L12132

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Lot 143
  • 143

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

Estimate
80,000 - 120,000 GBP
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Description

  • Paul Henry, R.H.A., R.U.A.
  • The Edge of the Lake
  • signed l.l.: PAUL HENRY

  • oil on canvas

  • 43.5 by 59cm., 17¼ by 23¼in.

Provenance

Arthur Nicholson Esq and thence by descent to the present owner

Exhibited

Merrion Row, Dublin, The Studio, Pictures by Paul Henry, 1925, no. 2

Literature

S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, 2007, no. 624, illus. p. 226

Condition

STRUCTURE The canvas appears original and undulates slightly; otherwise the work appears in good original condition. ULTRAVIOLET LIGHT Under UV light there appear to be no signs of retouching. FRAME Held under glass in a Dutch 17th century style ebonised, ripple-moulded frame; unexamined out of glass.
"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."

Catalogue Note

The Edge of the Lake is an exceptional painting that puts Henry's technical skill on full display. The subject of the painting is almost certainly a scene in Connemara, and although Henry rarely dated his paintings, the panoramic approach to the composition and the vibrant use of colour point to a date around 1925. This painting fully demonstrates Henry's strong command of his palette, as he has created an opulent painting of complex tones through a limited palette of blues, whites, and greens. The complicated, sweeping perspective of the painting shows a mastery of composition, and the atmospheric use of tone and colour reveals a continued influence of his former teacher, James Abbot McNeill Whistler.  

We are grateful to S.B. Kennedy for his kind assistance with the cataloguing of the present work.