Sir John Lavery, R.A., R.H.A., R.S.A.

Christie's, Dublin, 23 October 1989, lot 115;
Whyte's, Dublin, 28 November 2006, lot 91, where bought by the family of the present owner

STRUCTURE The board bows slightly but is sound. The work appears in excellent condition with rich impasto and strong colours. ULTRAVIOLET LIGHT Under UV light there appear to be a few minor areas of retouching in the clouds near the centre and one minor area near the lower left edge. The inscription and signature appear to have been strengthened by the artist. FRAME Held in a gilt plaster 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."

John Lavery first visited Kerry with his wife Hazel in 1913, staying at Killarney House on the estates of the 5th Earl and Countess of Kenmare. Captivated by its beauty, he intended to return in the near future but the outbreak of war thwarted his plans. Two notable works from this initial period include Lakes of Killarney (sold Sotheby's 2 June 1995, lot 292), and a study for the The Madonna of the Lakes, which inspired the background for his triptych at St Patrick's Church in Belfast.

Through the early twenties the Laverys frequently visited Dublin, but expeditions to rural areas remained hazardous. However, in 1924 Lavery finally set off for Kerry from Dublin to tour the south with the idea of producing a 'series of southern pictures' for a possible 'Irish' exhibition. Sadly the project was never realised but a body of paintings were nevertheless produced. At Kenmare he painted the gardens of the hotel and views of the Kenmare river, the most vivid of which is the present work.

The view of the river is seen from the shoreline down from the hotel. The colours are charged - warm pinks, searing blues and greens - the brushmarks lavish and free, and in the centre of the composition is the subtle suggestion of a rainbow. It is Lavery's most evocative rendering of the Kenmare River and encapsulates the serenity of an evening under the dramatic and fluxing Irish skies.