EVIE HONE | Untitled

Private collection, Ireland, from whom purchased by the previous owner in 1979 and thence by descent

Original canvas. There are some areas of craquelure mainly around the centre of the composition. Some minor surface abrasions in the corners and a small spot of paint near centre of left edge and another small spot near lower-centre of right edge in blue pigment. Small area of lifting paint in the outer brown section of pigment near upper right corner; otherwise the work appears in good overall condition. Under ultraviolet light certain areas fluoresce but it is difficult to read conclusively and these appear to be a result of the artist's pigments. Possibly a small spot of retouching near the above mentioned area of flaking paint. Held in a simple wood frame under 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."

This vibrant abstract composition completed in 1932, displays Evie Hone’s well established style strongly influenced by the Cubist artists, André Lhote and Albert Gleizes. In the years that followed the end of First World War, Ireland saw an increase of female artists emigrate to France to study modern French painting, and by the early 1920s Hone, along with fellow Irish artist, Mainie Jellet, moved to Paris to train under Lhoté in 1921 and later Gleizes from 1922-31. During the early period of these artists’ training their works are almost indistinguishable from one another. Evidently, Hone’s art was greatly inspired by the Cubist style and this particular painting would have been completed around the time of her transition to religious stained-glass compositions in the early 1930s. Hone uses a wide ranging colour palette, with darker tones dominating the outer parts of the composition, transitioning into lighter hues at the core. This harmonious configuration offers no clear subject matter, concentrating primlarily on colour, form, line and pattern, although it is well-known that Hone often based her abstract studies on religious themes.

Today it is considered that along with Jellet, Hone was one of the pioneering artists to bring a certain strain of Modernist art - inspired by Cubism - to the forefront of the Irish Art scene, subsequently influencing a new generation of artists that was to follow them.