IRISH SCHOOL 18TH CENTURY, Two Views of the Barne Estate, C...

Hammer

€9,500

IRISH SCHOOL 18TH CENTURY, Two Views of the Barne Estate, Co. Tipperary A pair, oils on canvas, each 46 x 68.5cm Provenance: Probably commissioned by Richard Moore as a wedding gift to his eldest daughter Henrietta Moore (1747-1831) on her marriage to Thomas Pepper (1733-1790) of Ballygarth Castle, Co. Meath; The Pepper family, hence by descent The Barne Estate, thought to have been established between 1710 and 1750 sits proudly in the abundant countryside setting of the Golden Vale in South County Tipperary. The stately home potentially incorporates an earlier 17th century abode and further evolved in the 19th century to reflect more continental sensibilities with a French château-style pitched roof. Today, it remains a commanding presence on the gentle rolling hills between the historic towns of Clonmel and Cahir, complete with 631 acres of fertile farmland and a feature lake. Large three storey house, early 18th century, with eleven bays, with the last two on each side projecting forwards. The centre features a front-piece of paired doric columns and entablature, surmounted by an aedicule of two engaged ionic columns and a pediment framing the central first-floor window. The roof was replaced in the 19th century with a high-pitched French chateau style roof with dormers. (Burkes’ Guide to Country Houses, p. 32) The Barne Estate is the former residence of the Moore family, under whom it has flourished for the past three hundred years. The Moore family was established in Clonmel from the early 17th century, with Richard Moore, a former glover arriving from Barnstaple, Devon in circa 1654. Moore made his wealth as a land agent and sheep farmer when wool was an asset and from there expanded through political appointments with financial favours from the Crown. This led to him becoming a prominent local figure as the High Sheriff in Waterford in circa 1666 and Tipperary in circa 1676. The Moore family became the local political force, replacing the Dukes of Ormond who had been the established rulers in that geographical area. Richard Moore’s lineage continued through his sons Stephen, who lived at Barne Estate and Thomas who resided at nearby Chancellorstown. The origin of Moore’s wealth as a landed sheep farmer and wool merchant can be traced to the roaring wool trade of Waterford, dating back to the Middle Ages of which Richard Moore profited. This is strongly acknowledged in this pair of 18th century landscape paintings. Both aspects of the house feature a flock of ewes peacefully residing on the lawns directly before the building. The idea of a ‘lawn’ as we understand it now with cropped grass was a relatively new concept dating to the 18th century, popularised by landscape designers such as William Kent (1685-1748) Lancelot ‘Capability’ Browne (1716-1783). Sheep were usually found past the ha-ha maintaining the sward but as the Barne estate never had such a division as a ha-ha it is likely that the flock would have been quite free to roam the immediate grounds to trim the herbage. We should note that it is likely that the artist is acknowledging the importance of the sheep as a major contributing factor to the Moore’s success by placing them prominently in the midground in both artworks. The oblique view of the house in particular, with the gentle peak of Slievenamon rising from the trees serves to further this image of the bucolic idyll. Landscape painting as we see it here was popularised in Ireland in the 18th century by leading figures such as Robert Crone (fl.1718-1779), John Butts (1728-1764), George Mullins (fl.1756-1765) and William Ashford (1746-1824). The ‘Grand Tour’ expeditions exposed Irish and British artists to the Grand Masters of the Continent, heavily influencing their approach to an Irish landscape. This swell of interest and application was further aided by the foundation of the Dublin Society in 1731 and its first school in 1746 and later the Royal Irish Academy (1755). Similarly, noted Irish philosopher Edmund Burke published his seminal treatise A Philosophical Enquiry into the Sublime and the Beautiful in 1757 which had a tremendous influence on landscape painters both in Ireland and abroad. It is quite evident that this pair of late 18th century paintings of the Barne Estate are absolutely typical of the type produced by the aforementioned leading artists of the period. They remain an important acknowledgment of Ireland’s vigorous merchant history and Tipperary’s legacy as a rich and profitable seat of note. Given that these paintings were most certainly painted in the late 18th century, reflecting the earlier roof style and the unmistakable influence of the Landscape Garden style popular at that time, we can safely assume that the artist was commissioned to produce the pair to mark an occasion. It is likely that these pieces were produced as a sentimental wedding gift to mark the occasion of Henrietta Moore’s (1747-1831) marriage to Thomas Pepper (1733-1790) of Ballygarth Castle, Co. Meath in 1772. Henrietta being the eldest daughter of Richard Moore (Stephen Moore’s son) of the Barne estate. Stephanie Brennan, September 2024