Nathaniel (1831) Hone Paintings & Artwork for Sale | Nathaniel (1831) Hone Art Value Price Guide

May. 27, 2026
Nathaniel Hone RHA (1831-1917) A Valley in Co. Wicklow Oil on canvas, 44 x 59.5cm (17¼ x 23½)
Est: €4,000 - €6,000
Nathaniel Hone RHA (1831-1917) A Valley in Co. Wicklow Oil on canvas, 44 x 59.5cm (17¼ x 23½)
Adam's
May. 13, 2026
Nathaniel Hone R.H.A. (Irish, 1831-1917)
Est: £3,000 - £5,000
Nathaniel Hone R.H.A. (Irish, 1831-1917), an open landscape with cattle by a stream, oil on canvas, 61 by 92cm, gilt frame. Provenance: Private Collection, Cotswolds
Kinghams Auctioneers
Mar. 25, 2026
Nathaniel Hone RHA (1831-1917) A Mediterranean Coastal View Oil on canvas, 60 x 100.5cm (23¾ x 39½) Provenance: Private collection, Ireland. Given by the artist to a member of the Jameson family (his in-laws); thence by descent.
Est: €10,000 - €15,000
Nathaniel Hone RHA (1831-1917) A Mediterranean Coastal View Oil on canvas, 60 x 100.5cm (23¾ x 39½) Provenance: Private collection, Ireland. Given by the artist to a member of the Jameson family (his in-laws); thence by descent. Painted circa 1890, this expansive Mediterranean coastal view captures the artist at the height of his powers, working en plein air during one of his extensive continental tours en route to Greece and Egypt. The composition is bathed in a lucid southern light. Sailing boats drift across a tranquil harbour, their lateen sails catching the sun, while ancient battlements rise from the shoreline in warm ochres and roseate tones. Beyond, an Italianate church with campanile punctuates the skyline, lending architectural rhythm and a sense of timeless permanence to the scene. Hone’s assured brushwork and confident handling of atmosphere convey both the immediacy of observation and a romantic sensibility deeply attuned to place. Hone travelled extensively throughout Europe and the Near East from the 1870s to the early 1890s, journeys that profoundly enriched his palette and broadened his subject matter. These Mediterranean works reveal another dimension to his practice: a painter responsive to light, antiquity and the picturesque. Born in Dublin, the great-grandson of the celebrated eighteenth-century painter, Nathaniel Hone the Elder, Hone trained at the Royal Academy Schools in London before establishing a distinguished exhibiting career in Ireland and Britain. He was elected an Associate of the RHA in 1876 and a full Academician in 1879, becoming a central figure in Irish artistic life at the close of the nineteenth century. This impressive canvas stands as a testament to Hone’s cosmopolitan outlook and technical accomplishment. At once topographical and evocative, it reflects the late Victorian fascination with the Mediterranean as a cradle of civilisation, filtered through the discerning eye of one of Ireland’s most accomplished academic painters.
Adam's
Mar. 24, 2026
NATHANIEL HONE RHA 1831 - 1917 DUBLIN BAY
Est: €2,000 - €3,000
A framed oil painting depicting a coastal landscape with rocky shoreline and expansive sky, with distant landforms on the horizon. The composition executed in a naturalistic manner with attention to atmosphere and light. Bearing a plaque inscribed Nathaniel Hone R.H.A. 1831–1917, and further inscribed To John Punch, Rear M.D.C., 5th January 1844. Presented in a carved and gilded frame. 10:05:51
Sheppards
Dec. 01, 2025
Nathaniel Hone RHA (1831-1917) THE OAK TREE IN THE PARK (MALAHIDE)
Est: €6,000 - €8,000
Nathaniel Hone RHA (1831-1917) THE OAK TREE IN THE PARK (MALAHIDE) oil on canvas signed with initials lower left; numbered 120 by Thomas Bodkin on reverse h:17 w:25 in. Provenance: Formerly with the Dawson Gallery, Dublin; Adam's, 15 March 1990, lot 88 (as Cattle Grazing); Private collection; Adam's, 9 December 1998, lot 98 (as Cattle Grazing Under Trees, Malahide); Private collection Literature: Bodkin, Four Irish Landscape Painters, no. 119 There is a number 120 on reverse of this work, which is Bodkin's numbering system, but at one point his numbers got out of sync by one, so this work is not actually number 120, but 119, and the measurements and description fit exactly with Bodkin's record of number 119., The Oak Tree In The Park.
Whyte's
Nov. 26, 2025
Nathaniel Hone RHA (1831-1917) Pyrenees Golf Links Watercolour, 14.5 x 23cm (5¼ x 9) Provenance: Mrs. Hone, the artist's widow Literature: T. Bodkin, Four Irish Landscape Painters, Appendix XVI (Watercolours), No. 46
Est: €500 - €800
Nathaniel Hone RHA (1831-1917) Pyrenees Golf Links Watercolour, 14.5 x 23cm (5¼ x 9) Provenance: Mrs. Hone, the artist's widow Literature: T. Bodkin, Four Irish Landscape Painters, Appendix XVI (Watercolours), No. 46
Adam's
Nov. 26, 2025
Nathaniel Hone RHA (1831-1917) Hay Wynds Oil on canvas, 79 x 109cm (31 x 43) Provenance: Mrs. Hone, the artist's widow; Sale, these rooms, 14 September 1978, lot 28 where purchased, thence by descent to the current owners Literature: T.
Est: €8,000 - €12,000
Nathaniel Hone RHA (1831-1917) Hay Wynds Oil on canvas, 79 x 109cm (31 x 43) Provenance: Mrs. Hone, the artist's widow; Sale, these rooms, 14 September 1978, lot 28 where purchased, thence by descent to the current owners Literature: T. Bodkin, Four Irish Landscape Painters, Appendix XVI, cat. no. 75, p. 174 Executed in a luminous, Impressionist manner, this large-scale landscape depicts a quiet moment in the harvest season. A small encampment of labourers rests beside freshly constructed hay wynds, against a backdrop of dark, distant trees, and voluminous cumulus clouds, while the soft modulation of golden light across the fields imbues the scene with a poetic resonance. The composition, reminiscent of Corot, balances careful observation with painterly freedom, demonstrating Hone’s ability to unify realism and atmospheric subtlety in a manner that anticipates aspects of the Impressionist approach. Born into a prominent Dublin artistic family, Hone was the great-grandnephew of the 18th-century portraitist Nathaniel Hone RA. He trained at the Royal Dublin Society’s Schools before undertaking studies in London and travelling widely on sketching tours throughout Ireland and Europe. Hone developed a lifelong fascination with the Irish countryside, translating its changing moods and seasonal rhythms into works that combine precise observation with a lyrical sensibility. Hay Wynds is documented in Bodkin’s Four Irish Landscape Painters and appears in Dermod O’Brien’s list of paintings remaining in the artist’s studio after the death of Hone’s widow, providing important early provenance. Executed in richly worked oils on a large scale, the painting exemplifies his mastery of landscape: a careful orchestration of light, colour, and composition, capturing both the physical labour of the harvest and the quiet dignity of rural life. It stands as a testament to Hone’s contribution to late 19th-century Irish landscape painting and his subtle engagement with Impressionist influences
Adam's
May. 28, 2025
Nathaniel Hone RHA (1831-1917) Mediterranean Coastal Scene Oil on canvas, 85 x 127cm (33½ x 50'') Provenance: Collection of the Hon. Francis D. Murnaghan Jr., thence by descent Mediterranean Coastal Scene is a fine example of Nathanie
Est: €7,000 - €10,000
Nathaniel Hone RHA (1831-1917) Mediterranean Coastal Scene Oil on canvas, 85 x 127cm (33½ x 50'') Provenance: Collection of the Hon. Francis D. Murnaghan Jr., thence by descent Mediterranean Coastal Scene is a fine example of Nathaniel Hone’s South of France subjects painted on a very large canvas, - larger than the majority of his paintings. Hone made several visits to the Mediterranean in the 1870s and 1880s, painting at various locations along the coast, for instance at Cannes, Antibes, Nice and Villefranche, at Cap St. Martin, St. Jean-Cap Ferrat, Beaulieu, Ezé and Menton, and across the border to Bordighera in Italy. Having spent many years studying in Paris, painting in the Forest of Fountainebleu, then returning to Ireland, the sunshine and blue skies, the quality of light, the vegetation and the azure sea of the Riviera were a revelation to him. He was inspired to paint a series of colourful, light-filled watercolours and oils. These form a unique body of work in Hone’s oeuvre. Hone’s Mediterranean pictures were the first paintings which he exhibited at the Royal Hibernian Academy in Dublin in the 1870s. During this period many French artists were drawn to the South of France, including Harpignes and Ziem, who Hone had known at Barbizon, and Impressionists such as Renoir, Berthe Morisot and Monet.[1] The Riviera was also becoming increasingly popular as a destination for tourists seeking winter sunshine. Hone painted along the coast, and was drawn to the fishing village of Beaulieu with it’s nearby beach and stretch of cliffs, known as ‘Petite Afrique’ (Little Africa) for its sunny, temperate climate. Hone painted a series of watercolours and oils of this coastline. These include the superb canvases Mediterranean Coastal Scene, Beaulieu near Nice (featured in an exhibition at The Gorry Gallery in 2023),[2] and the present painting Mediterranean Coastal Scene. The two pictures seem to have been painted at the same location but from different viewpoints, featuring headlands, palm trees, aloes, distant cliffs and blue sea. But in the present picture Hone takes an unusual approach to composition: rather than following a classical model of placing trees at one side or both sides of the foreground to frame the landscape, he places the palm trees, rocky bluff and aloes in centre left, allowing expanses of sky to be visible behind. There is another smaller painting of a Mediterranean Coastal Scene, in the National Gallery of Ireland (cat.no.1458), which features palm trees, aloes, blue sea and distant headland, but with a villa visible behind the trees. Hone was fascinated by aloe plants, with their sinuous, spiky leaves and striking blue-green, viridian colour. They form a focal point in several Mediterranean paintings, and are painted in broad, defined brushstrokes, casting dark shadows beneath them. The fronds of the palm trees are highlighted with more slender, golden strokes. The foreground is freely painted in the manner that Hone used in later landscapes. The straight horizon line of the sea halfway up the picture, with pinkish-gold cliffs in the distance, anchors the composition. Hone adopts a delicate, scuffed technique in the sky – fading from blue to pale blue to a pale pink-ochre above the horizon. Accustomed to the earthly and verdant tones and changeable skies of the Irish landscape, the sunshine, colours, pinks, blues and golds, and radiant light of the Mediterranean allowed Hone to experience nature in a new, freer way. His coastal South of France landscapes anticipate the colourful, sunny watercolours and oils that he was later to paint in Greece and Egypt.[3] Mediterranean Coastal Scene is not signed or initialled, (Hone rarely signed his canvases), so it is not known if it was exhibited at the RHA in Dublin during his lifetime. Julian Campbell, October 2024 Notes [1] See Jean-Paul Potron et Sylvie Amic, Paysage de Nice, Villefranche – Beaulieu du XVII ou XX siecles, Nice, 2000; and Patrick J. Murphy, An Art Lover’s Guide to the French Riviera, Letterfrack, 2016. [2] See J. Campbell, ‘Nathaniel Hone, ‘Mediterranean Coastal Scene, Beaulieu, near Nice’ in Exhibition of 18TH– 20TH Century Irish Paintings, Gorry Gallery, 2023, p.16, cat.no.17. [3] For a detailed study of Hone’s Greek paintings, see Anna Stathaki, An Irish Artist in Greece. A Study of Nathaniel Hone the Younger’s artworks in Greece between 1891 and 1892, MA dissertation, UCD, 2024.
Adam's
Dec. 04, 2024
Nathaniel Hone RHA (1831 - 1917) Mediterranean Coastal Scene Oil on canvas, 85 x 127cm (33½ x 50'') Provenance: Collection of the Hon. Francis D. Murnaghan Jr., thence by descent Mediterranean Coastal Scene is a fine example of Nathani
Est: €10,000 - €15,000
Nathaniel Hone RHA (1831 - 1917) Mediterranean Coastal Scene Oil on canvas, 85 x 127cm (33½ x 50'') Provenance: Collection of the Hon. Francis D. Murnaghan Jr., thence by descent Mediterranean Coastal Scene is a fine example of Nathaniel Hone’s South of France subjects painted on a very large canvas, - larger than the majority of his paintings. Hone made several visits to the Mediterranean in the 1870s and 1880s, painting at various locations along the coast, for instance at Cannes, Antibes, Nice and Villefranche, at Cap St. Martin, St. Jean-Cap Ferrat, Beaulieu, Ezé and Menton, and across the border to Bordighera in Italy. Having spent many years studying in Paris, painting in the Forest of Fountainebleu, then returning to Ireland, the sunshine and blue skies, the quality of light, the vegetation and the azure sea of the Riviera were a revelation to him. He was inspired to paint a series of colourful, light-filled watercolours and oils. These form a unique body of work in Hone’s oeuvre. Hone’s Mediterranean pictures were the first paintings which he exhibited at the Royal Hibernian Academy in Dublin in the 1870s. During this period many French artists were drawn to the South of France, including Harpignes and Ziem, who Hone had known at Barbizon, and Impressionists such as Renoir, Berthe Morisot and Monet.[1] The Riviera was also becoming increasingly popular as a destination for tourists seeking winter sunshine. Hone painted along the coast, and was drawn to the fishing village of Beaulieu with it’s nearby beach and stretch of cliffs, known as ‘Petite Afrique’ (Little Africa) for its sunny, temperate climate. Hone painted a series of watercolours and oils of this coastline. These include the superb canvases Mediterranean Coastal Scene, Beaulieu near Nice (featured in an exhibition at The Gorry Gallery in 2023),[2] and the present painting Mediterranean Coastal Scene. The two pictures seem to have been painted at the same location but from different viewpoints, featuring headlands, palm trees, aloes, distant cliffs and blue sea. But in the present picture Hone takes an unusual approach to composition: rather than following a classical model of placing trees at one side or both sides of the foreground to frame the landscape, he places the palm trees, rocky bluff and aloes in centre left, allowing expanses of sky to be visible behind. There is another smaller painting of a Mediterranean Coastal Scene, in the National Gallery of Ireland (cat.no.1458), which features palm trees, aloes, blue sea and distant headland, but with a villa visible behind the trees. Hone was fascinated by aloe plants, with their sinuous, spiky leaves and striking blue-green, viridian colour. They form a focal point in several Mediterranean paintings, and are painted in broad, defined brushstrokes, casting dark shadows beneath them. The fronds of the palm trees are highlighted with more slender, golden strokes. The foreground is freely painted in the manner that Hone used in later landscapes. The straight horizon line of the sea halfway up the picture, with pinkish-gold cliffs in the distance, anchors the composition. Hone adopts a delicate, scuffed technique in the sky – fading from blue to pale blue to a pale pink-ochre above the horizon. Accustomed to the earthly and verdant tones and changeable skies of the Irish landscape, the sunshine, colours, pinks, blues and golds, and radiant light of the Mediterranean allowed Hone to experience nature in a new, freer way. His coastal South of France landscapes anticipate the colourful, sunny watercolours and oils that he was later to paint in Greece and Egypt.[3] Mediterranean Coastal Scene is not signed or initialled, (Hone rarely signed his canvases), so it is not known if it was exhibited at the RHA in Dublin during his lifetime. Julian Campbell, October 2024 Notes [1] See Jean-Paul Potron et Sylvie Amic, Paysage de Nice, Villefranche – Beaulieu du XVII ou XX siecles, Nice, 2000; and Patrick J. Murphy, An Art Lover’s Guide to the French Riviera, Letterfrack, 2016. [2] See J. Campbell, ‘Nathaniel Hone, ‘Mediterranean Coastal Scene, Beaulieu, near Nice’ in Exhibition of 18TH– 20TH Century Irish Paintings, Gorry Gallery, 2023, p.16, cat.no.17. [3] For a detailed study of Hone’s Greek paintings, see Anna Stathaki, An Irish Artist in Greece. A Study of Nathaniel Hone the Younger’s artworks in Greece between 1891 and 1892, MA dissertation, UCD, 2024.
Adam's
Nov. 19, 2024
NATHANIEL HONE, R.H.A. (1831-1917). Sand Dunes and Gorse, Malahide. oil on
Est: £2,000 - £4,000
NATHANIEL HONE, R.H.A. (1831-1917). Sand Dunes and Gorse, Malahide. oil on canvas 9 1⁄8 x 12 5⁄8 in. (22.9 x 32.1 cm.).
Christie's
Nov. 19, 2024
NATHANIEL HONE, R.H.A. (1831-1917). Coastal Scene. oil on canvas laid down
Est: £2,000 - £4,000
NATHANIEL HONE, R.H.A. (1831-1917). Coastal Scene. oil on canvas laid down on panel 7 ¾ x 12 ¾ in. (19.2 x 32.4 cm.).
Christie's
May. 29, 2024
Nathaniel Hone RHA (1831 - 1917) Yachts in Dublin Bay Oil on canvas laid down, 34 x 52cm (13¼ x 24½) Provenance: Acquired from the artist by Sir Robert Henry Woods (1865-1938) and thence by descent; On reverse a label of Daniel Egan, 26 Lower O
Est: €8,000 - €12,000
Nathaniel Hone RHA (1831 - 1917) Yachts in Dublin Bay Oil on canvas laid down, 34 x 52cm (13¼ x 24½) Provenance: Acquired from the artist by Sir Robert Henry Woods (1865-1938) and thence by descent; On reverse a label of Daniel Egan, 26 Lower Ormond Quay, Dublin This and the previous lot, both by Nathaniel Hone (1831-1917) come from the collection formed by the artists friend, the eminent Dublin surgeon and Member of Parliament, Sir Robert Henry Woods (18651938). Born in Tullamore in humble circumstances, he enjoyed a glittering career at Trinity College, Dublin and, as the Dictionary of Irish Biography notes, graduated MB, BAO, B.Ch. in 1889 and the following year received a surgical travelling prize which enabled him to visit Austria. Following in the footsteps of Sir William Wilde, he studied ear, nose, and throat surgery in Vienna. Though he is known principally for his work in ENT surgery, he made fundamental contributions to the understanding of the biophysics of cardiac function. On his return to Ireland Woods secured several eminent positions in Dublin hospitals and opened a private practice at 39 Merrion Square. He soon won a European-wide reputation and, according to his pupil, Oliver St John Gogarty, was a dextrous and masterly surgeon. Woods was a popular figure in Irish cultural circles and served as president of the Royal Dublin Zoological Society, presenting a number of animals to the zoo following a visit to the Far East to see one of his sons, who was a barrister in Malaysia (DIB). He was knighted in 1913. Respected on both sides of an increasingly polarised Irish society, in July 1921 Woods took part in the Mansion House Conference which led to a truce in hostilities between Republican and British forces. Nathaniel Hone painted the sea in all its varied conditions with greater skill and understanding than perhaps any Irish artist. His deep knowledge of the sea was based on first-hand experience. As Julian Campbell notes, he came from a keen yachting family and developed an interest in all kinds of boats and sailing vessels including, as here, distant yachts and some of his most appealing works are his relatively rare pure seascapes, especially a group painted in Dublin Bay and in the West of Ireland in the late 1880s and early 90s. In his wave paintings the traditional focus of maritime painting, the depiction of shipping, is relegated to distant specs on the horizon. The influence of John Constable and Gustave Courbert is clear and specifically the latters The Wave (La vague) exhibited at the Salon in 1870 and acquired by the Louvre eight years later, and a group of associated works. Campbell writes: although his paintings lack the frozen rock-like weight of Courberts seas and leaden skies, and the heavy symbolic quality, Hones wave paintings are also expressive of the artists feelings in the face of elemental nature (Julian Campbell, in Nathaniel Hone, NGI, catalogue, 1991, 57). Hone had also looked at the seascapes by James Abbott McNeill Whistler and the work of Impressionist artists such as Claude Monet, but, as so often, he deploys lessons learnt on the continent to create recognisably Irish imagery. Closely comparable and contemporaneous works include A North-East Breeze, showing Irelands Eye from Portmarnock (Private collection) and Coast of County Clare (Dublin City Gallery, the Hugh Lane).
Adam's
May. 29, 2024
Nathaniel Hone RHA (1831 - 1917) Cattle in Pasture by the coast at Malahide, County Dublin, with a view of the Martello Tower, later Hicks' Tower Oil on canvas, 42 x 63cm (16½ x 24¾) Provenance: Acquired from the artist by Sir Robert Henry Wood
Est: €10,000 - €15,000
Nathaniel Hone RHA (1831 - 1917) Cattle in Pasture by the coast at Malahide, County Dublin, with a view of the Martello Tower, later Hicks' Tower Oil on canvas, 42 x 63cm (16½ x 24¾) Provenance: Acquired from the artist by Sir Robert Henry Woods (1865-1938) and thence by descent; On reverse a label of William Rodman, 12 Arthur Street, Belfast. This and the following lot, both by Nathaniel Hone (1831-1917) come from the collection formed by the artists friend, the eminent Dublin surgeon and Member of Parliament, Sir Robert Henry Woods (18651938). Born in Tullamore in humble circumstances, he enjoyed a glittering career at Trinity College, Dublin and, as the Dictionary of Irish Biography notes, graduated MB, BAO, B.Ch. in 1889 and the following year received a surgical travelling prize which enabled him to visit Austria. Following in the footsteps of Sir William Wilde, he studied ear, nose, and throat surgery in Vienna. Though he is known principally for his work in ENT surgery, he made fundamental contributions to the understanding of the biophysics of cardiac function. On his return to Ireland Woods secured several eminent positions in Dublin hospitals and opened a private practice at 39 Merrion Square. He soon won a European-wide reputation and, according to his pupil, Oliver St John Gogarty, was a dextrous and masterly surgeon. Woods was a popular figure in Irish cultural circles and served as president of the Royal Dublin Zoological Society, presenting a number of animals to the zoo following a visit to the Far East to see one of his sons, who was a barrister in Malaysia (DIB). He was knighted in 1913. Respected on both sides of an increasingly polarised Irish society, in July 1921 Woods took part in the Mansion House Conference which led to a truce in hostilities between Republican and British forces. As Thomas Bodkin noted more than a century ago, many of Nathaniel Hones finest works are scenes of Malahide, County Dublin, an area he knew intimately having settled there, to paint and to farm, after his long sojourn in France. Here he portrays the Martello tower built in about 1805 and which, soon after he painted (c. 1911), would be transformed into an Arts and Crafts residence by his friend the architect Frederick Hicks (1870-1965), for his own occupation, and which is still known locally as Hicks Tower. Hicks was one of the leading architects in Ireland of the Edwardian period and a neighbour of Hone in his latter years. He designed the Irish pavilion at the 1904 exhibition in St Louis, Missouri, USA which convincingly reproduced historic Irish architectural treasures, [as] an eclectic showcase of what he could achieve in Ireland (DIB). Other commissions include Cooldrinagh, Samuel Becketts birthplace in Foxrock, and the Iveagh baths and market (c.1905). He is buried in St Andrews Church, Malahide, also resting place of Nathaniel Hone. The setting shown here could not have been closer to Hones own doorstep when he lived at Moldowney House just two minutes walk away along the Coast Road, before inheriting St Douloughs in 1896. Hone here is at his most impressionistic, painting with great freedom and sparkling vigour and in subject, palette and delicate control of the composition he anticipates his most famous work Pastures at Malahide (National Gallery of Ireland). A smaller canvas depicting almost exactly the same view was sold in these rooms on 2nd June 2021 (Lot 46).
Adam's
May. 27, 2024
Nathaniel Hone RHA (1831-1917) CATTLE IN PASTURE, MALAHIDE, COUNTY DUBLIN
Est: €4,000 - €6,000
Nathaniel Hone RHA (1831-1917) CATTLE IN PASTURE, MALAHIDE, COUNTY DUBLIN oil on canvas laid on board signed with initials lower right; inscribed on Daniel Egan label on reverse h:10 w:14 in. Provenance: Collection of Sarah Purser, Mespil House; Private collection; de Veres, 25 November 2003, lot 32; Private collection
Whyte's
Mar. 11, 2024
Nathaniel Hone RHA (1831-1917) TREE STUDY
Est: €6,000 - €8,000
Nathaniel Hone RHA (1831-1917) TREE STUDY oil on canvas h:23.50 w:20.25 in. Provenance: Gorry Gallery, Dublin, 1986; Private collection Exhibited: Gorry Gallery, Dublin, 25 April to 8 May 1986, catalogue no. 64 Literature: Four Irish Landscape Painters, Thomas Bodkin, no. 114
Whyte's
Jan. 17, 2024
NATHANIEL HONE R.H.A. (IRISH 1831-1917)
Est: £400 - £600
NATHANIEL HONE R.H.A. (IRISH 1831-1917) NATHANIEL HONE R.H.A. (IRISH 1831-1917) Seascape initialled with blind stamp 'NH' (lower left) watercolour 11.5 x 18.5 cm
Chiswick Auctions
Dec. 04, 2023
Nathaniel Hone RHA (1831-1917) SEASCAPE STUDY, 1871
Est: €2,500 - €3,500
Nathaniel Hone RHA (1831-1917) SEASCAPE STUDY, 1871 oil on board with partial Aitken Dott & Son label on reverse h:6.25 w:9 in.
Whyte's
Dec. 04, 2023
Nathaniel Hone RHA (1831-1917) LOOKOUT, KILKEE CLIFFS, COUNTY CLARE
Est: €2,500 - €3,500
Nathaniel Hone RHA (1831-1917) LOOKOUT, KILKEE CLIFFS, COUNTY CLARE oil on board signed with initials lower right h:8 w:12 in.
Whyte's
Dec. 04, 2023
Nathaniel Hone RHA (1831-1917) STUDY: TREE IN COURTYARD
Est: €4,000 - €6,000
Nathaniel Hone RHA (1831-1917) STUDY: TREE IN COURTYARD oil on board h:13 w:16 in. Provenance: Estate of the artist; Gorry Gallery, Dublin; Private collection; Whyte's, 19 February 2007, lot 89; Private collection Exhibited: 'Paintings from the studio of Nathaniel Hone RHA', Gorry Gallery, Dublin, 27 June to 9 July 2002, catalogue no. 47 Literature: Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, listed as no. 283 With a copy of the Gorry Gallery exhibition catalogue and a copy of 'Four Irish Landscape Painters' accompanying this lot.
Whyte's
Nov. 22, 2023
NATHANIEL HONE R.H.A. (IRISH 1831-1917)
Est: £700 - £1,000
NATHANIEL HONE R.H.A. (IRISH 1831-1917) NATHANIEL HONE R.H.A. (IRISH 1831-1917) Seascape initialled with blind stamp NH (lower left) watercolour 11.5 x 18.5 cm
Chiswick Auctions
Apr. 05, 2023
Nathaniel Hone, R.H.A. Irish, 1831-1917 Trees, North County Dublin
Est: $1,500 - $2,500
Nathaniel Hone, R.H.A. Irish, 1831-1917 Trees, North County Dublin Oil on canvas laid down on board 11 1/2 x 15 inches (29.2 x 38.1 cm) Provenance: Dawson Gallery, Dublin, Aug. 1959 Literature: Thomas Bodkin, Four Irish Painters, George Barret, James A. O'Connor, Walter F. Osborne, Nathaniel Hone, Dublin: The Talbot Press, 1920, Appendix XIV, no. 326, p. 182 C Property from the Collection of Helen Sonnenberg Tucker
DOYLE Auctioneers & Appraisers
Mar. 01, 2023
Nathaniel Hone R.H.A. (1831-1917) A Contented Cow Oil on canvas on board, 31 x 44.5cm (12¼ x 17.5) Provenance: Sale deVeres, Dublin 27 November 2012, lot 2
Est: €3,000 - €4,000
Nathaniel Hone R.H.A. (1831-1917) A Contented Cow Oil on canvas on board, 31 x 44.5cm (12¼ x 17.5) Provenance: Sale deVeres, Dublin 27 November 2012, lot 2
Adam's
Mar. 01, 2023
Nathaniel Hone RHA (1831 - 1917) Landscape with Figures under Trees Oil on canvas, 43 x 69cm (17 x 27¼) Signed with initials
Est: €8,000 - €12,000
Nathaniel Hone RHA (1831 - 1917) Landscape with Figures under Trees Oil on canvas, 43 x 69cm (17 x 27¼) Signed with initials
Adam's
Sep. 28, 2022
Nathaniel Hone RHA (1831 - 1917) Cows Sheltering Under Trees Oil on canvas, 63.5 x 91.5cm (25 x 36) Signed with initials Provenance: With Godolphin Gallery, Dublin, label verso; Sale, de Veres, 31 May 1994, lot 83; again de Veres, 23rd Novemb
Est: €12,000 - €16,000
Nathaniel Hone RHA (1831 - 1917) Cows Sheltering Under Trees Oil on canvas, 63.5 x 91.5cm (25 x 36) Signed with initials Provenance: With Godolphin Gallery, Dublin, label verso; Sale, de Veres, 31 May 1994, lot 83; again de Veres, 23rd November 2004, lot 37; Irish Sale, Sothebys, London 19 November 2019, lot 50. A small herd of cattle rests in the shade of trees, some of them standing, others lying down, while other cows approach from the sunlit field. Nathaniel Hone represents this tranquil rural scene on a sultry summers day, and the verdant foliage on the right takes up much of the composition. But the sunny pasture on the left, and the low horizon line, with the possible suggestion of sea beyond, beneath a sky of light cloud with patches of blue, also evoke a sense of space. Having studied in Paris as a young man in the 1850s, then lived for many years near the Forest of Fontainebleau, Hone became a dedicated painter of landscape, often of woodland and coastal scenes. Back in Ireland he settled in North Co. Dublin, residing in large houses in Malahide and Raheny. According to art historian Thomas Bodkin (later Director of the National Gallery of Ireland): He lived there quietly, occupying himself with painting and farming (1). Although, on his travels Hone had represented dramatic cliff and seascapes in the West of Ireland, sunlit coastal scenes in the south of France, and ancient buildings in Greece and Egypt, at home in North Co. Dublin, fields, woods and farm animals often viewed under overcast skies, provided the source for many of his paintings such humble subjects, often overlooked by other artists, exerted a deep affection upon Hone, and he painted many variations on this theme. Perhaps painted on his land at Seafield, Malahide or St. Douloughs, Raheny. Cattle Sheltering Under Trees is one such subject, a quintessential pastoral painting by Hone, it may date from the mid 1890s. He eschews the careful manner of his Barbizon canvases, and indeed the detail of contemporary Victorian landscapes, for as much broader, more vigorous style, to capture the changing light of the Irish weather. The brindled forms of the cows, for instance, are boldly modelled, the thick greenery of the foliage, rendered in muted green and olive tones, are painted in swirling or scuffed gestural brushstrokes, and impasto is employed on the tree trunks to indicate their rough, sunlit textures. Cattle Sheltering Under Trees is painted on one of Hones large 24 x 36-inch canvases and is signed with his initials, so was evidently prepared for exhibition. A companion picture on a similar large canvas is his Study - Cows in a Field. Julian Campbell, August 2022. Thomas Bodkin, Four Irish Landscapes Painters, Dublin and London, 1920, p53
Adam's
Jun. 06, 2022
Nathaniel Hone RHA (1831-1917) COASTAL SCENE, NORTH DUBLIN
Est: €5,000 - €7,000
Nathaniel Hone RHA (1831-1917) COASTAL SCENE, NORTH DUBLIN oil on canvas signed with initials lower right h:15.50 w:21.50 in.
Whyte's
Mar. 07, 2022
Nathaniel Hone RHA (1831-1917) ON THE STRAND, MALAHIDE, COUNTY DUBLIN
Est: €4,000 - €6,000
Nathaniel Hone RHA (1831-1917) ON THE STRAND, MALAHIDE, COUNTY DUBLIN oil on canvas laid on board h:8.50 w:12 in. Provenance: Collection of Nelly O'Brien; (see lot 20) Thence by family descent Nelly O'Brien was born Ellen Lucy O'Brien on 4 June 1864, at Cahermoyle, County Limerick. Her siblings were Lucy and Dermod, with Dermod also becoming an artist. O'Brien's grandfather was William Smith O'Brien. She attended school in England from 1879, and later enrolled to study painting at the Slade School of Art. O'Brien met Walter Osborne through her brother Dermod, and considered herself engaged to him, but Osborne died in 1903. A portrait of O'Brien by Osborne is held in the Hugh Lane Gallery. Nelly O'Brien returned to Ireland, and began to paint miniatures. She also painted watercolour landscapes. Her first exhibition with the Royal Hibernian Academy (RHA) was in 1896. She would exhibit at the RHA on and off until 1922. As part of an exhibition of Irish painters, O'Brien exhibited a number of portrait miniatures at the London Guildhall in 1904. The 1906 Oireachtas na Gaeilge featured a number of her paintings O'Brien was an early member of the Gaelic League, being present at its first Oireachtas in 1897, and founding the Craobh na gCúig gCúigí (Branch of the Five Provinces). In 1911, O'Brien founded Coláiste Eoghain Uí Chomhraí (O'Curry Irish College) in Carrigaholt, County Clare. She established the Irish Guild of the Church with Seoirse de Rút in 1914. The aim of the organisation was to provide a communal union for members of the Church of Ireland who were dedicated to "Irish Ireland" ideals. Acting as a representative for the Gaelic League, O'Brien travelled to the United States in 1914 to 1915, to fund raise and promote Irish art and industries. She protested the conscription bill in Ireland as a mass meeting of women at the Mansion House in 1918. Nelly O'Brien died suddenly on 1 April 1925 whilst visiting her brother Dermod in London.
Whyte's
Dec. 08, 2021
Nathaniel Hone RHA (1831-1917) Malahide Beach scene Oil on artist's board, 30 x 40cm (12¼ x 15¾)
Est: €3,000 - €5,000
Nathaniel Hone RHA (1831-1917) Malahide Beach scene Oil on artist's board, 30 x 40cm (12¼ x 15¾)
Adam's
Nov. 29, 2021
Nathaniel Hone RHA (1831-1917) THE INTRINSIC ROCKS, KILKEE, COUNTY CLARE
Est: €4,000 - €6,000
Nathaniel Hone RHA (1831-1917) THE INTRINSIC ROCKS, KILKEE, COUNTY CLARE oil on board inscribed on Dawson Gallery label on reverse h:7 w:10 in. Provenance: Dawson Gallery, Dublin; Private collection; de Veres, 8 December 2020, lot 63; Private collection Literature: Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, listed as no. 512
Whyte's
Oct. 14, 2021
Nathaniel Hone II (1831-1917) - oil on board
Est: £1,000 - £1,500
Nathaniel Hone II (1831-1917) - A summer meadow with figure before a fence, oil on board, signed with initials lower right, 19 x 29 cm
Andrew Smith & Son
Sep. 27, 2021
Nathaniel Hone RHA (1831-1917) KINGSTOWN HARBOUR
Est: €1,000 - €1,500
Nathaniel Hone RHA (1831-1917) KINGSTOWN HARBOUR watercolour h:6.25 w:9.50 in.
Whyte's
Jul. 28, 2021
Nathaniel Hone II (1831-1917) - oil on board
Est: £1,500 - £2,000
Nathaniel Hone II (1831-1917) - A summer meadow with figure before a fence, oil on board, signed with initials lower right, 19 x 29 cm
Andrew Smith & Son
Jun. 03, 2021
NATHANIEL HONE THE YOUNGER (Irish, 1831-1917). HORSE DRAWN HAY WAGON, identifed on verso. Pencil study from artist's sketch book.
Est: $100 - $120
NATHANIEL HONE THE YOUNGER (Irish, 1831-1917). HORSE DRAWN HAY WAGON, identifed on verso. Pencil study from artist's sketch book - Framed, sight: 5 1/2 in. x 4 in.
Sloans & Kenyon
Jun. 02, 2021
Nathaniel Hone RHA (1831-1917) - Cattle on Foreshore with Ruins in the distance (Malahide)
Est: €6,000 - €10,000
Nathaniel Hone RHA (1831-1917) Cattle on Foreshore with Ruins in the distance (Malahide) Oil on canvas, 30 x 45.5cm (11¾ x 17¾) Signed with initials Starting Bid: € 4200
Adam's
Jun. 02, 2021
Nathaniel Hone RHA (1831-1917) - Landscape and Cows
Est: €800 - €1,200
Nathaniel Hone RHA (1831-1917) Landscape and Cows Watercolour, 9 x 17cm (3½ x 6¾'') With artist's studio stamp Provenance: With The Dawson Gallery, label verso. Starting Bid: € 560
Adam's
May. 31, 2021
Nathaniel Hone RHA (1831-1917) THE OAK TREE IN THE PARK
Est: €8,000 - €12,000
Nathaniel Hone RHA (1831-1917) THE OAK TREE IN THE PARK (MALAHIDE) oil on canvas signed with initials lower left; numbered 120 by Thomas Bodkin on reverse h:17 w:25 in. Provenance: Formerly with the Dawson Gallery, Dublin; James Adam Salerooms, Important Irish Art, 15 March 1990, lot 88 (as Cattle Grazing; James Adam's, 9 December 1998, lot 98 (as Cattle Grazing Under Trees, Malahide); Private collection Literature: Bodkin, Four Irish Landscape Painters, no. 119 There is a number 120 on reverse of this work, which is Bodkin's numbering system, but at one point his numbers got out of sync by one, so this work is not actually number120, but 119, and the measurements and description fit exactly with Bodkin's record of number 119., The Oak Tree In The Park.
Whyte's
May. 24, 2021
NATHANIEL HONE THE YOUNGER (Irish, 1831-1917). HORSE DRAWN HAY WAGON, identifed on verso. Pencil study from artist's sketch book.
Est: $150 - $250
NATHANIEL HONE THE YOUNGER (Irish, 1831-1917). HORSE DRAWN HAY WAGON, identifed on verso. Pencil study from artist's sketch book - Framed, sight: 5 1/2 in. x 4 in.
Sloans & Kenyon
Feb. 23, 2021
ATTRIBUTED TO NATHANIEL HONE RHA (1831-1917) River Scene with Poplar Trees Oil on canvas laid down on panel, 25 x 37cm (9¾ x 14½) Signed with initials 'NH', lower-right; indistinctly inscribed verso
Est: €400 - €600
ATTRIBUTED TO NATHANIEL HONE RHA (1831-1917) River Scene with Poplar Trees Oil on canvas laid down on panel, 25 x 37cm (9¾ x 14½) Signed with initials 'NH', lower-right; indistinctly inscribed verso
Adam's
Oct. 27, 2020
Nathaniel Hone RHA (1831-1917) Cattle Grazing
Est: €3,000 - €5,000
Nathaniel Hone RHA (1831-1917) Cattle Grazing oil on canvas board h:25 w:30 cm. Provenance: Christie's London, 15th July 2015, Lot 121; Private Collection A lively work by Nathaniel Hone, Ireland's finest landscape painter of the early twentieth century, this Impressionist sketch depicts green trees surrounding a sunlit field, in which cattle graze. Cumulus clouds, filling the sky, hint at imminent rain. In the left foreground, dark leaves are silhouetted against the clouds, with foliage and sky rendered swiftly in brushstrokes of dark green, grey and white. Most of Hone's landscapes and seascapes were painted around his home at St. Dulough's, Malahide, and depict calm weather, with cattle or sheep grazing contentedly in the rich pastureland. Born in Fitzwilliam Square in Dublin, Hone was a descendant of the brother of the eighteenth-century painter Nathaniel Hone the Elder. After working for a period for the Midland Great Western railway company, of which his father was a director, he decided in 1853 to take up art. He spent two years in Paris, studying under history painters Adolphe Yvon and Thomas Couture, before moving to Barbizon where he began to paint landscapes. At Fontainebleau, he was an active member of the group of artists that included (at various times) Rousseau, Manet and Henri Harpignies, with whom he was particularly friendly. In the late 1960's Hone exhibited both at the Royal Academy and at the Salons in Paris. In the early 1870's he returned to Ireland, to his family's estate at Malahide, where, apart from annual trips to the West of Ireland, he lived and worked for the rest of his life. He was elected a member of the RHA in 1880, and became professor of painting at the Academy in 1894. Peter Murray, October 2020
Morgan O'Driscoll
Sep. 22, 2020
ATTRIBUTED TO NATHANIEL HONE R.H.A. (1831 Ð 1917)
Est: €500 - €800
River scene with herdsman and cattle Oil on board Provenance: Co. Westmeath, one owner, Private collection
Sheppards
Mar. 09, 2020
Nathaniel Hone RHA (1831-1917) CATTLE IN A LANDSCAPE
Est: €800 - €1,200
with artist’s seal embossed lower left
Whyte's
Dec. 04, 2019
Nathaniel Hone RHA (1831-1917)Cattle StudiesOil on canvas board, 37 x 53cm (14½ x 20¾'')Provenance: Gorry Gallery Dublin, where purchased c.1980. Collection of Antoinette & Patrick J. Murphy.
Est: €2,000 - €3,000
Nathaniel Hone RHA (1831-1917)Cattle StudiesOil on canvas board, 37 x 53cm (14½ x 20¾'')Provenance: Gorry Gallery Dublin, where purchased c.1980. Collection of Antoinette & Patrick J. Murphy.
Adam's
Dec. 02, 2019
Nathaniel Hone RHA (1831-1917) THE ESTUARY, MALAHIDE, COUNTY DUBLIN
Est: €2,000 - €3,000
signed with initials lower left; titled and with provenance details on label on reverse
Whyte's
Oct. 23, 2019
Nathaniel Hone RHA (1831-1917)Shadows Cast from TreesOil on canvas, 63 x 91cm (24¾ x 35¾)Provenance: With The Dawson Gallery, Dublin.
Est: €10,000 - €15,000
Nathaniel Hone RHA (1831-1917)Shadows Cast from TreesOil on canvas, 63 x 91cm (24¾ x 35¾)Provenance: With The Dawson Gallery, Dublin.
Adam's
Oct. 23, 2019
Nathaniel Hone RHA (1831-1917)The Stream to the Sea (Malahide)Oil on canvas, 45 x 67cm (17¾ x 26¼)Provenance: With The Dawson gallery, Dublin, label verso; Christies, London, where purchased c.1975.Literature: Thomas Bodkin, Four Irish Landscape
Est: €8,000 - €12,000
Nathaniel Hone RHA (1831-1917)The Stream to the Sea (Malahide)Oil on canvas, 45 x 67cm (17¾ x 26¼)Provenance: With The Dawson gallery, Dublin, label verso; Christies, London, where purchased c.1975.Literature: Thomas Bodkin, Four Irish Landscape Painters, Appendix No.140.
Adam's
Sep. 25, 2019
Nathaniel Hone RHA (1831-1917)Cattle resting on a headland with distant yachtsOil on canvas, 61 x 91 cm (24 x 36)Signed in initialsProvenance: The Artist's Family, By descent, Sale Adam's May 31, 2006; Private Collection Ireland Nathaniel Hone
Est: €20,000 - €30,000
Nathaniel Hone RHA (1831-1917)Cattle resting on a headland with distant yachtsOil on canvas, 61 x 91 cm (24 x 36)Signed in initialsProvenance: The Artist's Family, By descent, Sale Adam's May 31, 2006; Private Collection Ireland Nathaniel Hone was the first native artist to introduce the influence of 19th century French Naturalism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone, a merchant and director of the Midland Great Western Railway and was the great-grandnephew of the 18th century painter of the same name. Though a member of this very artistic family, his initial training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853, at the age of twenty-one to study painting. When Hone returned to Ireland in 1872 it was almost twenty years since he had first gone to Paris to study at the studio of Yvon. On his return he married and settled at Seafield, Malahide, the family estate. While there he continued to paint and to farm and indeed many of his paintings from this period carry the influences of his Barbizon period and it can be difficult to distinguish untitled landscapes or coastal views as to whether they are French or Irish. The paintings which he completed in Ireland after his return from France maintain the mood and muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had portrayed in France: woodlands, pastures and coastline; the major part of his output was of scenes around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare. The present work is undoubtedly painted on the coast, north of Malahide, on a headland overlooking the great expanse of the Irish Sea. The composition marries two of Hones favourite themes in his Irish paintings, the pastoral idyll, and the open sea with billowing cumulus clouds, both using rapid, flecked brushstrokes suggesting an awareness of Impressionism. The foreground is anchored by a group of resting cows and peaks with a border of yellow flowered gorse. A small seated figure at the lands edge enjoys a panoramic view of the open sea where numerous yachts are enjoying the summer breeze. It displays Hone's great feeling for specific light and weather conditions. His concentration is on expansive skies, which echo, formally, the shape of the undulating countryside beneath. We are indebted to Dr Julian Campbell whose writings on this artist have informed this note.
Adam's
Sep. 16, 2019
Nathaniel Hone RHA (1831-1917) HERDSMAN AND COWS ON A COUNTRY ROAD, GLENMALURE, COUNTY WICKLOW, c. 1880
Est: €15,000 - €20,000
Nathaniel Hone RHA (1831-1917) HERDSMAN AND COWS ON A COUNTRY ROAD, GLENMALURE, COUNTY WICKLOW, c. 1880
Whyte's
Mar. 27, 2019
Nathaniel Hone RHA (1831-1917)Malahide Sands with FiguresOil on canvas, 59 x 90cm (23¼ x 35'')Signed with initialsProvenance: Important Irish Art Sale, these rooms, December 2008, Lot 91, where purchased by present owner.When Nathaniel Hone
Est: €20,000 - €30,000
Nathaniel Hone RHA (1831-1917)Malahide Sands with FiguresOil on canvas, 59 x 90cm (23¼ x 35'')Signed with initialsProvenance: Important Irish Art Sale, these rooms, December 2008, Lot 91, where purchased by present owner.When Nathaniel Hone returned to Ireland in 1872 it was almost twenty years since he had first gone to Paris to study at the studio of Yvon. On his return he married and settled at Seafield, Malahide, the family estate. While there he continued to paint and to farm and indeed many of his paintings from this period carry the influences of his Barbizon period and it can be difficult to distinguish untitled landscapes or coastal views as to whether they are French or Irish.The present work is doubtless Malahide, with it's great expanse of sands reflected in the similarly vast open sky. There are strong similarities with 'Evening, Malahide Sands' from c.1883 (Hugh Lane) with its afterglow of sunset seen across reaches of sand and water. The open sky, the expanse of air and light reflected in the extent of water and wet sand, convey an astonishing sense of space and freedom. ( E.J.G. The Irish Times 1901)Unlike the Hugh Lane painting the two figures in the present work look the part of two North Dublin locals gathering kelp, complete with shawls and long skirts and are set against the reflected light of the outgoing stream which frames them in the centre of the composition. This device also provides the sense of scale which gives the landscape its vastness.
Adam's
Mar. 27, 2019
Attributed to Nathaniel Hone (1831-1917) Irish. "At Sea off Co. Clare NI", a Seascape, Oil on Board, Signed, and Inscribed on a label on the reverse, Unframed, 5.5" x 9".
Est: £80 - £120
Attributed to Nathaniel Hone (1831-1917) Irish. "At Sea off Co. Clare NI", a Seascape, Oil on Board, Signed, and Inscribed on a label on the reverse, Unframed, 5.5" x 9".
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