Paul Henry, R.H.A. (1876-1958)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM AN IMPORTANT PRIVATE IRISH COLLECTION
Paul Henry, R.H.A. (1876-1958)

The Village by the Lake

Details
Paul Henry, R.H.A. (1876-1958)
The Village by the Lake
signed 'PAUL HENRY' (lower left) and inscribed 'THE VILLAGE BY THE LAKE' (on the reverse)
oil on panel
16 x 24 in. (40.7 x 61 cm.)
Painted in 1924-25.
Provenance
Anonymous sale; Christie's, Dublin, 23 October 1989, lot 102, where purchased by the present owner.
Literature
S.B. Kennedy, Paul Henry: with a Catalogue of the Paintings, Drawings, Illustrations, New Haven and London, 2007, p. 224, no. 613, illustrated.
Exhibited
Dublin, The Studio, Merrion Row, Pictures by Paul Henry, July 1925, no. 33 bis.
Possibly Dublin, Combridges Gallery, Recent Paintings of Kerry and Connemara by Paul Henry, R.H.A, May 1935, no. 10.
Possibly London, Heal and Son, Pictures by Paul Henry, R.H.A., January 1946, no. 11.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Brought to you by

Alice Murray
Alice Murray

Lot Essay

Paul Henry often made a number of compositions of similar subjects and this bears a close resemblance to his West of Ireland Landscape with Cottages, 1924-25, and a picture of the same title, The Village by the Lake, 1925-30 (S.B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, 2007, nos. 614 and 632). He also frequently included in exhibitions of ‘Recent Paintings’ works done much earlier. Thus this picture, which dates from 1924-25, was also exhibited in his 1935 and 1946 exhibitions. Although painted in the West of Ireland, one cannot be sure of the precise setting for the picture. The distant mountain may be Corraun, near Achill Sound, but of this one cannot be certain. However, the strip of dark blue high ground running the width of the picture is a device that Henry often used as a means of concentrating one’s attention on the mountain behind, which is picked out with gentle modelling. The cloud, dominating the sky, and which is rendered with little impasto, is also typical of Henry and contrasts with the heavier impasto of the brushwork in the middle distance and the immediate foreground and which aids a sense of recession. Inscribed with the title on the reverse.

We are grateful to Dr. Brian Kennedy for preparing this catalogue entry.
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