I R IS H A R T S A L E S
Nathaniel Hill 1861 - 1934
Oil on canvas 18 x 12 inches. Signed by the artist dated 1884
Price on application: firstname.lastname@example.org
Provenance: Mrs. Place;
by descent to her daughter:
dispersal sale, 16 Alma Road, Monkstown, Co. Dublin, Hamilton & Hamilton, 1st May, 1986, lot no 248;
Milmo-Penny Fine Art;
Private collection, Dublin
Royal Hibernian Academy, 1885, number 257;
‘Onlookers In France’, Crawford Municipal Art Gallery, Cork, 1993;
‘Peintres Irlandais en Bretagne’ Musée de Pont-Aven, France, 1999;
Irish Artists in Brittany, Crawford Municipal Art Gallery, Cork 200;
'Nathaniel Hill and the Bretons', Milmo-Penny Fine Art, December 2007
Dublin University Review, Illustrated Art Supplement, Dublin, London, 1885, p.14;
Campbell, Julian, ‘The Irish Impressionists’, National Gallery of Ireland, 1984, pp. 131, 132
Full details - Nathaniel Hill.
William John Hennessy 1839 – 1917
Breton Girl Returning from the Well
Oil on canvas. 48 x
Pendant labels verso
Provenance: G. and C.
Sadde, Dijon, France
Exhibited: Milmo-Penny Fine Art, December 2008
Price: Euros 7,500
Hennessy’s was preoccupied with the
portrayal of local people as they went about their daily work. The routine
of drawing water was a very common theme amongst his contemporaries. The
girl portrayed here has just filled her metal banded wooden pails, which she
carries with the aid of a metal hoop. The pails were attached to the hoop
and prevented the legs from being battered on the return journey. The device
does not appear frequently in Breton paintings but is often found in the
Normandy works by Jules Dupre where the hoop was used to carry milk pails
from the fields to the dairy. It was also used as far afield as America to
carry water from the well to the laundry. However, in this case, the water
is more likely to be for the household. Laundry in Brittany was normally
brought to the water. The wide flat stones, which span the stream in front
of the well in this painting, would have been placed there for this purpose.
Many wells in Brittany were regarded as holy places and were often protected
by elaborate stonework such as that shown here. The waterfall at the back of
the well was man-made for the purpose of keeping the water fresh and
oxygenated. The wild flowers on both sides of the sandy track are a feature
of many of Hennessy’s paintings. He was also known for his ability to paint
a good sky, and the fading light of evening is another feature of this work.
Its companion piece, A Summer Evening is dated 1886, and the current work appears
to be about the same date.
Further details -
William John Hennessy.
Nathaniel Hone RHA 1831-1917
Price on application;
Oil on canvas laid on board, 19 x 30 inches
John Chambers Collection, Dublin, 1992;
Private Collection, Dublin
Nathaniel Hone is perhaps best known for his
celebrated painting, Pastures at Malahide, which he donated to the
National Gallery of Ireland in 1907. Bodkin gives a
good description of the painting in his 1920 compendium, ‘Four Irish
Landscape Painters’. “The heavy rain cloud to the right is of reddish hue,
merging into cool purple grey. There is a little clear blue sky in the upper
left corner. A burst of sunlight illuminates the ploughed upland. The long
grove of trees in the background is dark, luscious green, composed mainly of
a mixture of chrome yellow and ivory black. The patches of ragweed scattered
through the pasture are painted with the same colour. The cows are red and
white. The work was done very rapidly and dexterously with fluid paint
richly, but thinly, laid.”
The pasturage was on Hone’s doorstep so it is not surprising that he
returned to it on regular occasions. However, thanks to the ever-changing
light and clouds rolling in off the sea, there was little fear of sameness.
The current view is taken from a slightly different angle the the NGI
painting and shows a closer view of the grove of trees. The contours of the
ploughed upland, which is set further off in the distance, provide a well
defined balance to the painting. In both works, the edge of the wood runs
down to a hedgerow, which acts a subtle demarcation in setting the dept and
perspective of the composition.
The atmospheric sky, confidently painted in broad strokes of the brush,
casts a soft glow on the white patches of the cattle and throws a delicate
light on the foreground grasses and the ploughed fields beyond. In common
with Pastures at Malahide, the outline of the trees is repeated in
the clouds, which float above them; a classical technique which indicates
Hone’s formal training. He captures the pose and shape of the cattle with
nothing more than a few delicately placed blobs of paint. No attempt is made
to depict detail, which is testament to the skill and mastery Hone had
developed by this time.
Further details - Nathaniel Hone.
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