Paul Henry, R.H.A., R.U.A.

De Veres, Dublin, 13 March 1990, lot 40, purchased by the Oriel Gallery, Dublin;
Private collection;
Oriel Gallery, Dublin, 2003;
Gorry Gallery, Dublin, August 2004;
Taylor Gallery, Belfast where purchased by the present owner in 2006

Dublin, Oriel Gallery, Exhibition of Paintings by Paul Henry and Frank McKelvey, 11 December 1990–26 January 1991;
Dublin, Gorry Gallery, Exhibition of 18^th, 19^th and 20^thCentury Irish Paintings, 2–12 March 2005;
Belfast, Taylor Gallery, An Exhibition of Fine Irish Paintings, 4-18 March 2006

S.B. Kennedy, Paul Henry, Yale University Press, 2000, p.209, no.526, illustrated

Original canvas. A few faint areas of craquelure in the sky, only visible upon close inspection otherwise the work appears in good overall condition with a lovely impastoed surface. Under ultraviolet light there appear to be a few minor isolated flecks of retouching in the sky. A larger area near the upper right edge and a few flecks to the peak stack in foreground. A few further minor isolated flecks in the foreground. Held in ebony rippled, 17th century style Dutch frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Executed in 1919, Western Skies is probably a scene in County Antrim and displays Paul Henry's sensitivity to this landscape and its fluctuating climate. The distinctive, changing light is reflected in the sky of billowing clouds - dark and light - that dramatically fill the composition. Underneath, the dark bog-land stretches into the distance, with silhouettes of peat stacks and flashes of water. From the right of the canvas, the linear brushwork denotes a sweep of rain moving across the landscape. The palette of restricted and tonal colours - soft whites, greys and browns - is deeply atmospheric and reveals a continued influence of his former teacher, James Abbot McNeill Whistler.