Evie Hone Paintings & Artwork for Sale | Evie Hone Art Value Price Guide

Jul. 07, 2026
EVIE HONE (IRISH 1894-1955), DOVECOT, FONTGUITARD, TARN, FRANCE
Est: £1,500 - £2,500
EVIE HONE (IRISH 1894-1955)DOVECOT, FONTGUITARD, TARN, FRANCEWatercolour heightened with white over touches of pencilSigned and dated 1943 (lower right)23 x 35cm (9 x 13¾in.)Born in Dublin in 1894, Evie Hone contributed to a major shift in Irish arts through both her paintings and stained-glass work. Hone was an early pioneer of Cubism in Ireland, alongside friend and fellow artist, Mainie Jellett whom she first met whilst studying at the Westminster Technical Institute. In 1920, Hone followed Jellett to Paris where the pair worked with André Lhote, and later with Albert Gleizes.Hone became most famous for her stained-glass work. In the 1930s she joined the stained-glass studio An Túr Gloine and developed a distinctive style that combined vibrant colour, spirituality, and modern design. Her most celebrated works include My Four Green Fields, created for the Irish Pavillion at the 1939 New York World's Fair, now located in the Government Buildings in Dublin, and the East Window of Eton College Chapel depicting the Crucifixion. The present works, particularly lot 18, show a bold use of outline and a strong compositional design that reflect the techniques that she employed so effectively in her stained-glass designs.
Dreweatts 1759 Fine Sales
Jul. 07, 2026
EVIE HONE (IRISH 1894-1955), EMMIE AND BUTTONS AT MARLAY
Est: £1,500 - £2,500
EVIE HONE (IRISH 1894-1955)EMMIE AND BUTTONS AT MARLAYGouache and watercolour over traces of pencil39 x 32cm (15¼ x 12½in.)Provenance:The Dawson Gallery, DublinBorn in Dublin in 1894, Evie Hone contributed to a major shift in Irish arts through both her paintings and stained-glass work. Hone was an early pioneer of Cubism in Ireland, alongside friend and fellow artist, Mainie Jellett whom she first met whilst studying at the Westminster Technical Institute. In 1920, Hone followed Jellett to Paris where the pair worked with André Lhote, and later with Albert Gleizes.Hone became most famous for her stained-glass work. In the 1930s she joined the stained-glass studio An Túr Gloine and developed a distinctive style that combined vibrant colour, spirituality, and modern design. Her most celebrated works include My Four Green Fields, created for the Irish Pavillion at the 1939 New York World's Fair, now located in the Government Buildings in Dublin, and the East Window of Eton College Chapel depicting the Crucifixion. The present works, particularly lot 18, show a bold use of outline and a strong compositional design that reflect the techniques that she employed so effectively in her stained-glass designs.
Dreweatts 1759 Fine Sales
Jul. 07, 2026
EVIE HONE (IRISH 1894-1955), AT KILLAVULLEN, CO CORK, IRELAND
Est: £1,000 - £1,500
EVIE HONE (IRISH 1894-1955)AT KILLAVULLEN, COUNTY CORK, IRELAND Pen and ink and watercolour , heightened with white and scratching out, squared for transferSigned (lower centre)17 x 22.5cm (6½ x 8¾in.)Provenance:The Dawson Gallery, DublinBorn in Dublin in 1894, Evie Hone contributed to a major shift in Irish arts through both her paintings and stained-glass work. Hone was an early pioneer of Cubism in Ireland, alongside friend and fellow artist, Mainie Jellett whom she first met whilst studying at the Westminster Technical Institute. In 1920, Hone followed Jellett to Paris where the pair worked with André Lhote, and later with Albert Gleizes.Hone became most famous for her stained-glass work. In the 1930s she joined the stained-glass studio An Túr Gloine and developed a distinctive style that combined vibrant colour, spirituality, and modern design. Her most celebrated works include My Four Green Fields, created for the Irish Pavillion at the 1939 New York World's Fair, now located in the Government Buildings in Dublin, and the East Window of Eton College Chapel depicting the Crucifixion. The present works, particularly lot 18, show a bold use of outline and a strong compositional design that reflect the techniques that she employed so effectively in her stained-glass designs.
Dreweatts 1759 Fine Sales
Jun. 10, 2026
EVIE HONE HRHA (1894 - 1955)
Est: €4,000 - €6,000
Title: Crucifixion, Tomb at St. Canices Medium: Gouache Signature: Signed Lower Right and Inscribed Verso Provenance: Apollo Gallery, Dublin (Label Verso); Private Collection Framed Evie HoneÕs first sketches after Irish sixteenth century stone tomb carvings date from sometime in the late 1930s but she had long been interested in them. This was sparked by the comparable study of medieval sculpture in France by art historians such as Emile Mle, Henri Focillon as well as her principal teacher the French Cubist painter and writer Albert Gleizes. She searched out and studied surviving examples of sculpture in churches and graveyards as well as in monastic sites all over the country. She also sketched from high crosses, penal crucifixes and illuminated manuscripts. This drawing shows a Crucifixion from the front of the tomb of John Grace at St. CaniceÕs Cathedral, Kilkenny, dating from c.1552. It shows Our Lady and St. John either side of the crucified Christ and was a common image in medieval devotional art. Hone had relatives in Kilkenny and spent a great deal of time there. She sketched widely in St. CaniceÕs Cathedral and many of these drawings may have originally been contained within one sketchbook which, like most of her sketchbooks, has long since been broken up and dispersed. Other surviving drawings from this period record visits to Jerpoint Abbey and Kells Priory just south of Kilkenny town. Although some of her best known drawings after Irish medieval sculpture, such as those in CormacÕs Chapel Cashel, Co. Tipperary and St. BrigidÕs Cathedral in Kildare, formed the basis of important stained glass panels (such as the Crucifixion panel in the Tate), those made in Kilkenny are believed to be amongst her earliest recordings of Irish tomb carvings and other aspects of medieval sculpture which were then still relatively little known. These drawings were widely exhibited and admired. They were also sought after by collectors and patrons, including John Hunt, the well-known antiquarian. As well as expressions of HoneÕs own particular version of Òmedieval modernismÓ they also offer a record of what was a largely neglected aspect of Irish art history. Dr. Joseph McBrinn Belfast School of Art, Ulster University May 2026
Sheppards
Mar. 25, 2026
Evie Hone RHA (1894-1955) Veronica Wipes the Face of Christ (1949) Gouache, 32 x 26.5cm (12½ x 10½'') Signed and dated 1949 A large gouache stained-glass design in the collection of Trinity College Dublin with the same title to the present wo
Est: €2,000 - €3,000
Evie Hone RHA (1894-1955) Veronica Wipes the Face of Christ (1949) Gouache, 32 x 26.5cm (12½ x 10½'') Signed and dated 1949 A large gouache stained-glass design in the collection of Trinity College Dublin with the same title to the present work was exhibited in 'Mainie Jellett and Evie Hone - The Art of Friendship', NGI, April/Aug 2025, cat.no.54
Adam's
Mar. 25, 2026
Evie Hone RHA (1894-1955) The Last Supper Watercolour, 25.5 x 9cm (10 x 3½'') Provenance: From the estate of gallery owner Leo Smith (Dawson Gallery, Dublin) and thence by descent; sale, these rooms, 23/3/2016, lot 28, where purchased by the
Est: €1,000 - €1,500
Evie Hone RHA (1894-1955) The Last Supper Watercolour, 25.5 x 9cm (10 x 3½'') Provenance: From the estate of gallery owner Leo Smith (Dawson Gallery, Dublin) and thence by descent; sale, these rooms, 23/3/2016, lot 28, where purchased by the current owner.
Adam's
Mar. 25, 2026
Evie Hone RHA (1894-1955) The Sermon on the Mount Watercolour, 25 x 9cm (9¾ x 3½'') Provenance: From the estate of gallery owner Leo Smith (Dawson Gallery, Dublin) and thence by descent; sale, these rooms, 23/3/2016, lot 29, where purchased by
Est: €1,000 - €1,500
Evie Hone RHA (1894-1955) The Sermon on the Mount Watercolour, 25 x 9cm (9¾ x 3½'') Provenance: From the estate of gallery owner Leo Smith (Dawson Gallery, Dublin) and thence by descent; sale, these rooms, 23/3/2016, lot 29, where purchased by the current owner.
Adam's
Mar. 25, 2026
Evie Hone, Moses
Est: £400 - £600
Evie Hone, Irish 1894–1955 - Moses; gouache on paper, 122 x 102 cm Provenance: with The Dawson Gallery, Dublin (according to the hand inscribed label attached to the reverse of the frame); Private Collection Note: the label states, 'Moses by Evie Hone - / original cartoon for one section of / stained glass rose window in / parish church at Ardara - / Co. Donegal - commissioned / by James Johnston Sweeney / Director Guggenheim / Museum / New York'. Hone was inspired by the regliosity and spiritual power of Georges Rouault and began working in stained glass for its numinous quality. Her works are now in the Stained Glass museum and she is best known for her windows at Eton College.
Roseberys
Mar. 09, 2026
Evie Hone HRHA (1894-1955) AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO
Est: €3,000 - €5,000
Evie Hone HRHA (1894-1955) AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO gouache inscribed [Spider's Bay, Lough Mask] on reverse h:17.50 w:13 in. Provenance: Gift from the artist to the aunt of the previous owner; Whyte's, 17 September 2002, lot 69; Private collection; Whyte's, 28 November 2006, lot 69; Private collection Spider’s Bay was the name of the cottage owned by the artist’s sister, Mrs Dorothy Teacher, by the shore of Lough Mask in Co. Mayo. Dorothy was a keen botanist, an interest evident here in Hone’s depiction of the garden. We are grateful to the late Muriel Hone for her help in cataloguing this work when offered in 2006.
Whyte's
Feb. 24, 2026
EVIE HONE HRHA (1894 - 1955)
Est: €800 - €1,200
Title: Seated Lady Medium: Watercolour Signature: Unsigned Provenance: The Collection of Hugh Charlton, Apollo Gallery, Dublin; Private Collection Framed PICTURES AND PRINTS Tuesday 24th February 2026 20:31:12
Sheppards
Dec. 01, 2025
Evie Hone HRHA (1894-1955) AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO
Est: €4,000 - €6,000
Evie Hone HRHA (1894-1955) AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO gouache inscribed [Spider's Bay, Lough Mask] on reverse h:17.50 w:13 in. Provenance: Gift from the artist to the aunt of the previous owner; Whyte's, 17 September 2002, lot 69; Private collection; Whyte's, 28 November 2006, lot 69; Private collection Spider’s Bay was the name of the cottage owned by the artist’s sister, Mrs Dorothy Teacher, by the shore of Lough Mask in Co. Mayo. Dorothy was a keen botanist, an interest evident here in Hone’s depiction of the garden. We are grateful to the late Muriel Hone for her help in cataloguing this work when offered in 2006.
Whyte's
Nov. 26, 2025
Evie Hone HRHA (1894-1955) The Good Shepherd - original cartoon for the stained-glass window at The Holy Rosary Church, Greystones, Co Wicklow (1948) Gouache on board 208 x 76cm (81¾ x 30”) Provenance: With The Dawson Gallery, Dublin, label ver
Est: €7,000 - €10,000
Evie Hone HRHA (1894-1955) The Good Shepherd - original cartoon for the stained-glass window at The Holy Rosary Church, Greystones, Co Wicklow (1948) Gouache on board 208 x 76cm (81¾ x 30”) Provenance: With The Dawson Gallery, Dublin, label verso. Collection of John A. Costello (1891-1976), former Taoiseach, thence by descent.
Adam's
Nov. 26, 2025
Evie Hone HRHA (1894-1955) St. Columba, Cartoon for Stained Glass Window, St. John’s Church, Malone Road, Belfast (1951) Gouache, 40 x 11cm (16 x 4½) Signed and dated 1951 Provenance: With The Dawson Gallery, Dublin, label verso
Est: €1,500 - €2,500
Evie Hone HRHA (1894-1955) St. Columba, Cartoon for Stained Glass Window, St. John’s Church, Malone Road, Belfast (1951) Gouache, 40 x 11cm (16 x 4½) Signed and dated 1951 Provenance: With The Dawson Gallery, Dublin, label verso
Adam's
Nov. 26, 2025
Evie Hone RHA (1894-1955) Tuscan Landscape Oil on board 28 x 38cm (11 x 15) Provenance: Sale, Christies, London 21/05/97, lot 31; Private Collection, Dublin
Est: €7,000 - €10,000
Evie Hone RHA (1894-1955) Tuscan Landscape Oil on board 28 x 38cm (11 x 15) Provenance: Sale, Christies, London 21/05/97, lot 31; Private Collection, Dublin
Adam's
May. 28, 2025
Evie Hone RHA (1894-1955) At Marlay Gouache, 27.5 x 18.5cm (10¾ x 7¼'') Signed
Est: €2,500 - €3,500
Evie Hone RHA (1894-1955) At Marlay Gouache, 27.5 x 18.5cm (10¾ x 7¼'') Signed
Adam's
May. 26, 2025
Evie Hone HRHA (1894-1955) ABSTRACT COMPOSITION
Est: €2,000 - €3,000
Evie Hone HRHA (1894-1955) ABSTRACT COMPOSITION gouache signed lower left; with Jorgensen Gallery exhibition label on reverse; with Dawson Gallery framing label also on reverse h:6.50 w:5.25 in. Provenance: Jorgensen Gallery, Dublin; Private collection; Whyte's, 25 May 2015, lot 49; Private collection
Whyte's
May. 21, 2025
Evie Hone 1894-1955. - Exhibition July-September 1958 at The Great Hall, Un
Est: €40 - €60
Evie Hone 1894-1955. - Exhibition July-September 1958 at The Great Hall, University College, Earlsfort Terrace, Dublin. A lovely clean copy.
Purcell Auctioneers
May. 17, 2025
Attributed to Evie (Eva Sydney) Hone (1894-1955) , "Head of Christ", Gouache on cardboard, 24" x 20", Provenance: The Dawson Gallery, Dublin, on loan 1958, The Estate of John L. Hughes of Southport, Connecticut
Est: $300 - $500
Attributed to Evie (Eva Sydney) Hone (1894-1955) "Head of Christ" Gouache on cardboard 24" x 20" Provenance: The Dawson Gallery, Dublin, on loan 1958 The Estate of John L. Hughes of Southport, Connecticut
Nadeau's Auction Gallery
May. 17, 2025
Evie Hone H.R.H.A (Irish 1894-1955) , "Resting", Watercolor, gouache, pen and ink on paper, 8" x 11 1/2", Provenance: The Dawson Gallery, Dublin, Ireland, Provenance: The Estate of John L. Hughes of Southport,...
Est: $3,000 - $5,000
Evie Hone H.R.H.A (Irish 1894-1955) "Resting" Watercolor, gouache, pen and ink on paper 8" x 11 1/2" Provenance: The Dawson Gallery, Dublin, Ireland Provenance: The Estate of John L. Hughes of Southport, Connecticut
Nadeau's Auction Gallery
May. 14, 2025
EVIE HONE HRHA (1894 - 1955)
Est: €3,000 - €5,000
Title: Cubist Composition Study for a Stained Glass Window (1933) Medium: Watercolour on paper Signature: Signed lower right Provenance: The Dawson Gallery (Label Verso); Private Collection Framed Description This stained glass window design by Evie Hone is a stunning work on paper that illuminates the artist’s visionary approach to liturgical art. Composed in watercolour and gouache, the design is essentially a full-colour cartoon (preparatory drawing) for a stained glass window, and it vibrates with jewel-like hues and spiritual symbolism. In the design, Hone arranges an intricate tapestry of geometric shapes and sacred figures within the tall, arched format of a church window. Rich blues, reds, and golds dominate the palette, separated by bold lead-line tracery drawn in pencil or ink, which divides the composition into panels and medallions in the Gothic manner. One can discern perhaps a central religious scene – for example, a saint or biblical tableau – rendered in a semi-abstract, cubist-influenced style that retains clarity of narrative. Surrounding this central image might be smaller decorative or figurative elements: angels, heraldic emblems, or floral motifs, each harmoniously integrated into the overall scheme. Although executed on paper, Hone’s brushstrokes mimic the glowing translucence of stained glass: areas of colour are layered and modulated to suggest how light would filter through glass of varying thickness and tint. As a signed piece, this design is not only a work of art in its own right but also an insight into Hone’s creative process – a rare and beautiful blueprint for the luminous spiritual works that would eventually grace architectural spaces.
Sheppards
Apr. 23, 2025
Evie Hone 1894-1955. Exhibition July-September 1958 at The Great Hall, Univ
Est: €40 - €80
Evie Hone 1894-1955. Exhibition July-September 1958 at The Great Hall, University College, Earlsfort Terrace, Dublin
Purcell Auctioneers
Dec. 12, 2024
Attributed to Evie Hone (1894-1955): The Pink House
Est: $300 - $500
Watercolor and gouache on found paper, unsigned; together with 20th Century School: Building Facade, watercolor on paper, 1964, indistinctly signed and dated on the reverse. 9 7/8 x 14 7/8 in. (sheet), 15 1/2 x 20 3/4 in. (frame), 11 1/4 x 9 1/8 in. (sheet), 14 3/8 x 12 in. (frame).
STAIR
Dec. 04, 2024
Evie Hone HRHA (1894-1955) Untitled Gouache, 60 x 37cm (23½ x 14½'') Although untitled this painting by Evie Hone depicts The Crucifixion and was completed in c.1928-1930. Its predominant decorative palette of pastel pinks and pale purpl
Est: €8,000 - €12,000
Evie Hone HRHA (1894-1955) Untitled Gouache, 60 x 37cm (23½ x 14½'') Although untitled this painting by Evie Hone depicts The Crucifixion and was completed in c.1928-1930. Its predominant decorative palette of pastel pinks and pale purples, grey-blues and pale yellow, its shallow pictorial space and distinctive round arched canopy all derive from specific medieval sources. A smaller version by Hone (almost half the size at 31.6 x 21.8cm) of the same picture is in the National Gallery of Ireland (NGI.7852). The NGI version is much darker in tone, dominated by greys and golds, strokes of red and rose pinks, and has an unprecedented and almost graphic use of black akin to the lead lines found in stained glass. Both paintings were made sometime after the spring of 1928 when Hone went to France to join Mainie Jellett and Albert Gleizes who had been painting at Moly-Sabata, the utopian art colony established by Gleizes in the department of Ardèche of the Rhône valley in eastern France the year before. Gleizes had first painted a Crucifixion scene in 1926, after an intense five years of experimentation in abstraction. However, the version he painted in 1930 is compositionally closer to Hone’s two versions of the subject. Like the NGI painting it is smaller, measuring 24 x 16cm; it is now in the collection of Musée national d’art moderne in Paris (AM 1357 D). Again, it is darker, composed of deep blues, browns, greens and ochre creams and has more patterns of stripes and dots than Hone’s more linear and lyrical versions. A further version by Gleizes from 1935 is in the collection of the National Gallery of Ireland (NGI.2008.35). This is perhaps the largest of all the known versions (117.5 x 77.3cm) and is marked by stronger, more intense primary colours – predominantly blues, oranges and greens. Gleizes returned again to the theme in 1949 about the time he was completing etchings for an illustrated edition of the seventeenth century French philosopher Blaise Pascal’s Pensées sur l'homme et Dieu (published in 1950). When setting up his colony at Moly-Sabata, Gleizes had initiated a scheme of mural decoration for the Église Sainte-Blanches at nearby Serrières. This was to depict The Crucifixion, The Coronation of the Virgin and The Descent from the Cross in the format of a triptych. Gleizes and Jellett worked on the scheme for most of 1927, but the following year just as Hone arrived the project came to an abrupt end when the designs were rejected by the church. Hone’s two versions of The Crucifixion follow on from this scheme and subsequent variants by Jellett and Gleizes of which Jellett’s Coronation of the Virgin (Homage to Fra Angelico) (Private Collection) is perhaps the best known. The source for all these paintings by Gleizes, Jellett and Hone is more than likely Hone’s copy of André Jolles’s Fra Angelico da Fiesole: Acht Farbige Wiedergaben Berühmter Gemälde (published in Leipzig in 1926). Hone’s versions of The Crucifixion, as well as a number of pochoirs (limited edition colour prints), are among the few known works by her from this critical period. Dr. Joseph McBrinn, October 2024
Adam's
Oct. 01, 2024
Evie Hone RHA (1894 - 1955) Composition, No.1 Gouache on brown paper, 18 x 20cm Signed lower right Provenance: Purchased from George Dawson, Dublin
Est: €3,000 - €5,000
Evie Hone RHA (1894 - 1955) Composition, No.1 Gouache on brown paper, 18 x 20cm Signed lower right Provenance: Purchased from George Dawson, Dublin
Adam's
Oct. 01, 2024
Evie Hone RHA (1894 - 1955) Untitled Gouache on paper, 16.5 x 17cm
Est: €1,000 - €1,500
Evie Hone RHA (1894 - 1955) Untitled Gouache on paper, 16.5 x 17cm
Adam's
Oct. 01, 2024
Evie Hone RHA (1894 - 1955) Composition Gouache on card, 28 x 17cm Signed in pencil, lower left Provenance: With the Dawson Gallery, Dublin
Est: €4,000 - €6,000
Evie Hone RHA (1894 - 1955) Composition Gouache on card, 28 x 17cm Signed in pencil, lower left Provenance: With the Dawson Gallery, Dublin
Adam's
Sep. 30, 2024
Evie Hone HRHA (1894-1955) THE EIFFEL TOWER
Est: €1,800 - €2,200
Evie Hone HRHA (1894-1955) THE EIFFEL TOWER gouache signed lower right; titled on Dawson Gallery label on reverse h:16.75 w:8 in. Provenance: de Veres, 22 May 2012, lot 32; Private collection
Whyte's
May. 16, 2024
EVIE SYDNEY HONE - SAINT CECILIA
Est: $2,000 - $4,000
Lot 27 Evie Sydney Hone Irish (1894-1955) Saint Cecilia (1947) gouache on paper mounted to board signed lower right 25 x 19 inches frame dimensions: 32 1/2 x 26 1/4 x 3 1/2 inches, wood frame Provenance: From the Collection of Memorial Sloan Kettering Cancer Center donated by John D. Rockefeller III
Capsule Gallery Auction
Mar. 27, 2024
Evie Hone HRHA (1894-1955) The Descent of the Holy Spirit - a sketch for the East Window in Tara Church, Co. Meath Watercolour, 82 x 45cm (32¼ x 17¾) Signed This unusually large sketch is the final design for the two-light east wind
Est: €3,000 - €5,000
Evie Hone HRHA (1894-1955) The Descent of the Holy Spirit - a sketch for the East Window in Tara Church, Co. Meath Watercolour, 82 x 45cm (32¼ x 17¾) Signed This unusually large sketch is the final design for the two-light east window by Evie Hone in the historic Church of St. Patrick on the Hill of Tara in Co. Meath. It was her first important commission after officially joining An Túr Gloine in 1935, but from where she had been working since 1933. As a loose, quickly painted sketch it is remarkably close, in terms of design and colouring, to the final window. It was only Hones third window and a departure from her earlier work in glass which reflects more directly An Túr Gloines house style of rich decorative effects and narrative detail. At Tara, Hone portrays the story of The Descent of the Holy Spirit as a frieze of monumental apostolic figures receiving divine instruction through red tongues of fire carried on rays of golden light that pierce billowing silvery blue clouds set against a patchwork of abstract geometric shapes. The window is regarded as Hones first mature work. She believed it was one of her best windows and is known to have visited it not long before she died. She exhibited the sketch widely and it was included in her first major solo show at the Dawson Gallery in November 1941. The cartoons were included in the posthumous retrospective held in Dublin in 1958. Only one other sketch is known to survive, an earlier, much smaller design housed in Church of Ireland Theological Institute (formerly the Divinity Hostel) in Dublin, which also holds the final cartoons. The window cost £250, was fixed on the 28 May 1936 and unveiled and dedicated on Whitsun Sunday just three days later. Joseph McBrinn, February 2024
Adam's
Mar. 11, 2024
Evie Hone HRHA (1894-1955) SWANS IN THE POND AT BARMEATH CASTLE, COUNTY LOUTH
Est: €1,500 - €2,000
Evie Hone HRHA (1894-1955) SWANS IN THE POND AT BARMEATH CASTLE, COUNTY LOUTH gouache h:10 w:14 in. Provenance: Artist's bequest to Muriel Hone; de Veres, 16 April 2002, lot 255; Private collection
Whyte's
Dec. 12, 2023
Â§ EVIE HONE (IRISH, 1894â1955)
Est: £1,000 - £1,500
Â§ EVIE HONE (IRISH, 1894â1955) EVIE HONE (IRISH, 1894â1955) Abstract composition gouache, crayon and pencil 27 x 20.4 cm. (10 1/2 x 8 in.) Provenance Bart O'Connor, thence by descent Sale; Christie's, London, 7 October 2015, lot 682, where purchased by the present owner We are grateful to Dickon Hall and Dr Joseph McBrinn for their assistance in cataloguing the present lot.
Chiswick Auctions
Oct. 02, 2023
Evie Hone HRHA (1894-1955) ST. PATRICK, MADONNA AND CHILD and ST. BRIGID (ORIGINAL DESIGN FOR STAINED GLASS WINDOW IN BLACKROCK CHUR...
Est: €2,500 - €3,500
Evie Hone HRHA (1894-1955) ST. PATRICK, MADONNA AND CHILD and ST. BRIGID (ORIGINAL DESIGN FOR STAINED GLASS WINDOW IN BLACKROCK CHURCH, COUNTY DUBLIN) gouache signed with initials lower left; inscribed on Dawson Gallery label on reverse h:10 w:9 in. Provenance: Dawson Gallery, Dublin; Private collection Presented in a free-standing wooden frame.
Whyte's
Sep. 27, 2023
Evie Hone HRHA (1894-1955) St Francis and Lady Poverty Gouache, 34 x 20.5cm (13½ x 8) Provenance: With The Dawson Gallery, Dublin, where purchased, gallery label verso, thence by descent to the present owners; The Estates of Dr. John & Mary Es
Est: €1,000 - €1,500
Evie Hone HRHA (1894-1955) St Francis and Lady Poverty Gouache, 34 x 20.5cm (13½ x 8) Provenance: With The Dawson Gallery, Dublin, where purchased, gallery label verso, thence by descent to the present owners; The Estates of Dr. John & Mary Esther ODriscoll, Kildare
Adam's
May. 31, 2023
Evie Hone HRHA (1894-1955) At Rathfarnham (1941) Gouache, 49.2 x 40.7cm (19¼ x 16) Signed and dated 1941 Provenance: With The Dawson Gallery, Dublin, September 1976, where purchased, thence by descent to the present owners; The Estates of Dr.
Est: €5,000 - €6,000
Evie Hone HRHA (1894-1955) At Rathfarnham (1941) Gouache, 49.2 x 40.7cm (19¼ x 16) Signed and dated 1941 Provenance: With The Dawson Gallery, Dublin, September 1976, where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther ODriscoll, Kildare
Adam's
May. 31, 2023
Evie Hone HRHA (1894 - 1955) Bog, Roundstone, Connemara Watercolour, 16 x 21cm (6¼ x 8¼'') Signed Provenance: The Dawson Gallery, Dublin; Sale, these rooms, Important Irish Art, 29th September 2004, lot 75
Est: €2,500 - €3,500
Evie Hone HRHA (1894 - 1955) Bog, Roundstone, Connemara Watercolour, 16 x 21cm (6¼ x 8¼'') Signed Provenance: The Dawson Gallery, Dublin; Sale, these rooms, Important Irish Art, 29th September 2004, lot 75
Adam's
May. 31, 2023
Evie Hone HRHA (1894-1955) St Francis and Lady Poverty Gouache, 34 x 20.5cm (13½ x 8) Provenance: With The Dawson Gallery, Dublin, where purchased, gallery label verso, thence by descent to the present owners; The Estates of Dr. John & Mary Es
Est: €1,500 - €2,000
Evie Hone HRHA (1894-1955) St Francis and Lady Poverty Gouache, 34 x 20.5cm (13½ x 8) Provenance: With The Dawson Gallery, Dublin, where purchased, gallery label verso, thence by descent to the present owners; The Estates of Dr. John & Mary Esther ODriscoll, Kildare
Adam's
May. 29, 2023
Evie Hone HRHA (1894-1955) FERN STUDY WITH CUBIST SURROUND
Est: €8,000 - €12,000
Evie Hone HRHA (1894-1955) FERN STUDY WITH CUBIST SURROUND gouache h:22 w:16.50 in. Provenance: Taylor Galleries, Dublin, 1988; Private collection; Whyte's, 26 November 2007, lot 71; Private collection
Whyte's
Apr. 18, 2023
Evie Hone HRHA (1894-1955) Madonna and Child
Est: €20,000 - €30,000
Evie Hone HRHA (1894-1955) Madonna and Child gouache on card mounted on canvas h:151.20 w:51 cm. Provenance: Sotheby's, London, 'Irish Sale' 18th May 2000 lot no 121; deVere's, Dublin, 13th June 2006 lot no 58; Private Collection One of Hone's largest Cubist compositions, this work sums up her dedication to both religious belief and Modernist art. In bringing together these two normally diverse strands, Hone achieved a synthesis of faith, one stretching back over millennia, the other based on belief in the role of abstract art in the modern world. Early in her career Hone had rejected Realism and figurative art as irrelevant to her vision. Along with fellow-student and friend Mainie Jellett, she devoted her life to promoting and pursuing the style, evolved by André Lhote and Albert Gleizes, known as Synthetic Cubism. The results, as seen in this work Madonna and Child, are impressive. The painting is characterised by colour harmonies and planes, assembled in an abstract composition of lines and circles, curves, rectangles and zig-zags. Dark at the edges, where bands of brown, red and mauve make up a frame, the colours brighten perceptibly as the eye is drawn towards the centre, until, encircling the head of the Child, can be seen a band of pure white. While it is clear from both title and composition that this work pays homage to the Renaissance altarpieces, such as those painted by Fra Angelico, depicting the Madonna and Child, there are very few visual cues or clues provided by Hone: her painting depicts no facial features, clothing, or recognisable hands or limbs. Nevertheless, the composition can be clearly read as a Madonna and Child, and is one of Hone's finest essays in paint. Peter Murray, March 2023
Morgan O'Driscoll
Apr. 18, 2023
Evie Hone HRHA (1894-1955) Composition
Est: €2,000 - €3,000
Evie Hone HRHA (1894-1955) Composition gouache on paper h:36.30 w:15.70 cm. Provenance: Collection of Margaret Clarke; Taylor Galleries, Dublin (label verso) where purchased by the present owner
Morgan O'Driscoll
Apr. 18, 2023
Evie Hone HRHA (1894-1955) Cubist Composition
Est: €15,000 - €25,000
Evie Hone HRHA (1894-1955) Cubist Composition gouache on card h:51 w:38.20 cm. Provenance: Estate of the artist; Taylor Galleries, Dublin where purchased in 1988; Whyte's, Dublin, 26th November 2007 lot no 70; Private Collection Literature: Donal uí Bhraonáin 'Paidreacha na Gaeilge, Prayers in Irish', 2008, illustrated in colour on the front cover. (A copy of this book accompanies this lot) A joyous essay in abstraction, Cubist Composition contains the essential elements that characterise Evie Hone's art, but on a lighter, more colourful, key. As with many of her paintings, the basis of the composition derives from depictions of the Madonna and Child by artists of the early Renaissance, notably Fra Angelico. The image of a mother and her child is translated by Hone into areas of flat colour, with all references to reality removed. The head of the Madonna is represented by pale yellow, while that of Jesus is symbolised by a penannular circlet, within a rectangle, within an oval area of yellow-green. While the left hand section of the painting has mainly areas of red, pink and mauve, the right hand side is composed of bands of green, ranging from sage to dark fir. In ancient times, colour played a fundamental role in religion, and even today mosques in the Middle East are illuminated with green light, symbolising transcendence. In Cubist Composition Hone sets out to re-discover and make new for the twentieth century, the spiritual effect and resonance of colour, and the devotional mood inspired by early Renaissance altarpieces. Her preference for gouache paint was inspired by the use of egg tempera on altarpieces and icons of medieval and Renaissance times. Peter Murray, March 2023
Morgan O'Driscoll
Mar. 01, 2023
Evie Hone HRHA (1894-1955) Head of Christ Lithographic print in colours, 37 x 27cm (14½ x 10¾)
Est: €400 - €600
Evie Hone HRHA (1894-1955) Head of Christ Lithographic print in colours, 37 x 27cm (14½ x 10¾)
Adam's
Mar. 01, 2023
Evie Hone HRHA (1894 - 1955) Le Figaro Pencil, 20 x 19cm (7¾ x 7½) Signed and dated 1924 Provenance: From the Collection of Patrick MacEntee SC
Est: €600 - €800
Evie Hone HRHA (1894 - 1955) Le Figaro Pencil, 20 x 19cm (7¾ x 7½) Signed and dated 1924 Provenance: From the Collection of Patrick MacEntee SC
Adam's
Mar. 01, 2023
Evie Hone HRHA (1894 - 1955) Study for Stained Glass Gouache, 15.5 x 8cm (6 x3) Provenance: From the Collection of Patrick MacEntee
Est: €800 - €1,200
Evie Hone HRHA (1894 - 1955) Study for Stained Glass Gouache, 15.5 x 8cm (6 x3) Provenance: From the Collection of Patrick MacEntee
Adam's
Dec. 07, 2022
Evie Hone RHA (1894 - 1955) Madonna Gouache, 45 x 45cm (17¾ x 17¾) Signed
Est: €3,000 - €5,000
Evie Hone RHA (1894 - 1955) Madonna Gouache, 45 x 45cm (17¾ x 17¾) Signed
Adam's
Dec. 07, 2022
Evie Hone HRHA (1894-1955) Abstract Composition c.1929 - 34 Oil and gouache on canvas, 113 x 84cm (44.5 x 33) Provenance: Leo Smith (The Dawson Gallery) thence by descent to his sister Mary Murnane; her sale 1980's H. J. Byrne, Bray, where purc
Est: €15,000 - €25,000
Evie Hone HRHA (1894-1955) Abstract Composition c.1929 - 34 Oil and gouache on canvas, 113 x 84cm (44.5 x 33) Provenance: Leo Smith (The Dawson Gallery) thence by descent to his sister Mary Murnane; her sale 1980's H. J. Byrne, Bray, where purchased by the present owner
Adam's
Nov. 16, 2022
Evie Hone, Irish, HRHA, (1894-1955) “Composition 1925,” gouache on paper, 40cms x 28cms (15 ¾” x
Est: €4,000 - €6,000
Evie Hone, Irish, HRHA, (1894-1955) “Composition 1925,” gouache on paper, 40cms x 28cms (15 ¾” x 11”) Signed lower right ‘E. Hone 1925’. Bears Dawson Gallery label on verso inscribed ‘Composition 1925 by Evie Hone, No. 13 in exhibition 1957’ The title of this work, Composition, is apt, as a small section contains, or at least suggests, music notation. If music was an indeed an inspiration, this may be revealed also in passages, in this otherwise resolutely abstract work of art, where the side of a lyre is suggested, or the curve of a grand piano. However, the central concept that finds expression in Composition is a religious one. Within the abstract forms can be discerned the head of a Madonna leaning over a child, an key element of Renaissance art that Hone has sublimated within a finely coloured harmonious abstract composition. Along with her fellow-student and friend Mainie Jellett, Evie Hone is credited with introducing Modernist abstraction into mainstream Irish art. In 1920, she travelled to Paris, to study under the Modernist painter Andre Lhote. A few months later, she was joined by Jellett. Disenchanted with the liberal atmosphere in Lhote’s atelier in Rue Odessa, the two artists moved on the following year to study with the Cubist painter Albert Gleizes at his studio in Puteaux, a suburb of Paris. Well-connected politically, Gleizes had converted to Catholicism three years earlier, and his social idealism and intense devotion to religious subject matter in art was to the taste of the two young Irish artists. Although Gleizes did not as a rule take on students, he made an exception in the case of Jellett and Hone. In 1921 they began their studies, although it is clear, that they quickly began to influence Gleizes. Over the next decade, furthering their studies, they visited him one or twice a year, either in Paris or at the atelier he had found in the Ardèche. In the years following, in Ireland, while Jellett continued to produce Synthetic Cubist paintings that closely reflect Gleizes’ teachings, Hone took her exploration of Modernist art to a new level. In particular, in designs for stained glass windows for A Tur Gloine, she began to outline her figures with heavy black lines, echoing the work of Georges Rouault. However, while Rouault had, in addition to Christian themes, depicted courtrooms, circus clowns and bordellos, Hone’s piety is reflected in her unwavering subject matter of landscape and religious subject-matter. At a time when the teaching in the Metropolitan School of Art in Dublin was resolutely controlled by Realist and Impressionist artists, as was the Royal Hibernian Academy, both Hone and Jellett introduced, what was for Ireland, a radical new vision in art. Provenance: Important Private Collection, West of Ireland.
Fonsie Mealy Auctioneers
Nov. 16, 2022
Evie Hone, Irish, HRHA (1894-1955) "Design for stained glass Triptych with Jesus to the centre
Est: €700 - €900
Evie Hone, Irish, HRHA (1894-1955) "Design for stained glass Triptych with Jesus to the centre holding a lamb with Saint Joseph and Saint Patrick to each side," approx. 30cms x 7cms (centre drawing) 25cms x 7cms (side panels) painted wooden mount, silver frame, Taylor Galleries label on reverse. (1)
Fonsie Mealy Auctioneers
Oct. 26, 2022
Evie Hone (1894-1955): At Clonbur, Co. Galway
Est: $1,000 - $1,500
Charcoal and gouache on paper, unsigned, with label from The Dawson Gallery, Dublin. 14 x 17 1/2 in. (sheet), 19 x 23 in. (frame). The Collection of Jill and John Fairchild
STAIR