NATHANIEL HONE, R.H.A. | ON THE BANKS OF THE SEINE
NATHANIEL HONE, R.H.A.
ON THE BANKS OF THE SEINE
initialled l.r.: N H
oil on canvas
61 by 91.5cm., 24 by 36in.
Original canvas. The work appears in good overall condition. There are some occasional and minor traces of craquelure in areas of the canvas which appear stable and are only visible upon very close inspection. There is a small area of minor paint losses near the upper-right corner, only visible upon closer inspection.
Ultraviolet light reveals small areas of flecked retouching in the foreground and foliage within the left half of the painting. Also a couple of small areas in the lower-right corner and along the right edge.
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."
Christie's, Dublin, 29 April 1985, lot 185;
Pyms Gallery, London;
Christie's, Dublin, 26 May 1993, lot 92
Kenneth McConkey, A Free Spirit: Irish Art 1860-1960, 1990, p.28, illustrated fig.13
Dublin, Dawson Gallery, Joseph Brennan Collection, 1950;
London, Pyms Gallery, Impressions and Realities, 1985, no.4 (illustrated in exh. cat.);
Dublin, National Gallery of Ireland, Nathaniel Hone the Younger, 1991, no.11 (illustrated under no.12 in exh. cat.)
The present work offers an altogether more tranquil, summer scene than Nathaniel Hone's more familiar works of the Irish coast, its turbulent seas and stormy skies. Those paintings date from the 1870s onwards when Hone had returned to Ireland; however prior to this, pioneeringly he had spent two decades immersing himself in artistic circles in France. He was associated with the Barbizon school, encountering Millet, Courbet and 'le père Corot', and spent time in Brittany, Normandy and Paris. At Fontainebleau he encountered the young Impressionists, including Monet, Renoir and Sisley.
Hone's work hovers between the Realists and Impressionists. Depicting rural life, they are natural, tonal and airy with a feeling for light as well as being painterly; yet he never abandons himself fully to colour and broken brushwork. The present painting demonstrates Hone's masterly sensitivities and relates closely to another work of the same title in the National Gallery of Ireland.