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Evie Sydney Hone

Ireland (1894 -  1955 ) Wikipedia® : Evie Sydney Hone
HONE Evie Sydney Untitled

Sotheby's
Sep 11, 2018
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Along with Evie Sydney Hone, our clients also searched for the following authors:
Louis Le Brocquy, Charles Jervas, Nathaniel Hone, Mary Swanzy, Daniel O Neill, Harry Aaron Kernoff, Markey John Robinson
Artworks in Arcadja
322

Some works of Evie Sydney Hone

Extracted between 322 works in the catalog of Arcadja
Evie Sydney Hone - The Bridge Bar (near Athlone)

Evie Sydney Hone - The Bridge Bar (near Athlone)

Original 1940
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Lot number: 40
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THE BRIDGE BAR (NEAR ATHLONE), 1940 Evie Hone HRHA (1894-1955) Signature: signed and dated lower right; inscribed with artist name and title on Dawson Gallery label on reverse gouache on panel 22 x 30in. (55.88 x 76.20cm) Provenance: Dawson Gallery, Dublin; Private collection; James Adam, 29 September 1999, lot 30 Private collection
Evie Sydney Hone - Cartoon For The Left Hand Stained Glass Panel, Naithi's Baptistry, Dundrum

Evie Sydney Hone - Cartoon For The Left Hand Stained Glass Panel, Naithi's Baptistry, Dundrum

Original 1933
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Lot number: 97
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Evie Hone CARTOON FOR THE LEFT HAND STAINED GLASS PANEL, NAITHI'S BAPTISTRY, DUNDRUM signed and dated l.r.:E. Hone. 1933 watercolour and gouache 33 by 25cm.,13 by 9¾in. Read Condition Report Register or Log-in to view condition report Or Gorry Gallery, Dublin, 1995 Catalogue Note Together with her artist and friend Mainie Jellet, Evie Hone was an important figure in introducing modern art to Dublin. They had both trained in France and studied under André Lhote and Albert Gleizes where they developed a strong appreciation for Cubism. Aside exhibiting in Dublin, Hone also exhibited at the Salon des Indépendants, Salon des Surindépendens and the Salon d\’Automne in Paris. Hone was deeply religious, even joining a community of Anglican nuns in Cornwall in 1925. Her religious devotion became a significant inspiration for her artwork. This is particularly apparent after her transition from painting to stained-glass designs in 1933. Encouraged by illustrator Arthur Rackham, Hone converted her first designs into glass. These first panels, consisting of an image of The Annunciation and two abstract designs, were placed into a window in St. Nathi\’s Church, Dundrum, Co. Dublin in 1934. The present work is one of these 1933 designs and demonstrates the skill with which Hone translated the Cubist style of her paintings into stained glass.
Evie Sydney Hone - Untitled

Evie Sydney Hone - Untitled

Original 1932
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Lot number: 9
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PROPERTY OF A PRIVATE COLLECTION Evie Hone UNTITLED Arabella Bishop Senior Director Head of Sotheby's Ireland + 353 1 644 0200 Evie Hone 1894 - 1955 signed and dated l.r.: E. Hone. 1932. oil on canvas 81 by 86.5cm., 32 by 34in. Read Condition Report Register or Log-in to view condition report Or Provenance Private collection, Ireland, from whom purchased by the previous owner in 1979 and thence by descent
Evie Sydney Hone -  Abstract Composition

Evie Sydney Hone - Abstract Composition

Original
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Lot number: 10
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Evie Hone HRHA (1894-1955) , Abstract Composition , Oil on canvas, 100 x 65cm (39¼ x 25½'') Signed and dated 1928 Provenance: From the collection of the late Dr Michael Wynne, former keeper of The National Gallery of Ireland and his sale in these rooms May 2005, Lot 88, where purchased by current owners. Exhibited: , The Abstract Eye: Mainie Jellett and Evie Hone , , The Derek Hill Glebe Gallery, Donegal June - September 2009; 'The Moderns , , IMMA, October 2010 - February 2011 Cat. No. 37; , Analysing Cubism , , IMMA, February - May 2013, The Crawford Gallery Cork June - September 2013, The FE Mc William Gallery, Banbridge September - November 2013; 'Irish Women Artists 1870 - 1970 , , Adam , s, Dublin - July 2014, The Ava Gallery, Clandeboye Estate, August - September 2014, Cat. No. 73. Literature: 'The Moderns , , IMMA, October 2010 - February 2011, full page illustration p.67; , , The Crawford Gallery Cork, full page illustration p.63; 'Irish Women Artists 1870 - 1970 , s, full page illustration p.89. Evie Hone studied with the Cubist painter André Lhote in Paris in 1920-1921. She and Mainie Jellett subsequently collaborated with Albert Gleizes, which resulted in the first exhibition of abstract art in Ireland in 1923. This used a Cubist aesthetic developed in Gleizes , s studio which the French artist called , translation , rotation , . As described in Gleizes , s 1923 book, , La Peinture et ses Lois , the artist begins with the basic shape of the support and paints its surface in one colour, proceeding to select colours and shapes which echo the form of the canvas. This is the static element of translation. In rotation, the Cubist element, the artist rotates these basic forms to create a dynamic composition which introduces the idea of time and movement into the work. This method was used by Hone in the construction of her abstract art throughout the 1920s and is evident in , , 1928. Against a mauve base Hone has created a geometric framework of greens and blues the angular forms of which mutate as they move towards the centre of the composition into more fluid and organic lines. These suggest the shape of a figure, akin to that of a religious icon. Gleizes, Jellett and Hone were all devoutly religious and shared a reverence for medieval sacred art and a commitment to an art practice that would offer a meaningful aesthetic to the wider community. At one level their abstract art was concerned with creating a spiritual art for the twentieth century. Unlike Jellett whose work was developing along similar proto-figurative lines in the late 1920s, Hone did not adopt religious titles for her work, sticking instead to neutral terms like Composition. This terminology discourages the viewer from looking for representational elements in the work and stresses instead its aesthetic components. Hone , s version of translation-rotation, while very close to that of Jellett , s, is considered to be , more intuitive, spontaneous and less rigidly theoretical , . One gets some sense of this in those parts of , where the lines end suddenly or mutate into a different colour. The reinforcement of the green in the upper right part of the composition also indicates Hone , s willingness to play with the limits of this style and its relationship to figurative art. The subtle repetition of rectangular floating forms of blue and bright green adds a note of dynamism and movement.
Evie Sydney Hone - St Martin Of Tours: Design For A Stained Glass Panel

Evie Sydney Hone - St Martin Of Tours: Design For A Stained Glass Panel

Original
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Lot number: 1583
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EVA SYDNEY \`EVIE\` HONE (1894-1955) ST MARTIN OF TOURS: DESIGN FOR A STAINED GLASS PANEL Signed, monotype 31.5 x 22.5cm. Provenance: By descent in the family of the late Hertha Phyllis Eason, an amateur artist in Dublin and a member of the White Stag artists' group. She was an acquaintance of Jack Butler Yeats and of Evie Hone. Exhibited: probably Dublin, Evie Hone Exhibition, 1958, no.13 (catalogue and another booklet accompany this lot) (3 items) ++ A very little foxing; generally good condition
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