024

    Paul Henry RHA (1876-1958) KEEL BAY, ACHILL, c.1910-15

    Est: €60,000 - €80,000

    Paul Henry RHA (1876-1958) KEEL BAY, ACHILL, c.1910-15 oil on panel signed lower right; with John Magee label on reverse h:11  w:13.75 in. Provenance: John Magee, Belfast, 1961; Private collection Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.181, possibly as catalogue no. 412 Keel Bay Achill 1910-1915 The scene is the village of Keel (An Caol) in Achill Co Mayo overlooking the strand known in Gaeilge as Trá Mór, the big beach. Paul Henry and his wife Grace arrived in Achill in 1910 from London and stayed at The Amethyst belonging to the Barrett family in the village of Keel. In his autobiography Henry personifies Achill, referring to houses "huddled close together as if for warmth and companionship". He hears the island speaking to him and fell in love with the village of Keel and its changing moods. He decided to stay in Achill and paint. He wrote that Keel "never looked the same from one day to another. When it was windless (which was seldom on that wild coast), and the sun shone and the workers were busy in the fields it lay beside the sea, calm and peaceful. It was gay and lively during spring and harvest with people going about their chores. In rain it gave one the impression of a flock of speckled hens huddled together, and during the great gales that swept over it, it cowered, the cottages crouching low among their sally gardens while the wind boomed overhead, and the devouring sea was at the doors snarling among the rocks." 1 This small oil painting on panel is typical of the quick sketches Henry did when he first arrived on the island, attempting to adapt his art training from Belfast and Post Impressionist Paris to capture the changing beauty before him. He works from a height behind the village, quickly dividing the panels with lines sloping to a point off to the right to create the foreground. The horizon line and the slope of the distant Minion Cliffs meet off to the top left to form the background and the line of the crescent of the beach echoes the horizon and the slope of the houses. The bright warm colours of the rye straw thatch and grass are used to bring the foreground forward. White is added to allow the strand to fade behind alongside the cool blue of the Atlantic. Purple pushes the cliffs away, dark against a grey blue sky. White is applied generously to the round clouds, the gable walls and the waves sparkling at the water's edge. Kennedy sees this painting as possibly exhibited in Belfast in 1915 and referred to in The News Letter on 15th March 1915. (2) Paul and Grace exhibited regularly in Belfast from 1911, their fifth exhibition being held in the Carlton Restaurant in Donegal Place. This delightful little painting, one would 3 like to think, provided some joy to viewers during the gloom of the First World War and the strains of the suspended Home Rule issue. Dr Mary Cosgrove, September 2024 1 Paul Henry "An Irish Portrait" 1951, p.56 2 Kennedy S. B.., Paul Henry 2007, p. 181. 3 ibid., p. 42. 3

    Whyte's
  • Paul Henry RHA (1876-1958) KILLARY BAY, c.1919-20
    Sep. 30, 2024

    Paul Henry RHA (1876-1958) KILLARY BAY, c.1919-20

    Est: €70,000 - €90,000

    Paul Henry RHA (1876-1958) KILLARY BAY, c.1919-20 oil on canvas signed lower left h:15  w:18 in. Provenance: Mrs. Lorraine Creed Meredith; Adam's, 11 December 1986, lot 104; Private collection; Adam's, 4 October 2006, lot 71; Private collection Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 212, catalogue no. 543 This oil painting on canvas is of Killary, An Caoláire Rua in Gaelige the red fjord, to be found in north Connemara in the west of Ireland. The flooded valley, sixteen kilometres long and forty-two to forty-five metres deep, has provided a focal point for tourists since two centuries ago when they could travel on the Midland Great Western train from Dublin to eventually stay at the hotel at Leenane. Henry often painted in the Killary area when he lived in nearby Achill from 1910 to 1919, and this painting is one of a series of paintings of Killary done from different viewpoints. Its provenance and technique points to a production date around 1919 with a possibility of being exhibited in Belfast and Dublin at that time. Lorraine Creed Meredith who was the owner in 1986 and was a close friend of Grace Henry (1), was the wife of James Creed Meredith a Supreme Court Judge who upheld Breton Law. (2) Here Henry's position is close-up to the mountains and water which helps achieve an abstract pattern of almost monochromatic blocks. He closely studies how the flatness of the overlapped mountains can simultaneously allow the mind access to the distance and to the path of the water out to the Atlantic Ocean. Firstly, Henry establishes a firm foundation, dividing the small canvas into horizontal and vertical bands criss-crossed with diagonals that meet in vanishing points to the lower left and right outside the picture frame. He places the land mass in the middle horizontal band with clouds above and water below. Then almost certainly he covers the canvas with a warm ground hue that is only sensed in the completed work lying below the overall coldness. The water and reflections provide the foreground. The nearest block of mountain is defined clearly with Prussian Blue and sweeps down across almost the whole scene to a point where it meets the opposing stillness of the Prussian Blue water creating a Rorschach test effect. A little white is mixed with blue and painted with directional strokes on the left-hand mountain providing distance from the nearest mountain. The most distant mountain in the middle is coldest of all with more added white and is less defined. It has an intriguing turquoise streak that is continued diluted and more thinly applied to the white impasto of the clouds. Grey and violet edges in the clouds follow lines radiating from the vanishing point outside the scene on the lower left. Tinges of red added to the blue to form purple is applied on the mountains and edges of the clouds and also to the vegetation at the base of the nearest mountain. Impasto pure white is applied in strong vertical strokes to the foreground following the diagonal radiating from the vanishing point off lower right to depict the clouds reflected in the water. Thin lines of white radiate from the same point across the water as striated Langmuir lines traversing the water and introducing some of the cloud movement to the water. There is an influence of Whistler (3) whom Henry greatly admired in Paris on display here; in the emphasis on aesthetic arrangements and harmonies and the crepuscular effect. The combination of the uncanny and sublime with harsh reality elevates this little treasure into a universality less obvious in other landscapes by Henry. Dr Mary Cosgrove, September 2024 1. Grace Henry (1968 - 1953) artist married to Paul Henry in 1903 until 1930 2. James Creed Meredith KC (28 November 1875 - 14 August 1942) was an Irish judge who served as Judge of the Supreme Court from 1937 to 1942 and a Judge of the High Court from 1924 to 1937. Best known as a nationalist of the early 20th century, who upheld Brehon Law, he was President of the Supreme Court of the Irish Republic, Chief Judicial Commissioner of Ireland. 3. James Abbott McNeill Whistler 1834 - 1903.

    Whyte's
  • Paul Henry RHA (1876-1958) THE STONY FIELDS OF KERRY, 1934-1939
    Sep. 30, 2024

    Paul Henry RHA (1876-1958) THE STONY FIELDS OF KERRY, 1934-1939

    Est: €150,000 - €200,000

    Paul Henry RHA (1876-1958) THE STONY FIELDS OF KERRY, 1934-1939 oil on board signed lower right; titled on label on reserve also; with Jorgensen Fine Art label on reverse h:11.75  w:16 in. Provenance: Gunne, Kells, Co. Meath, 13 December 1993; Whence acquired by Jorgensen Fine Art, Dublin; de Veres, 16 April 2002, lot 157; Whence acquired by Taylor Gallery, Belfast; Private collection; Whyte's, 7 December 2020, lot 39; Private collection Exhibited: Probably shown in 'New Pictures by Paul Henry', Combridge's, Dublin, from 8 April 1940, no. 27 as Kerry Cottages; 'Spring Exhibition', Jorgensen Fine Art, Dublin, from 7 March, 1994, catalogue no. 10 (reproduced in colour and dated, almost certainly incorrectly, 1941); 'Exhibition of Fine Irish Paintings', Taylor Gallery, Belfast, 28 September to 12 October 2002, catalogue no. 3 (reproduced in colour); 'Paul Henry', National Gallery of Ireland, Dublin, 19 February to 18 May 2003 (ex-cata.) Literature: Irish Times, 8 April 1940; Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.278, catalogue no. 900 (illustrated in colour) There is a label on the reserve with the title, in the artist's hand, and 'No. 38'; also '5' crossed out, the latter numbers probably referring to old (untraced) exhibition numbers. Also, on the reverse but probably not in the artist's hand, 'Kerry Cottages No. 5' and 'n. 35'. Moderate to heavy impasto employed throughout and much use of a palette knife in the stone walls, the foreground and the gables of the cottages. Characteristically subdued palette and modelling on the mountains, their dramatic effect being obtained from their rugged outline and barrenness. The leafless tree, too, adds to the meagreness of the scene. Probably painted shortly after Henry's holiday at Glenbeigh, County Kerry, in the late summer of 1934. The mountains in the background may be the Seefin and Beenreagh range. An almost identical composition to The Stony Fields of Kerry (catalogue no. 797, Kennedy). Dr SB Kennedy, November 2020

    Whyte's
  • PAUL HENRY (1876-1958); pencil signed print, possible view of Connemara, signed, with WJ Stacey London copyright and Fine Art blind stamp lower left, 38 x 41cm, framed and glazed.
    Sep. 27, 2024

    PAUL HENRY (1876-1958); pencil signed print, possible view of Connemara, signed, with WJ Stacey London copyright and Fine Art blind stamp lower left, 38 x 41cm, framed and glazed.

    Est: £50 - £80

    PAUL HENRY (1876-1958); pencil signed print, possible view of Connemara, signed, with WJ Stacey London copyright and Fine Art blind stamp lower left, 38 x 41cm, framed and glazed.

    Adam Partridge Auctioneers
  • Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11_ x 15_'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33 Paul Henr
    Sep. 25, 2024

    Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11_ x 15_'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33 Paul Henr

    Est: €40,000 - €60,000

    Paul Henry RHA RUA (1876-1958) Connemara Landscape with Turf Stack Oil on canvas board, 30 x 40cm (11_ x 15_'') Signed Provenance: with John Magee's Gallery, Belfast, label verso; with handwritten date 'Dec.'43', stock no.622-33 Paul Henry was born in Belfast in 1877 and attended the Belfast School of Art. He travelled to Paris in 1898, where he studied at the Academie Julian and was influenced by the rural realism of Jean Francois Millet. He later moved to Academie Carmen recently opened by James Abbott McNeill Whistler, whose influence can be seen in the present work. In Paris he met his first wife Grace and in 1903 they were married. After a period in London working as an illustrator, Henry moved to Achill Island in 1912, where the local landscape became the main subject for his oil paintings. In 1920 Henry moved to Dublin where, along with his wife and other painters such as Jack B. Yeats and Mary Swanzy, he helped found the Society of Dublin Painters. He stayed in Dublin for twelve years, with frequent trips back to the West of Ireland, and then moved to Co. Wicklow with the artist Mabel Young, who he married in 1954. The present work, which dates to the late 1930s on stylistic grounds, displays HenryÕs keen interest in pure landscape. It is taken to a pure form in this work, a simple scene, dominated by the range of grey hued mountains and stratified clouds with subtle pale yellow and off-white tints but this is off-set by the turf stacks, set perilously close to the bogland river that meanders through the landscape. The same turf stacks remind the viewer that the human presence is never too far away and that even a remote Connemara bogland bears the impact of manÕs effort to sustain himself. Henry often painted evening scenes, enjoying the changing of the light, as dusk is falling, casting shadows across the landscape. A sense of stillness pervades the scene and he has used a limited palette to distil everything down to the essential elements. Widely considered the most significant Irish landscape painter, Paul HenryÕs works can be found in the collections of the National Gallery of Ireland, Hugh Lane Gallery, Irish Museum of Modern Art, Ulster Museum, Victoria and Albert Museum in London, and the National Museum of Modern Art in Paris.

    Adam's
  • Paul Henry RHA (1877-1958) The Bog Pool (c.1921-22) Oil on canvas 50.8 x 61cm, (20 x 24) Signed Provenance: A midwestern library, United States; Sale, Skinner, Boston, 2/3/2012; Private Collection, Ireland. Exhibited: Dublin, Dubl
    Sep. 25, 2024

    Paul Henry RHA (1877-1958) The Bog Pool (c.1921-22) Oil on canvas 50.8 x 61cm, (20 x 24) Signed Provenance: A midwestern library, United States; Sale, Skinner, Boston, 2/3/2012; Private Collection, Ireland. Exhibited: Dublin, Dubl

    Est: €120,000 - €160,000

    Paul Henry RHA (1877-1958) The Bog Pool (c.1921-22) Oil on canvas 50.8 x 61cm, (20 x 24) Signed Provenance: A midwestern library, United States; Sale, Skinner, Boston, 2/3/2012; Private Collection, Ireland. Exhibited: Dublin, Dublin Painters' Gallery, 'Exhibition of Pictures by Paul and Grace Henry', 17 June-1 July 1922 (catalogue no 6); New York, Hackett Gallery, Paintings by Paul Henry, 10-22 March 1930 (catalogue no 14); Boston, Grace Horne's Gallery, 'Paintings of Ireland by Irish Artists', 31 March-18 April 1930 (catalogue no.10). ÔThe Bog PoolÕ was numbered 1264 in the late Dr. S. B. Kennedy's previously ongoing cataloguing of Paul Henry's oeuvre. In The Bog Pool, Henry is working on a much larger scale, and he is embracing the monumentality of the landscape, enhanced by the absence of people or cottages to distract the eye away from the main focus of the composition. Another work on a similar scale can be seen in An Irish Bog dated to 1923 Ð 25 (S.B Kennedy, no. 606) or, albeit on smaller format, Bog at Evening, 1922 Ð 23 (S.B Kennedy, no.591). Both works are comparable in their composition to The Bog Pool and together they represent the set pieces that would become iconic images of the West of Ireland. As is expected in this period, people are scarce, focusing on the landscape, without any cottages or references to the tools used to carry out work on the bogs. Though the very presence of turf stacks, cut into sods and piled one on top of the another, acknowledges the work and livelihoods of those nearby communities. The setting is most likely Achill in Connemara, a place that captured his attention and dominated his oeuvre. Henry visited for the first time in 1910 and initially focused on the people of the island community. This work, painted in the 1920s, reflects a movement towards the pure landscape genre which had begun after his first few years of living there. It is an uninterrupted view of sky, mountains and marsh lands. The typical Henry palette is employed with purple for the mountains, the inky black of the turf stacks and lightened by the yellow tones of the grasses. The influence of impressionism is evident in the handling of the paint, applied in varying directions. He uses quick upright strokes for the marshy grasses of the bogland, adding texture and movement to the painted surface. The sky is a muted white, painted with short strokes, in varying directions, giving the impression of an overcast day, light just breaking through the clouds. The beautiful, mirrored surface of the pool in the centre of the composition reflects the expansive cloud filled sky above, a picture within picture. The curving mounds of turf stacks are repeated and magnified in the shapes of the mountains behind, creating a gentle rhythm within the painting in which the landscape elements speak, in a visual way at least, in complete harmony with one another. Niamh Corcoran, August 2024

    Adam's
  • PAUL HENRY
    Sep. 24, 2024

    PAUL HENRY

    Est: €100 - €200

    Connemara. Framed. PICTURES AND PRINTS Tuesday 24th September 2024 Approximate Time 11:03:45

    Sheppards
  • Paul Henry (Irish, 1877 - 1958), A pair of landscapes
    Sep. 19, 2024

    Paul Henry (Irish, 1877 - 1958), A pair of landscapes

    Est: £300 - £500

    Paul Henry (Irish, 1877 - 1958) A pair of landscapes Lithograph on paper Signed in pencil lower right Dimensions: (Frame) 22.5 in. (H) x 24.5 in. (W) (Paper) 15 in. (H) x 17 in. (W)

    Sloane Street Auctions
  • Paul Henry RHA RUA (1876-1958) Mountain Landscape with Cottages c.1926-30 Oil on board, 28 x 35.5cm (11 x 14'') Signed Provenance: Sale, these rooms, Dublin, 24 March 1977 cat no. 41, as Cottages by the Lake, Outer Killary, Connemara; from th
    May. 29, 2024

    Paul Henry RHA RUA (1876-1958) Mountain Landscape with Cottages c.1926-30 Oil on board, 28 x 35.5cm (11 x 14'') Signed Provenance: Sale, these rooms, Dublin, 24 March 1977 cat no. 41, as Cottages by the Lake, Outer Killary, Connemara; from th

    Est: €60,000 - €80,000

    Paul Henry RHA RUA (1876-1958) Mountain Landscape with Cottages c.1926-30 Oil on board, 28 x 35.5cm (11 x 14'') Signed Provenance: Sale, these rooms, Dublin, 24 March 1977 cat no. 41, as Cottages by the Lake, Outer Killary, Connemara; from the estate of the late James Gibson; sale, these rooms, 29 May 2013, cat. no. 69. where purchased by the present owners. Dr S.B. Kennedy wrote of this work in 2013: ‘Although one cannot be certain, the profile of the mountains that dominate this scene are similar to those in other Henry pictures of these years, such as West of Ireland Cottages c. 1926-30 (Kennedy, number 1253) and Cottages, West of Ireland, 1928-30 (Kennedy, 2007, number 689, reproduced). The handling of the paint, which is relatively 'dry', and the brushwork suggest a date of execution of 1926-30. The barest hint of the direction of the overcast light that sets the mood of the painting is typical of Henry and its brooding nature, derived from the towering mountains, illustrates the growing personal difficulties that dominated his life in these years.’ ‘Mountain Landscape with Cottages’ was numbered 1272 in the late S. B. Kennedy's ongoing cataloguing of Paul Henry's oeuvre.

    Adam's
  • Paul Henry RHA (1876-1958) IN CONNEMARA
    May. 27, 2024

    Paul Henry RHA (1876-1958) IN CONNEMARA

    Est: €100,000 - €150,000

    Paul Henry RHA (1876-1958) IN CONNEMARA oil on panel signed lower left; inscribed with artist and title on reverse h:14  w:16 in. Provenance: Purchased by either Sir Patrick McGovern of Blacklion, Co. Cavan (1870-1933) or Mary Geraldine Kane, circa 1930-45; Carol and Robert Kane, Oxford, Ohio; Thence by descent to Ned Kane; Caza Sikes, Cincinnati, 8 September 2021, lot 11; Private collection In Connemara is a sketch painted quickly on a board by Paul Henry in the open air as notes useful for a larger finished composition. The skill and confidence with which the artist was able to incorporate his knowledge of classical training and modern techniques is impressive. Three cottages by the sea viewed from above are located in the bottom third of the image. The mountain and sky are in the background. The sun is hidden and the colours are subdued with an overall effect of a scene glimpsed through rain and mist on a windy, overcast day. Working fast in inclement weather the artist has laid out a limited palette. A small board already painted in a neutral colour, is divided up with charcoal into three horizontal bands serving as foreground, middle distance and background. Lines are drawn radiating towards the centre in the middle distance to form geometric shapes. A quick charcoal sketch is done on the spot, placing three cottages and an inlet of the sea with headlands in the foreground, the mountain in the middle distance and the sky in the background. A pathway is drawn winding through the middle of the foreground down to the sea. The background and middle distance are blocked in with a thin coat of cold, grey oil paint. The same grey with a tiny touch of crimson to encourage violet is used for the sea and to reflect the sky. Burnt umber is used to cover the bottom foreground including the cottage roofs, windows, doors and turf stacks. A thicker grey mixture composed of more white paint with a little ivory black and Prussian blue is applied to the mountain in the middle distance in diagonal strokes with the addition of patches of darker blue to suggest gullies and ridges and is used also for the headland at the foot of the mountain. The brush marks are visible due to the paint consistency and the speed of application. Wet paint is applied on wet paint. Thin grey paint is applied over the furthest headland. Burnt umber is added for warmth to bring the nearest two headlands forward and again a paler colour is stroked on top to suggest topographical features. The violet grey is applied to the background to create clouds in brush swirls. White paint highlights some clouds with the wet paint dragged at the edges and is also pulled across part of the water in horizontal lines to suggest waves and foam. The cottage walls are painted white and overlaid with a touch of added ochre. Ochre and white is pulled downwards on the rooftops, fields and haystacks to suggest the straw-like texture, leaving the umber exposed at the edges and gaps. A touch of this warmth is added to white and overlaid on the cottage walls with alternate grey patches for shadows. The grey is used for the path that winds down towards the sea and for walls and rocks around the fields. Variations of umber, yellow ochre, blue and white mixtures are applied in horizontal strokes for different features and textures in the immediate foreground. The freedom and spontaneity that this little sketch demonstrates was learnt by Henry in Paris. The technique derives from the ébauche stage of the academic system of painting that affected the practice of landscape painting in particular and led to the development of Impressionism. Henry’s genius lay in amalgamating his artist’s eye with this training whilst still leaving space for the emotion to dwell in. At the same time he was painting what he saw and what people recognised, a new realism in Irish art. Dr Mary Cosgrove, April 2024

    Whyte's
  • Paul Henry RHA (1876-1958) A VILLAGE IN THE WEST, 1916-17
    May. 27, 2024

    Paul Henry RHA (1876-1958) A VILLAGE IN THE WEST, 1916-17

    Est: €200,000 - €300,000

    Paul Henry RHA (1876-1958) A VILLAGE IN THE WEST, 1916-17 oil on canvas signed lower left h:25  w:30 in. Provenance: Hugh Martin, and by descent to family member; Christie's, London, The Irish Sale, 8 May 2008, lot 78; Oriel Gallery, Dublin, 2008; Private collection Exhibited: 'Pictures of the West of Ireland by Mr and Mrs Paul Henry', Mills' Hall, Dublin, April 1917, catalogue no. 36; 'Paintings and Charcoals: Paul Henry', Waddington Galleries, Dublin, February to March 1952, catalogue no. 14; 'Oriel Gallery,' Irish Antique Dealer Association Art Fair, Dublin, September, 2008 Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.189, catalogue no. 441 A cluster of long, low, thatched cottages teeters precariously on the brim of a bright hill, sandwiched between a huge wall of mountain and sky and earth. They are seen from a distance allowing the viewer a glimpse of a cottage disappearing over the brow of the hill. A band of warm colour stretches across the canvas and leaps out from the cold mountain and sky in instant communication. The yellow ochre patchwork of small fields and haystacks and thatches creates a rich Klimt-like decoration against the Prussian blue background of the mountain. There are no trees, just touches of green vegetation on the fields with grey walls and the scene is lit from the right. Clouds rise up and over an immense pale blue sky with striated lines in the top left. Grey clouds muster in the top right corner, gathering the evaporated water from the unseen lake or sea on the other side of the hill. The curve of the spiralling clouds continues through the rounded hills of the foreground winding up in the golden section of the haystacks at the still centre of a permanently moving cosmos. The oil paint is applied in directional strokes throughout. A little blue mixed with white is laid on thinly for the sky, Prussian blue for the mountain and burnt umber for the band of earth in the foreground. White is mixed with blue for a small area of the sky and for the right hand side of the mountain. Warm yellows and ochres are applied thickly over the umber in parallel squares and rectangles in the middle band leaving curved stripes of umber as dividing walls. A little yellow ochre is mixed with umber and applied over the umber foreground. The cottages are painted with umber and overlaid with white for the walls and chimneys facing the light. A little blue and yellow is added to the white for the shaded gables. Yellow ochre is applied to the roofs and used to create the haystacks. The umber is left as edges, doorways, windows, and turf stacks. A little blue added to the yellow is scattered over the fields as patches of green vegetation and grey is painted over the walls in-between. The clouds are built up in layers of blue, then grey and pink and finally pure white. Fine dark and light edges are drawn in delicately to separate the clouds in places. A Village in the West was painted in the initial period of the artist’s stay in the west of Ireland in 1910 and was probably exhibited and sold in Dublin in 1917. [1] The painting is a nod to the sublime picturesque that lured tourists to the western region of Ireland from the early nineteenth century when its remoteness was already easily accessed by rail. Henry at first involuntarily adopted the gaze of the tourist In Achill. “Everywhere I went I saw strange new beauty.” [2] Such a painting provided a vision of space, quietude and beauty in contrast to the political turbulence of Dublin City and the horrors of the first world war. The classicism of Henry’s modernism was co-opted for the war effort and order in Ireland. His reminder of all that was beautiful could be seen also as symbolic as well as realistic. Henry captured a landscape that was as much an evocation of an historical time as a place where the bright ray of life prevented the sky from falling. Dr Mary Cosgrove, April 2024 [1] Kennedy, S.B., “Paul Henry Catalogue Raisonné” 2007 p.189 [2] Henry, P. “An Irish Portrait” 1951, p.5

    Whyte's
  • Paul Henry RHA (1877-1958) The Bog (1911) Oil on canvas, 51 x 76cm (20 x30) Signed Provenance: Lancelot Studholm, acquired from 1912 London Exhibition; With Oriel Gallery, Dublin; With Hillsboro Fine Art label verso; Private Collection. Exh
    Mar. 27, 2024

    Paul Henry RHA (1877-1958) The Bog (1911) Oil on canvas, 51 x 76cm (20 x30) Signed Provenance: Lancelot Studholm, acquired from 1912 London Exhibition; With Oriel Gallery, Dublin; With Hillsboro Fine Art label verso; Private Collection. Exh

    Est: €60,000 - €80,000

    Paul Henry RHA (1877-1958) The Bog (1911) Oil on canvas, 51 x 76cm (20 x30) Signed Provenance: Lancelot Studholm, acquired from 1912 London Exhibition; With Oriel Gallery, Dublin; With Hillsboro Fine Art label verso; Private Collection. Exhibited: 1911 Dublin, Leinster Hall, Paintings by Mrs Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell(AE); 1912 London, Allied Artists Association, Paintings of Co. Mayo, Ireland (Synge’s Country) by Mr and Mrs Paul Henry; 1913 Belfast, Pollock’s Gallery, Pictures by Mr and Mrs Paul Henry; 1922 Dublin, Dublin Painters Society, Exhibition of Pictures by Paul and Grace Henry; 1978 Dublin, Oriel Gallery, Paul Henry (cat. addenda no.11, as Achill, repr. in colour). Literature: Paul Henry - Paintings, Drawings, Illustrations, by S.B. Kennedy, Yale University Press, 2007, p.164, cat.no.348. S.B Kennedy locates the setting of this work as almost certainly Achill and it is described as such in Dublin 1978 exhibition catalogue. Henry visited the island for the first time in 1910 and while his initial Achill paintings focused on the people of the island community, this work, made a year later, reflects a movement towards pure landscape. He had developed his painting style in London, exploring the city on foot, often making sketches that would later become fully fledged paintings. His move to Achill would signal the shift away from the London art scene and for the rest of his career he focused on exclusively Irish scenes. An earlier example Landscape with Turf Stacks c.1910 (S.B Kennedy, p.158, cat. no.315), illustrates on a smaller scale, the workings of the same subject matter. In this present work the composition is much grander and expansive. The influence of impressionism is evident in the handling of the paint, applied in varying directions. He uses quick upright strokes for the marshy grasses of the bogland and in these areas it is thinly applied, with the grain of the canvas visible underneath. The fine lines of paint captures the linear pattern of the turf stacks, piled on top of one another. While as we move into the background there are longer and thicker brushstrokes as the hills and turf stacks become less defined. The same gleaming pool of water is seen in both works, with Henry using touches of white paint to illuminate it. It flows along deep channels dug into the ground, running through the mid-line of the composition, pooling on the left-hand side before disappearing out of view. The turf stacks are not as stark against the background as can be seen in later examples, when they are drawn in an inky black. In this instance they are more in harmony with surrounding landscape, balanced against the green and brown tones of the fields. The sky is a muted white, painted with short strokes, in varying directions, giving the impression of an overcast day, light almost breaking through the clouds. Niamh Corcoran, February 2024

    Adam's
  • Travel Poster LMS Connemara Paul Henry Ireland This Year
    Mar. 23, 2024

    Travel Poster LMS Connemara Paul Henry Ireland This Year

    Est: £450 - £900

    Original vintage LMS London Midland Scottish railway travel poster for Connemara Ireland This Year featuring artwork by Paul Henry (1876-1958) of the countryside with a path winding past cottages to hills in the distance below a cloudy sky framed in a line border, the text on the margins. Connemara is a rural region located in County Galway on the Atlantic coast of western Ireland; the Connemara National Park was established in 1980. Printed in England by McCorquodale Co Ltd London. Fair condition, several restored paper losses, several restored tears, staining, backed on linen. Country of issue: UK, designer: Paul Henry, size (cm): 102x64, year of printing: 1930s.

    Antikbar Original Vintage Posters
  • Henry (Paul, 1876-1958). Village by the Lake
    Mar. 13, 2024

    Henry (Paul, 1876-1958). Village by the Lake

    Est: £300 - £500

    Henry (Paul, 1876-1958). Village by the Lake AR * Henry (Paul, 1876-1958). Village by the Lake, colour photolithograph on thick wove paper, printed by WJ Stacey London, signed in pencil lower right, Fine Art Trade Guild blindstamp to lower left, mount stained, laid onto card, tipped onto mount, G.G. Limerick label to verso detailing title and artist, image size 34.5 x 39.5 cm (13 1/2 x 15 1/2 ins), sheet size 39 x 42 cm (15 1/4 x 16 1/2 ins), framed and glazed QTY: (1)

    Dominic Winter Auctions
  • Paul Henry RHA (1876-1958) COTTAGES BY A LAKE, ACHILL, CONNEMARA
    Mar. 11, 2024

    Paul Henry RHA (1876-1958) COTTAGES BY A LAKE, ACHILL, CONNEMARA

    Est: €180,000 - €220,000

    Paul Henry RHA (1876-1958) COTTAGES BY A LAKE, ACHILL, CONNEMARA oil on canvas signed lower right; bearing Oriel Gallery label on reverse h:20  w:24 in. Provenance: Oriel Gallery, Dublin, March 1975; Private collection 'Cottages by a Lake' is an instantly recognisable Paul Henry scene. Three thick-walled, thatched cottages in clachan formation in the west of Ireland stand at the edge of water with hills, pathway, turf stacks and towering mountain under a sky of cumulus clouds. Charming in its intimate familiarity yet harshly accurate about the situation of inhabitants driven to the edge of the land to survive, such paintings were eagerly collected by prosperous exiles. The smooth surface of the lake and its reflections denote a calm day that is further underscored by a steady stream of fragrant turf smoke rising straight up from the cottages built in a cluster of kinship ties in the lee of a hill protective against stormier days. Stacks of turf cut by hand for warmth and cooking stand at the gable walls and line the path that winds from the foreground round the edge of the lake and past the cottages. Henry strives to portray a modernist flatness while conveying the more classic illusion of depth. The canvas is divided by lines radiating from a two point perspective on either side of the horizon line of the lake, beyond the sides of the canvas, resulting effectively in a cropped version of the artist's viewpoint. These lines, which can be traced along the edges of the mountain, the slopes of the hills, the edge of the lake, the cottage rooftops and the rocks and path in the foreground, add to the three-dimensional effect of the diminishing turf stacks and pathway. Juxtaposed with such perspectival devices, the vertical lines of the clouds, cottage walls, rising smoke and reflections in the lake help reassert the flatness of the canvas. The balance between flatness and depth stabilises the image and heightens the sense of calm and quietude and timelessness often felt in Henry's work. The artist mixes his colours expertly on the palette and applies them with a confidence based on his observations while working for The Congested Districts Board in the west of Ireland. Henry's art training in Paris in the 1890s is evident in his use of Post-Impressionist techniques such as the dark outlines on the cottage roofs and the edges of hills, and a tendency towards decoration. Blue is the predominant colour, seen chiefly in the mountain and hills and their reflections and is also found throughout the painting. It is mixed with crimson and white to create the pink sky and the foreground contains tiny dashes of blue and it is mixed with white for the shaded cottage walls. The warmth of the colours burnt umber and yellow ochre in the foreground set alongside the cool blues creates an aerial perspective that helps deepen the image. The application of the paint is also a perspectival device, being thicker impasto in the foreground and smoother and thinner in the background. Variations of white mixed with blue are applied on the blue reflections, hills and mountain so that they appear as gradually receding into the distance. White is dragged over the lake to soften the edges in thick vertical strokes with the addition of a little warm umber. The land around the cottages and in the foreground, the turf stacks, doors and windows and shadows of foreground rocks are painted with burnt umber. The umber land is then overlaid in shorter strokes with yellow ochre and mixtures of white and umber, leaving the rich umber showing at the edges. Another layer of white paint is applied to the right-hand side of the banks of cumulus clouds around two horizontal streaks of violet striated clouds. Lighter patches are drawn on the right of the mountain, hills, cottages and rocks to give extra form. In the shadow of an enormous mountain, a dramatic struggle of existence is told with the minimal signs of human life. 'Cottages by a Lake', started probably as a quick sketch outdoors and completed in the studio, is a good example of Henry at his best, demonstrating "the force of his painting and the simple elegance of his technique." (1) Dr Mary Cosgrove, February 2024 1. S.B. Kennedy, Paul Henry 2000, p. 149.

    Whyte's
  • Paul Henry RHA (1876-1958) PEGASUS, c.1906
    Mar. 11, 2024

    Paul Henry RHA (1876-1958) PEGASUS, c.1906

    Est: €10,000 - €15,000

    Paul Henry RHA (1876-1958) PEGASUS, c.1906 woodcut; (unique) singed lower left h:7.25  w:10.50 in. Provenance: Artist's studio; Thence by descent to Mabel Henry; Leslie Gallery, Dublin, 1976; Private collection Exhibited: 'Jack B. Yeats, Miniature Watercolours, Paul Henry, Drawings, Woodcuts and Book Designs', Leslie Gallery, Dublin, November 1976 Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 119, catalogue no. 99 (illustrated) With a letter of authenticity from Dr. S. B. Kennedy.

    Whyte's
  • Paul Henry RHA (1877-1958) Paysage Sinistre (1914-15) Oil on canvas, 30.5 x 40.5cm (12 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c. 1914/15 and thence by descent. Exhibited: Belfast, The Carlton, Donegall Place, 15 -
    Dec. 06, 2023

    Paul Henry RHA (1877-1958) Paysage Sinistre (1914-15) Oil on canvas, 30.5 x 40.5cm (12 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c. 1914/15 and thence by descent. Exhibited: Belfast, The Carlton, Donegall Place, 15 -

    Est: €50,000 - €70,000

    Paul Henry RHA (1877-1958) Paysage Sinistre (1914-15) Oil on canvas, 30.5 x 40.5cm (12 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c. 1914/15 and thence by descent. Exhibited: Belfast, The Carlton, Donegall Place, 15 - 29th March, 1915 'Pictures in the West of Ireland By Mr & Mrs Paul Henry'. Literature: S.B. Kennedy, 'Paul Henry, Paintings, Drawings, Illustrations', Yale, 2007, Ref. No. 406 Painted in 1912 and acquired by Samuel Figgis at that time, Paysage Sinestre, an unusually titled work is from Paul Henry’s early Achill period. Samuel Figgis had a cottage on the island and it is thought that Henry may have stayed there, perhaps even paying his way with the presentation of a painting or two to his benefactors. The title is perhaps a reference to a storm that is apparent, incoming from the north west. The sectional composition of this pure landscape and the layering of the complex cumulus clouds lends an ominous tone to the scene in a landscape that the artist was only just getting to grips with, as here, capturing the atmosphere of the scene in strictly representational terms. Throughout the early years of his stay on the island the intensity of his relationship with the landscape was developing. He was completely infatuated with the landscape and later wrote ‘I often think that you cannot do justice to this great country – the west of Ireland – except in words and music. God knows I wish I had the gift of one or other as the place is inspired and inspiring. I am so enamoured with the place that I don’t think I will ever leave it. I pine for Achill every day.’ The handling of the grassy landscape, the cliffs and the frothy seas are expressed in Paul Henry’s typically fluid brushstrokes and in his characteristic application of a limited range of paint and his signature translucent glazes. While the clouds suggest the portent of bad weather to come, there is a stillness and calm not to mention a solitude born of a preference for Paul Henry in painting at times of the day when the light was cool and soft. *May be subject to EU Importation charges. Please see page 168.

    Adam's
  • Paul Henry RHA (1877-1958) Keem Bay (c.1911) Oil on canvas, 35.5 x 40.5cm (14 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c.1911/12 and thence by descent. Exhibited: Dublin, Lenister Hall, 16th - 21st October, 1911,
    Dec. 06, 2023

    Paul Henry RHA (1877-1958) Keem Bay (c.1911) Oil on canvas, 35.5 x 40.5cm (14 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c.1911/12 and thence by descent. Exhibited: Dublin, Lenister Hall, 16th - 21st October, 1911,

    Est: €60,000 - €80,000

    Paul Henry RHA (1877-1958) Keem Bay (c.1911) Oil on canvas, 35.5 x 40.5cm (14 x 16) Signed Provenance: Samuel Figgis, acquired from the artist c.1911/12 and thence by descent. Exhibited: Dublin, Lenister Hall, 16th - 21st October, 1911, 'Paintings by Mrs Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell AE.' Literature: S.B. Kennedy, 'Paul Henry, Paintings, Drawings, Illustrations', Yale, 2007, Ref. No. 350 Painted early in Paul Henry’s Achill sojourn, Keem Bay was purchased by Samuel Figgis directly from the artist in 1911/12. The Figgis’ had a cottage in Achill and it is believed in the family that Paul Henry may have stayed with their great grandparents, perhaps before he was fully settled on the island. Paul Henry made his first visit to Achill in the late summer of 1910, and after just a couple of days there he made the decision to stay for the foreseeable future. According to his own account in An Irish Portrait, he took his return train ticket from his jacket pocket and ‘tore it into small pieces and scattered the fragments into the sea’. Keem Bay is located on the west of the county Mayo island, past Dooagh village and adjacent to the majestic Moyteoge Head. Achill and its barren landscape, with little in the way of creature comforts, presented Henry with the opportunity to embed himself into the community and to develop as a painter. He, and his wife Grace settled in the village of Keel, south of Keem, taking lodgings with John and Eliza Barrett. He later wrote of having no money at the time and having to rely on the generosity of others for his food, lodgings and even for his artist’s materials. The composition in the present work has an almost graphic simplicity in its forms, the foreground with its dominant but carefully delineated turf mounds, the near coastal mountains and distant Achill Head with their blocks of colour are juxtaposed against the backdrop of the early evening sky, modelled in warm but monochromatic tones. The sight of the bee-hive shaped turf mounds reminds us of an unseen human presence and lends a mood and atmosphere to the composition. The present work has not been seen in public having remained in the original owners family since it was acquired from the artist. *May be subject to EU Importation charges. Please see page 168.

    Adam's
  • Paul Henry RHA (1877-1958) Near Leenane (1935-8) Oil on canvas board, 35.5 x 40.5cm (14 x 16) Signed Provenance: With Combridge Gallery Dublin, c.1960; Christie's Sale, London 9th May 1996, lot no. 37; with Cynthia O'Connor Gallery, Dublin
    Dec. 06, 2023

    Paul Henry RHA (1877-1958) Near Leenane (1935-8) Oil on canvas board, 35.5 x 40.5cm (14 x 16) Signed Provenance: With Combridge Gallery Dublin, c.1960; Christie's Sale, London 9th May 1996, lot no. 37; with Cynthia O'Connor Gallery, Dublin

    Est: €80,000 - €120,000

    Paul Henry RHA (1877-1958) Near Leenane (1935-8) Oil on canvas board, 35.5 x 40.5cm (14 x 16) Signed Provenance: With Combridge Gallery Dublin, c.1960; Christie's Sale, London 9th May 1996, lot no. 37; with Cynthia O'Connor Gallery, Dublin; with Eakin Gallery, Belfast where purchased by the current owners. Exhibited: Dublin, Cynthia O'Connor Gallery, RDS 26th - 29th September, 1996, 'Irish Paintings for the 31st Irish Antique Dealers Fair'; Belfast, Eakin Gallery, from 9th May, 1998, 'The Private Collection'. Literature: Dr S.B. Kennedy, 'Paul Henry- Paintings, Drawings, Illustrations', Yale 2007, Catalogue no. 924, Illustration p.282 Leenane situated at the head of Killary harbour, is surrounded by the impressive mountains of Maamtrasna and Maamturk on the Galway/Mayo border. Henry has chosen the bogland as his focus for this very fine example from the later period of his career. The picture is divided into three simple parts, the coarse grassy bank of the foreground depicted with short quick strokes, the middle ground formed as the massing of turf stacks, while the background is dominated by the imposing mountains and cloud filled sky. Henry employs his usual open and expansive skyline, using varying tonal qualities in the blue paint for the mountains, lighter in colour as they reach up and into the clouds, while the darker hills below are cast in shadow. There is a freshness to the work, with Henry using a palette of whites and bright blues which heightens the theatricality of the turf stacks, striking in their blackness. They are depicted as mounds of earth rising up, reflected in the surface of the water. Henry often painted turf stacks either accompanied by cottages, or figures in his examples of Irish farmers cutting the turf. Or as in this work as the main focus of the landscape, reflecting the people who lived off the land, working close by. As Stephen Gwynn remarked on Henry’s depiction of the bogland ‘Nobody has ever painted turf-cutting like him: the colour and the texture of the peat in its different layers, the marks of the slane (turf cutter spade) everything is there, yet nothing is emphasized.’ (Dr S.B. Kennedy, 'Paul Henry- Paintings, Drawings, Illustrations', Yale 2007, pp.74 – 75) Niamh Corcoran, November 2023

    Adam's
  • Paul Henry RHA (1876-1958) A MOUNTAIN STREAM, CARNA, CONNEMARA, c.1934-37
    Dec. 04, 2023

    Paul Henry RHA (1876-1958) A MOUNTAIN STREAM, CARNA, CONNEMARA, c.1934-37

    Est: €70,000 - €90,000

    Paul Henry RHA (1876-1958) A MOUNTAIN STREAM, CARNA, CONNEMARA, c.1934-37 oil on canvas signed lower left; titled on reverse; also with Cynthia O'Connor label on reverse h:14  w:16 in. Provenance: Combridge Gallery, Dublin; Christie's, Belfast, 30 May 1990, lot 352; Acquired by Cynthia O'Connor Gallery, Dublin; Thence to the present owner Exhibited: 'Recent Acquisitions for the 25th Irish Antique Dealers' Fair', Cynthia O'Connor Gallery, Dublin, 16-21 July 1990, catalogue no. 1 Literature: Kennedy, Dr S. B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 275, catalogue no. 892 (illustrated) By 1937 Paul Henry was painting the Irish landscape with aplomb having been working as an artist in Ireland for 27 years. A Mountain Stream Carna is an accomplished work most probably finished and polished in the studio from a smaller painted sketch done en plein air in western Connemara, an area full of lakes and mountain streams. The wildness and disorderliness of the place is tamed by the artist with formal geometrical underpinning that divides the canvas into thirds horizontally and vertically with diagonals through the middle. The sky takes up almost half of the scene and the foreground stream is as wide as the length of the sky. The widest part of the stream takes up two thirds of the width of the canvas. All is calmly secured in paint, yet the clouds roll across the sky and the stream races towards us. The wind can be felt and the stream can be heard especially by the emigrants who knew these places well. This small painting is a portal into a sad nostalgia of depression, recession and defeat in post-Treaty Ireland, reminding many of the beauty of one’s hard fought-over homeland. The lack of people in this painting is an indication of the high rate of emigration from the Carna area after the Famine. The imagined synesthetic sound of the water echoes in a desolate silence, the turf stacks being the only sign of human presence. However, despite this harsh reality, Carna had retained its own romance of folklore, mythology and song in Gaelic, the first language of the majority of its residents. (1) This painting is an example of Henry at the peak of his career when he was exhibiting regularly in America and Ireland and by which time he had accumulated much knowledge of Connemara. He had developed his technique of using a restrained palette to paint in a confident and fluid manner what he truly observed. He uses yellow ochre for the base colour of everything except the sky and the stream. He then applies white with a touch of blue and black on the mountains, varying the amount of white and direction of brushstrokes for light and shade and topographical effects. He uses burnt umber for the nearer hills, the outline of the banks of the stream and the turf stacks. Umber and white is mixed to record where the light hits the hills and the stacks and for the underlying base of the stream. Horizontal strokes of pure white depict the ripples of water and sky reflections with some dashes of cool blue to reflect the mountains. Details of stones in the foreground and edges of the riverbank are drawn finely in burnt umber. Brighter shades of yellow are placed horizontally across the distant lowland and jiggled across the foreground to suggest bog cotton and wildflowers. White with a touch of black is mixed and used for the grey clouds with pure white and a darker grey used for lighter and darker shades. Henry experimented with foregrounds and skies in his earlier work but at this later stage, by the use of well-defined objects such as rocks in the foreground, he has partially solved the modernist problem of how to create a naturalistic depth without denying the flatness of the canvas. Dr Mary Cosgrove November 2023 Footnotes: 1. Sean O’Sullivan (1966), Folktales of Ireland, University of Chicago Press, pp xxxvi-xxxvii. 1

    Whyte's
  • Paul Henry RHA (1876-1958) ATLANTIC DRIVE, ACHILL, COUNTY MAYO
    Dec. 04, 2023

    Paul Henry RHA (1876-1958) ATLANTIC DRIVE, ACHILL, COUNTY MAYO

    Est: €3,000 - €5,000

    Paul Henry RHA (1876-1958) ATLANTIC DRIVE, ACHILL, COUNTY MAYO pencil signed lower left h:4  w:6.25 in. Provenance: Collection of Arthur Power; Gifted to the previous owner; Private collection

    Whyte's
  • Paul Henry RHA (1876-1958) DOOEGA, ACHILL ISLAND, COUNTY MAYO
    Dec. 04, 2023

    Paul Henry RHA (1876-1958) DOOEGA, ACHILL ISLAND, COUNTY MAYO

    Est: €150,000 - €200,000

    Paul Henry RHA (1876-1958) DOOEGA, ACHILL ISLAND, COUNTY MAYO oil on canvas signed lower left; titled on reverse h:14  w:16 in. Provenance: With the family of the previous owner since the 1920s; Adam's, 5 December 2006, lot 90; Private collection Paul Henry arrived in Achill in 1910 armed with the latest avant-garde techniques. He felt like an outsider. “I was spying out the land and it seemed exceedingly good.”(1) This painting is evidence of how he made an ally of the beauty of the place and captured the intimacy of Dooega, the name coming from the Irish Dumha Éige meaning a mound or sandbank. The artist peers up at the village perched on top of the sandbank, and at the clouds behind looming over the rim of the earth. The scene is mainly composed of five cottages, some trees and a glimpse of the mountain behind squeezed into the bottom third of the canvas with the sky filling the other two thirds. The local people endured great hardship and poverty and to afford their rent had to work as harvesters in Scotland at the time. From 1910 to 1914 they organised rent protests demanding that the landlord, the Achill Mission Trust, sell the land to the Congested Districts Board. (2) This painting of a site of agitation and unrest appears calm and orderly due to Henry’s strong geometrical underpinning. The surface is dissected by a diagonal line running from the bottom right-hand corner to the top of the trees. The small space below is further broken up by other lines springing from the same corner along the roof-tops, along the top of the ridge, along the top and bottom of the turf stacks and the lower line of the field. Further lines can be traced radiating from this bottom right-hand corner through the clouds. From the opposite corner on the bottom left the canvas is further divided by lines radiating out along the distant mountain top, the left side of turf stacks, gable walls and the clouds. These criss-crossing lines form the central apex of the central cloud tunnelling upwards. The restricted palette and method employed resulted in a startling new appearance for Irish landscape art, the comparatively rough application of paint leaving outlines of different colours and unfinished edges in a Post- Impressionist almost Art Nouveau manner. To begin with, a thin layer of burnt umber has been painted over the whole canvas, followed by a thin layer for the sky of blue and grey almost scrubbed on, leaving some bare patches of the stained brown canvas showing as outlines at the edges of the clouds. Then umber mixed with white is used thinly again to fill in the shapes of the houses and turf stacks. A little white is added to the grey to add volume to the darker clouds leaving a dark edge on the right side of the clouds. The warmth of the underlying canvas comes through in the clouds on the right. Thicker white paint is applied on top strengthening the cloud outline on the left. The same white with a slight touch of yellow ochre is applied more thickly to the cottage walls and chimneys. More yellow added to white is applied directly to the thatch which is then gently edged with the blue green of the mountain and trees behind to provide ragged edges and cool shadows underneath and to add distance to the cottage to the right. Burnt umber is used more thickly for the tilled earth in the foreground and mixed with white for the thin directional ridge lines on top. The turf stacks are painted with burnt umber and white is added to lighten the left side. Yellow ochre is mixed with a little blue and white for the green field in the foreground with edges curving to the left over the top of the hill. A warmer burnt Sienna is applied in directional strokes to the earth on the left bringing it closer to the viewer. The foreground is ill-defined and in danger of being over-whelmed by the huge sky. Henry struggles with the important issue of land ownership and modernist problems of painting flatness, to balance the desire for closeness and the drive for artistic objectivity. The result is what adds such value to this painting. Dr Mary Cosgrove November 2023 1. Paul Henry, An Irish Portrait 1951 p. 5. 2. The land was sold to CDB in 1914. Paul Henry worked as paymaster in CDB in 1917.

    Whyte's
  • Paul Henry RHA, RUA (Irish, 1876-1958)
    Nov. 24, 2023

    Paul Henry RHA, RUA (Irish, 1876-1958)

    Est: £3,000 - £5,000

    Paul Henry RHA, RUA (Irish, 1876-1958) "Chagrin", grey and brown crayon on toned paper, signed in pencil lower left and on the reverse, water gilded frame, 9½ x 10¼in. (24.1 x 26cm.). *Provenance: Duncan Miller Fine Arts, London. *Widely considered the most significant Irish landscape painter, Paul Henry was born in Belfast in 1876, attended the Belfast School of Art and then travelled to Paris in 1898 where he studied at the Academie Julian. He worked as an illustrator in London until 1910 before turning to painting and moving to Achill Island off the West Coast of Ireland where the local landscape became the main subject of his work. He moved to Dublin in 1919 and co-founded the Society of Dublin Painters the following year with artists such as Jack B. Yeats and Mary Swanzy. He made frequent visits to the West of Ireland to paint and then moved permanently to Co. Wicklow. Collections: National Gallery of Ireland, Hugh Lane Gallery, Irish Museum of Modern Art, Ulster Museum, Victoria and Albert Museum, and the National Museum of Modern Art in Paris.

    Martel Maides
  • Paul Henry RHA (1876-1958) War Design Poster,
    Nov. 11, 2023

    Paul Henry RHA (1876-1958) War Design Poster,

    Est: £300 - £400

    Paul Henry RHA (1876-1958) War Design Poster, 1940s Graphite. Provenance:Bryson Collection. Signed Paul Henry lower right. Framed under glass 60 x 80 cm.

    Cooper Barrington LLP
  • Henry (Paul, 1876-1958). Cottages, Connemara
    Oct. 18, 2023

    Henry (Paul, 1876-1958). Cottages, Connemara

    Est: £300 - £400

    Henry (Paul, 1876-1958). Cottages, Connemara * Henry (Paul, 1876-1958). Cottages, Connemara, colour photolithograph on thick wove paper, printed by WJ Stacey London, signed in pencil lower right, Fine Art Trade Guild blindstamp to lower left, full sheet, plate size 360 x 415 mm (14 x 16 1/4 ins), sheet size 480 x 530 mm (19 x 21 ins), together with Killary Bay, Connemara, 1924/25 and an additional copy of Cottages, Connemara, by the same artist, both colour photolithograph and signed in pencil lower right, partial Fine Arts Trade Guild blindstamp to lower left, each trimmed and laid on board, the largest 360 x 418 mm (14 x 16 1/2 ins) QTY: (3)

    Dominic Winter Auctions
  • Paul Henry RHA (1876-1958) War Design Poster,
    Oct. 14, 2023

    Paul Henry RHA (1876-1958) War Design Poster,

    Est: £300 - £400

    Paul Henry RHA (1876-1958) War Design Poster, 1940s Graphite. Provenance:Bryson Collection. Signed Paul Henry lower right. Framed under glass 60 x 80 cm.

    Cooper Barrington LLP
  • Paul Henry, The Potato Diggers
    Oct. 05, 2023

    Paul Henry, The Potato Diggers

    Est: $50 - $100

    Paul Henry, The Potato Diggers Origin: Irish, 1912 Medium: Print on Canvas Board Dimensions: Art is 16 x 18.5 inches; frame is 22.5 x 25 inches Condition: Good - Excellent Additional Information: This piece features two women digging for potatoes on a farm. The background depicts large with clouds, blue sky, and a mountain. There is a printed signature in the lower right corner under the frame.

    Blue Box Auction Gallery
  • Paul Henry RHA (1876-1958) THE PAISLEY SHAWL, 1910-11
    Oct. 02, 2023

    Paul Henry RHA (1876-1958) THE PAISLEY SHAWL, 1910-11

    Est: €5,000 - €7,000

    Paul Henry RHA (1876-1958) THE PAISLEY SHAWL, 1910-11 charcoal inscribed in another hand lower right h:12  w:9.75 in. Provenance: Collection of Mabel Young; Gifted to Nancy Lynn, Bray; Private collection Literature: Henry, Paul, An Irish Portrait, Batsford, London, 1951, p. 76 (illustrated); Deane Paul, Paul Henry on Achill Island: Paintings and Drawings, Éire Ireland, Spring 1989, p. 64; Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 132, catalogue no. 171 (illustrated)

    Whyte's
  • Paul Henry RHA (1877-1958) Menawn Cliffs and Dooega Head, Achill, and West of Ireland Landscape with Trees Oil on panel, Double sided, 30 x 38.5cm (11¾ x 15¼) Both signed Provenance: Private Collection, Co. Dublin The present work, a
    Sep. 27, 2023

    Paul Henry RHA (1877-1958) Menawn Cliffs and Dooega Head, Achill, and West of Ireland Landscape with Trees Oil on panel, Double sided, 30 x 38.5cm (11¾ x 15¼) Both signed Provenance: Private Collection, Co. Dublin The present work, a

    Est: €40,000 - €60,000

    Paul Henry RHA (1877-1958) Menawn Cliffs and Dooega Head, Achill, and West of Ireland Landscape with Trees Oil on panel, Double sided, 30 x 38.5cm (11¾ x 15¼) Both signed Provenance: Private Collection, Co. Dublin The present work, a double-sided plywood panel, boasts two signed paintings by Paul Henry. Both works are largely complete, if sketchy, however in the case of the landscape with trees, it’s composition and treatment is more impressionistic than usual. The composition is typical with its diagonal axis, the towering mountains on two planes and the sketchy, almost misty treatment of the middle distance with its resonances of James Whistler, a strong influence on Henry. The two spindly trees which dominate the scene are elements that appeared in much of Henry’s work over the decades, ranging from his early Achill period to the 1940s. Despite their wiry form the thorn trees can be seen as a metaphor for the resilience of nature, and indeed all forms of life, in the west of Ireland – the lean trunks bowed by the prevailing winds but standing firm in the ground, surviving against so many odds. The painting on the reverse is a view of the Menawn Cliffs and Dooega Head from near Keel, on Achill Island. A similar view, Cliffs and Sea, (SBK, #323) was identified as Menawn Cliffs by the late S.B.Kennedy and sold in these rooms in 1980 and is dated to 1912 – 15. Not as monochromatic as some of his work of this period, the present work is imbued with rich colours, the pink and white sky, the hulking mass of the cliffs painted in hues of dark blue and umbers, and the white surf modelled with Henry’s signature translucent glazes. Both paintings in the present lot are likely to have been painted during the artist’s near ten year sojourn in Achill. The impact of Henry’s time in Achill cannot be overstated. It was to Dugort, on the north of the island and at the eastern foot of Slievemore, that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. ‘Every second house seemed to be an hotel or boarding house’, he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel, itself positioned south of the mountain, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel.

    Adam's
  • Paul Henry RHA (1877-1958) Evening, c.1924-5 Oil on canvas, 39 x 59cm (15¼ x 23 ¼) Signed Provenance: Private Collection, Co. Cork. Exhibited: Dublin, The Studio Merrion Row, Dublin c.5 - 19th July, Pictures by Paul Henry, Catalogue no. 21
    Sep. 27, 2023

    Paul Henry RHA (1877-1958) Evening, c.1924-5 Oil on canvas, 39 x 59cm (15¼ x 23 ¼) Signed Provenance: Private Collection, Co. Cork. Exhibited: Dublin, The Studio Merrion Row, Dublin c.5 - 19th July, Pictures by Paul Henry, Catalogue no. 21

    Est: €100,000 - €150,000

    Paul Henry RHA (1877-1958) Evening, c.1924-5 Oil on canvas, 39 x 59cm (15¼ x 23 ¼) Signed Provenance: Private Collection, Co. Cork. Exhibited: Dublin, The Studio Merrion Row, Dublin c.5 - 19th July, Pictures by Paul Henry, Catalogue no. 21 Literature: S. B Kennedy, Paul Henry, Paintings, Drawings, Illustrations, Yale University Press, 2007, page 225, catalogue no. 617 By now, as S.B Kennedy notes in his catalogue raisonne on the artist, figures had all but disappeared from Henry’s compositions, as he focused solely on landscape views. It is taken to its purest form in this work, a simple scene, completely uninterrupted, without the usual cottages or haystacks to give us a sense of people who would have lived there. It still retains the broad panoramic approach of earlier paintings and its size, larger than his usual works, heightens that sense of space. We are positioned on the edge of lake looking out and across at the mountains in the distance. There is a seamless transition between where the water and the land meets, with the blue grey mountains rising above. They are reflected in mirror image in the still surface of the water below. The elements have become interchangeable, moving straight from water to land, and from mountain to sky. He has used quicker upright brushstrokes to describe the sharp edges of the rocks in the foreground, and shorter strokes for the coarse grassy bank. Henry often painted evening scenes, enjoying the changing of the light, as dusk is falling, casting blue and purple shadows across the landscape. A softer light streams through the large billowing cloud passing by the centre, while longer veil-like wisps stretch across the skyline behind. A sense of stillness pervades the scene and he has used a limited palette to distil everything down to the essential elements. Niamh Corcoran, September 2023

    Adam's
  • Paul Henry (1876 - 1958) 2 x Lithographs, Landscapes, Signed in the Plate, 41 x 52 Each
    Sep. 25, 2023

    Paul Henry (1876 - 1958) 2 x Lithographs, Landscapes, Signed in the Plate, 41 x 52 Each

    Est: R800 - R1,200

    Paul Henry (1876 - 1958) 2 x Lithographs, Landscapes, Signed in the Plate, 41 x 52 Each

    5th Avenue Auctioneers
  • Paul Henry RHA (1876-1958) TURF BOG, c.1930-40
    May. 29, 2023

    Paul Henry RHA (1876-1958) TURF BOG, c.1930-40

    Est: €70,000 - €90,000

    Paul Henry RHA (1876-1958) TURF BOG, c.1930-40 oil on board signed lower right h:14  w:16 in. Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p. 255, catalogue no. 786 (illustrated)

    Whyte's
  • Paul Henry RHA (1876-1958) A Western Landscape (1919)
    Apr. 18, 2023

    Paul Henry RHA (1876-1958) A Western Landscape (1919)

    Est: €80,000 - €120,000

    Paul Henry RHA (1876-1958) A Western Landscape (1919) oil on canvas signed 'PAUL HENRY' lower right h:48.30  w:53.50 cm. Provenance: Artist's Studio and by descent to Mabel Henry; Oriel Gallery, Dublin, April 1978, acquired by William and Joan Roth; Christie's, London, The Irish Sale, 14th May 2004 lot 42; Adams, Dublin 23rd March 2005 lot 81; These Rooms, 28th April 2014 lot 64; Private Collection Exhibited: Paintings by Mr. & Mrs. Paul Henry, Magee's Gallery, Belfast, April 1919; Oriel Gallery, Dublin, April 1978 Literature: Paul Henry, Paintings-Drawings-Illustrations by S.B.Kennedy, published by Yale University Press image no. 527 (illustrated on page 210) The coarsely woven canvas on which this painting is painted suggests a date of execution of around 1919. Moreover, the composition is similar in concept and execution to a number of works by the artist - in particular An Antrim Bog, Western Skies and the Bog Cutting - done in the late Winter and early Spring of 1918-1919, a time when Henry and his first wife, Grace, were considering abandoning Achill Island, which had been their base since 1910, and moving eastwards. Grace was delighted with the prospect of the move, but Paul was downcast, for he remained enchanted with Achill - 'I pine for Achill every day', he had earlier told a friend. The heaviness of this scene, therefore reflects the artist's mood at the time and, although he was not then to know, the period also represented the beginning of a decade of financial and domestic difficulties that eventually ended in his separation from Grace in 1930. This picture, therefore, was painted at a turning point in Henry's life. To begin with, the Henrys went house hunting at Cushendun in County Antrim - hence An Antrim Bog and Western Skies are almost certainly both scenes in County Antrim - but in the event they returned to the West before settling in Dublin. It is impossible therefore to identify the whereabouts of 'A Western Landscape', which may well be Connemara, but in any case the terrain depicted is typical 'Paul Henry' country. The heavy massing of the ponderous cumulus clouds, which bring an ominous drama to the scene; the even film of paint, with its precisely executed brushwork and descriptive modelling of forms; the sodden terrain of the bogland, barren save for its harvest of turf, and, above all, the emphasis placed on the mood of the scene, with its reflection of the artist's current feelings, are characteristic of Henry at his best in these years. Reviewing the artist's joint exhibition with his wife Grace, at Magee's Gallery in April 1919, Belfast's News Letter (17 April 1919) commented that Henry often worked within 'a very narrow scale of colour' but, nevertheless, it said, he conveyed in his works 'depth of feeling......(a) silence and mystery [which] belong to the eternal order of things', attributed indeed opposite to this composition. Besides the drama evolving in the sky, the landscape, which is confined to a narrow strip at the bottom of the canvas, appears almost inconsequential. The severely limited range of the palette also shows the continuing influence on Henry of Whistler, his teacher in fin de siécle Paris. A 'Western Landscape' is numbered 527 in S.B.Kennedy's catalogue raisonne of Paul Henry's work. Christie's sale catalogue notes the picture as having been acquired by William Roth from the Godolphin Gallery, Dublin. This is probably an error, for in his introduction to the catalogue, 'To our paintings with love', Roth says that he bought it from the Oriel Gallery. As the Oriel often exhibited and sold pictures by Henry this seems the most likely source for it. Dr S.B. Kennedy October 2006

    Morgan O'Driscoll
  • Paul Henry RHA (1876-1958) Painting, Drawing and Illustrations by S. B. Kennedy Yale University Press, New Haven and London, 2006
    Apr. 18, 2023

    Paul Henry RHA (1876-1958) Painting, Drawing and Illustrations by S. B. Kennedy Yale University Press, New Haven and London, 2006

    Est: €300 - €500

    Paul Henry RHA (1876-1958) Painting, Drawing and Illustrations by S. B. Kennedy Yale University Press, New Haven and London, 2006 limited edition hardcover - number 26 from an edition of 50 - published by Yale University Press, New Haven and London, 2007 signed by S. B. Kennedy on the limitation page Provenance: Private Collection Specially bound by the Hubert Bindery, Cork. Published for private distribution. In fine condition. With original slipcase in near fine condition.

    Morgan O'Driscoll
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