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Los 1194A
** Bowater (20th century). Lake landscape with a ruined castle, oil on canvasboard, signed, 42 x 69cm. Framed; together with a pair of floral still life studies, watercolour, signed R.W. Witt, Framed (3)Condition Report: May benefit from a light clean. Watercolours rather grubby, may need a clean.
Los 1200
Continental School (probably 18th century), Portrait of King Henry VIII, oil on canvas, 64 x 54cm. Framed. together with a pair of stipple engravings of portraits after Holbein (3)Condition Report: Relined, paint very thin in places, some evidence of old retouching under u.v. light, needs cleaning and some retouching.
Los 1205
Archibald Webb (British exh. 1886-1892), A riverside town, with boats, oil on canvas, signed and dated 1889 lower left, 31 x 61cm. Framed.Condition Report: Small hole to canvas upper right, several tears to canvas lower right, old patch middle right, some retouching visible under uv light, needs patching or lining and restoration.
Los 1210
English School (late 18th century), Portrait of a young man, oil on canvas laid on board, label verso 'Desmond Cokes Collection, traditionally a self portrait by Morland', 63 x 47cm. FramedCondition Report: In original carved giltwood slip frame.Canvas laid on board, some bitumen/paint shrinkage, very dirty, heavy varnish (possibly over the surface dirt), some old retouching visible under u.v. light, needs cleaning and restoration.
Los 1211
Louise Vaucorbeil Rang-Babut (1806-1884). Portrait of two children in an interior, oil on canvas, signed and dated 1854, 98 x 130cm. FramedCondition Report: Purchased in an auction at Weller Clark Gammon 2007.Relined and restored, scattered retouchings throughout visible under u.v. light, good overall appearance.
Los 1261
§ Piper (John), John Piper's Stowe, limited edition, numbered 36, one of the first fifty of 300 copies signed by the artist, incorporating two additional signed and numbered prints of The Oxford Bridge and Boycott Pavillion, Stowe and Palladian Bridge at Stowe, both signed and numbered 36/50; illustrations, some colour, list of subscribers, original marbled cloth, original glacine wrapper, Hurtwood Press in association with The Tate Gallery, 1983. Folio. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information. Condition Report: Occasional light foxing, title page loosely inserted, some loss to glacine wrapper.
Los 192
Domenikos Theotokopoulos, auch genannt "El Greco", 1541 Candia, Kreta – 1614 Toledo, zug.PORTRAIT EINES MANNES MIT HALSKRAUSEÖl auf Leinwand. Doubliert.69 x 57 cm.In mit Akanthusblattrelief verziertem und vergoldetem Rahmen.Beigegeben diverse Gutachten: Rodolfo Pallucchini, 1945. Prof. G. Fiocco, 1945. Prof. Fernando Ghedini, 1940. Prof. Ugo Nebbia, 1940. Luigi Coletta. Sowie technische Analyse zur Altersbestimmung aus dem Jahr 2022. Vor abgedunkeltem Fond das leicht nach rechts gerichtete Brustportrait eines Mannes fortgeschrittenen Alters mit einer weißen Halskrause, die ein kippendes Oval im Raum nachzeichnet. Der schwarze, in späterer Zeit überarbeitete Umhang wird dezent durch lichtspiegelnde Kanten akzentuiert. Rest. (1380491) (13)Domenikos Theotokopoulos,also known as "El Greco", 1541 Candia, Crete – 1614 Toledo, attributedPORTRAIT OF A MAN WITH A RUFF Oil on canvas. Relined. 69 x 57 cm. Enclosed various expert’ reports: Rodolfo Pallucchini, 1945. Prof G. Fiocco, 1945. Prof Fernando Ghedini, 1940. Prof Ugo Nebbia, 1940. Luigi Coletta. As well as technical analysis from 2022. In front of a darkened background, the slightly right-facing bust portrait of a man in advanced age with a white ruff tracing a tilting oval in space. The black cloak, reworked at a later date, is discreetly accentuated by light-reflecting edges. Restored.
Los 358
Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCHAFT IM LICHT EINES SPÄTEN NACHMITTAGS MIT ANTIKEM TEMPEL DER SIBYLLEÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby‘s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13814015) (18)Nicolaes Berchem,1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBILOil on canvas.57 x 65 cm.Signed “N Berchem” on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist’s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem’s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem’s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33).There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version”, copied from the present painting with minor alterations: was at Sotheby’s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin.3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f”. This version shows minor differences in the sky and trees.4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw.5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) – prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.
Los 50
Sean Keating PPRHA RSA RA (1889-1977) Aran Harbour Oil on canvas, 70 x 91cm (27½ x 35½") SignedProvenance: Possibly sold through Victor Waddington between 1947 and 1950; Private collection, Dublin During the 1940s Seán Keating painted a series of images based on a similar compositional arrangement, all of which focus on the peace and quiet at the end of a day’s work for the islanders. He exhibited several of the paintings with the Victor Waddington Gallery in Dublin using titles such as End of the Day and Conversation Piece. However, the artist rarely recorded the titles of his paintings, so while this fine example may have been exhibited with the Victor Waddington Gallery, the original title has been lost to time. It is of note that throughout his career the artist was keenly interested in the atmospheric conditions created by the ever-changing weather on the islands, and many of his on-site sketches are overwritten with his notes on the time of day, the effect of the wind and clouds on the sea below.Similar to other examples in the series, Keating shows two women of the islands, one looking out to sea, the other peering out towards the viewer. The limestone foreground on which they sit, cast into dynamic light and shade by the setting sun, frames the view to the anchored fishing boats and the vast tranquil ocean under a windless sky beyond. It is a scene in which texture, tone, and the play of light demonstrate the artist’s concentration on the atmospheric conditions to produce the overall narrative in his work. The result is a pleasing view of unruffled calm, a painterly window into a peaceful yet vibrant place of charm to Emergency-tired audiences in late 1940s Ireland. The context in which Keating painted the series of the Aran Islands to which this example belongs, and which were much sought after at the time, deserves mention. Throughout the Second World War, during which Ireland was neutral, Keating was constantly reminded of the wars of the past, of which he wrote in his personal notes that ‘all the naked cruelty and horribleness of everything yawns wide like the mouth of a savage beast.’ In a world yet again gone mad, the artist’s deceptively idyllic paintings of Aran, remain just as popular as an anecdote to the ‘savage beast.’ Dr Éimear O’Connor HRHA, HRUA.Author, Seán Keating: Art, Ireland, and Building the Irish Nation, Irish Academic Press.
Los 37
Paul Henry RHA (1877-1958) Paysage Sinistre (1914-15) Oil on canvas, 30.5 x 40.5cm (12 x 16") Signed Provenance: Samuel Figgis, acquired from the artist c. 1914/15 and thence by descent. Exhibited: Belfast, The Carlton, Donegall Place, 15 - 29th March, 1915 'Pictures in the West of Ireland By Mr & Mrs Paul Henry'. Literature: S.B. Kennedy, 'Paul Henry, Paintings, Drawings, Illustrations', Yale, 2007, Ref. No. 406Painted in 1912 and acquired by Samuel Figgis at that time, Paysage Sinestre, an unusually titled work is from Paul Henry’s early Achill period. Samuel Figgis had a cottage on the island and it is thought that Henry may have stayed there, perhaps even paying his way with the presentation of a painting or two to his benefactors.The title is perhaps a reference to a storm that is apparent, incoming from the north west. The sectional composition of this pure landscape and the layering of the complex cumulus clouds lends an ominous tone to the scene in a landscape that the artist was only just getting to grips with, as here, capturing the atmosphere of the scene in strictly representational terms.Throughout the early years of his stay on the island the intensity of his relationship with the landscape was developing. He was completely infatuated with the landscape and later wrote ‘I often think that you cannot do justice to this great country – the west of Ireland – except in words and music. God knows I wish I had the gift of one or other as the place is inspired and inspiring. I am so enamoured with the place that I don’t think I will ever leave it. I pine for Achill every day.’The handling of the grassy landscape, the cliffs and the frothy seas are expressed in Paul Henry’s typically fluid brushstrokes and in his characteristic application of a limited range of paint and his signature translucent glazes. While the clouds suggest the portent of bad weather to come, there is a stillness and calm not to mention a solitude born of a preference for Paul Henry in painting at times of the day when the light was cool and soft.*May be subject to EU Importation charges. Please see page 168.
Los 38
Colin Middleton RHA RUA (1910-1983) The Garry Bog, Portrush, (1958) Oil on canvas, 50.5 x 76.5cm (20 x 30") Signed; also signed, inscribed and dated 'Portrush, August 1958 verso'Provenance: With John Magee Gallery, Belfast (label verso); Private CollectionExhibited: Dublin, Ritchie Hendrick's Gallery, October 1958, Paintings by Colin Middleton, cat. no.14; Belfast, John Magee Gallery, November 1962, Colin Middleton: Paintings 1940-1962, cat. no.31 (exhibited as The Garry Bog I)The second half of the 1950s was a time of transition for Colin Middleton in a number of ways. After six intense years, he and his dealer Victor Waddington had stopped working together in 1955 and that year Middleton took a job as art master at Coleraine Technical College. Having exhibited successfully in Dublin, London and America in the early 1950s, Middleton now had no outlet for his paintings for several years, although he continued to work regularly.The north coast provided a very different landscape from that of County Down, which had inspired many of the works shown with Waddington, and this move turned out to be as liberating and as influential as the move to Strangford had been in 1949. Middleton was always extremely sensitive towards individual places, responding not only to their visual appearance but also to mood, a particular effect of light or weather and even to aspects of the physical and geological structure.The development of Middleton’s work in the late 1950s is a revealing insight into the transition from the colourful expressionist paintings that preceded them to the more austere and abstracted manner that dominated the 1960s. The Garry Bog, based on an area just outside Ballymoney, demonstrates the meeting-point of these styles. It retains the energetic paint surface of earlier works, with rhythmically swirling brushstrokes in the foreground and dabs of dramatic autumnal colour, while introducing a more stylised treatment of the sky and using repeated simplified forms of turf and rocks to lead the eye through to the high-toned fields on the horizon.The new direction in Middleton’s work was demonstrated in two substantial solo exhibitions, his first with Ritchie Hendriks in Dublin in 1958, and an exhibition with the Magee Gallery in 1962; the present painting was included in both of these.
Los 19
Rowan Gillespie (b.1953) Peace II (1998) Bronze on a circular limestone base 78cm (30¾") high Signed, inscribed and dated on the base No. 2/9Provenance: With the Solomon Gallery, Dublin, where purchased by the present owners. Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, 2023
Los 20
John Shinnors (b.1950) Black and Green Scarecrow, Maidstone Bridge Oil on linen, 60 x 80cm (23½ x 31½") Signed and inscribed with title versoGreen is not quite one of the core colours in John Shinnor’s exceptionally spare palette, but when he turns to it, he uses it to great effect. This parsimony with green is quite an achievement, given that he lives on an island celebrated for its forty shades. Shades and nuances, but of blacks, greys and whites, dominate his paintings - he habitually uses five different hues of black, he noted once - with red, yellow and subtle blues in support.Shinnors delights in moments of visual ambiguity and confusion, something he traces back to a moment when, having established himself as a virtuoso painter of magic realist compositions, he became dissatisfied. One morning at a fishmongers he was transfixed by the sight of mackerel laid out on a tray, translated into an abstract arrangement of pattern, light and contrast. It was as though he was really seeing them for the first time. The idea of the familiar, tangible world transformed into a complex pictorial abstraction, while retaining the power of the source image, stayed with him.In his work since, as well as adhering to a tight colour palette, he has been drawn to an eclectic repertoire of motifs: those fish, swallows and other birds, Frisian cows, cats, zebra crossings, Loop Head lighthouse, kites and scarecrows. He has written of how he grew up in a sexually repressive environment, created not just by conservative, Catholic Ireland but by his forbidding, puritanical father. Still a child, he happened upon a fetishistically arranged mannequin in a remote haggard on a farmer’s land, something that haunted him later as a symbol of a society that banished expression of sexuality and the body. Scarecrows in various forms recur in his paintings.After just one year at art school in Limerick he set off for England, taking whatever employment he could - including being a postman - and busking at weekends. In all his time in England he made just one drawing, he later noted, but when he arrived back in Limerick began painting, without any great ambition of being an artist.This painting combines two motifs in a striking, abstracted arrangement. The vertical green of the almost cruciform scarecrow form on the left is echoed in the red bridge or crane-like form on the right and along the top, with a black-white rhythm running across the composition and opening up depth. Characteristically, Shinnors offsets the potential symmetries: the green band is skewed, but its drift to the left is anchored by the firm red structure, its diagonal bands recalling steel bracing - of the rail bridge mentioned in the title?. It’s notable that green, rather than the more forceful red, provides the dynamism in the composition.Aidan Dunne, November 2023
Los 29
James Arthur O'Connor (1792 - 1841) A Clearing in a Forest with Figures on a Path by a Stream Oil on canvas, 72.5 x 93.5cm (28½ x 36¾") Signed and dated 1825One of the largest and most impressive works by the artist to come to market in recent decades – and prior to its rediscovery in a French private collection unknown to scholars and collectors alike – this is a truly magnificent example of Irish landscape art, unusual both in the grandeur of its conception and the bravura handling of paint in its execution. Impressive in scale, the landscape is at the same time a masterpiece of detail, palette and texture. It is perhaps best described as symphonic in the complex richness of its multi-layered surface but somehow the disparate elements coalesce into a harmonious and pleasing whole.The mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. A sketchbook of 1822 (National Gallery of Ireland) shows his travels around the south of England in search of subject matter while in 1824 he experimented with etching. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.Through the early ‘20s he continued to paint Wicklow landscapes. In 1825 in a work in the Victoria and Albert Museum, London, he revisited the Westport subject matter with which he had engaged in the previous decade and here again memories of Ireland are clear, if less topographically specific with the rocky stream inevitably reminding of his beloved Dargle River. This is one of a series of generally serene compositions showing travellers on a path by a wood including another landscape of 1825 (Gorry Gallery, 2023) and a work of the following year in Nottingham Castle Museum. However, it surpasses all other works of the 1820s in the intricate complexity of its pattern making as various paths penetrate the picture plane. The play of light and shade as the eye is drawn by human activity into the forest – and back again – is only matched by the subtlety variegated palette as autumn imparts golden richness of tone to the verdure. James Arthur O’Connor, was born in 1792 at 15 Aston’s Quay, Dublin, the son of an engraver and print seller. He first exhibited with the Society of Artists in 1809 when he showed The Card Players. This subject piece was to be something of a false start as his interests thereafter were to lie almost exclusively in landscape, and specifically the Irish scenery which he loved. The artist was, however, to spend a large part of his career in England, also making several extended tours of the continent. Together with Francis Danby and George Petrie, he travelled to London in 1813, but returned the following year to care for his orphaned sisters. His first great series of topographical landscapes was of Westport, executed for the Marquis of Sligo in 1818/19 (private collection). To the same years can be dated the impressive series of Ballinrobe house and demesne (NGI). Although he met with some initial success at home (winning a premium of twenty five guineas from the Royal Irish Institute), in, or about, 1821 O’Connor returned to London and, over the following years, he exhibited landscapes at the Royal Academy, the British Institution and the Society of British Artists, of which he was elected a member.In 1825, the year he painted this large work, O’Connor moved to Hampstead where his friend Danby, as well as John Constable, were neighbours and the following year he spent at least six months in Brussels where, it seems, he painted a rather atypical view, The Field of Waterloo (private collection). While his correspondence shows that he was acutely aware of the innovations in landscape painting of both Constable and Turner, it is also tempting to hypothesize continental influences. Indeed, O’Connor made several trips to Europe, meeting with some success in Paris, where he was apparently patronized by King Louis Phillipe. Indeed, given the longstanding French provenance of this notably distinguished work it is likely that it was one of the works that O’Connor brought with him to the continent in the 1820s as a calling card to showcase his art. Certainly it can be viewed as a summation of the different strands within his art up to this point and the proud, even programmatic nature of the signature argues for the significance that O’Connor afforded to the painting. However, from about 1833 failing eyesight and general ill health curtailed O’Connor’s career, although he was greatly helped by a generous commission from Sir Charles Coote of Ballyfin, which was paid for in advance. O’Connor died in poverty in London in 1841. His fellow artists, led by his compatriot the President of the Royal Academy Sir Martin Archer Shee, organized a subscription for his widow.O’Connor’s obituary in the Dublin Monthly Magazine for Apr his character and art. ‘O’Connor was a man of simple, quiet, unsophisticated feelings, alive to the simple charms of nature, and awake to her slightest impulses. He was impressed by her sublimity and grandeur and artificially cultivated scenery was not to his taste’. O’Connor is one of the most capable and interesting of all Irish landscape painters, and comes close to matching the achievements of the eighteenth-century school: as one of his earliest biographers put it, ‘he was a poet with the brush, and exquisitely reproduced the impressions inspired by the more romantic and solemn aspects of nature’. It is pleasing that this, one of his lost masterpieces, has finally been identified and indeed has been repatriated to Ireland after its long sojourn in France.
Los 4003
Alinari, Leopoldo -- Palazzo Publico, Siena; Views of Siena and Perugia. Circa 1854. 1 large-format gold-toned salted paper print and 2 albumen prints. 26 x 33,5 cm and 18 x 24 cm. Each with number 206, 390 and 364 in lower right in the negative, each mounted to board (edges slightly time-stained and some spots), first print with photographer's Fratelli Alinari, Fotografi Firenze, Presso Luigi Bardi blindstamp below the image on the mount, smaller prints annotated in ink below image on the mount. Leopoldo Allinari was an Italian photographer known for his pioneering work in the 19th century, specializing in architectural photography. He was one of the founders of the Fratelli Allinari studio, a renowned photography and publishing company in Florence, Italy, and played a significant role in docu- menting the art, architecture, and cultural heritage of Italy. The studio became known for its vast collection of photo- graphs, which contributed to the preservation and dissemina- tion of Italian art and culture. – Spot in sky area, light fading in left edge, otherwise in very good condition.Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, pp. 164-165.
Los 4004
Alinari, Leopoldo -- Pisa: Dome and Baptistry; Dome portal; Madonna de la Spina Church; Dome with Campanila. Circa 1854-1860. 3 large-format gold-toned salted paper prints and 3 albumen prints. Between 32 x 41 cm and 18 x 24 cm. Most with number 185, 183, 47 and 44 in lower right in the negative, each mounted to board (edges slightly time-stained and some spots), larger prints with photographer's Fratelli Alinari, Fotografi Firenze, Presso Luigi Bardi blindstamp below the image on the mount, smaller prints annotated in ink below image on the mount. Some light fading in edges, otherwise in very good condition.Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, pp. 164-165.
Los 4008
Altobelli, Gioacchino -- Pope Pius IX blessing his troops for the last time before the capture of Rome, April 25, 1870. Large-format gold-toned albumen print. 26,5 x 36,5 cm. Mounted to original board (a few light foxing spots), photographer's blindstamp below image on mount.Gioacchino Altobelli‘s work was distinguished by elegant com- positions featuring soldiers and high-society personalities, and he later applied for a brevet for his innovative technique of applying color to photographic images. His work recorded sig- nificant historical events, such as the capture of Rome by Piedmontese troops in 1870, marking the end of Papal power and the establishment of the Kingdom of Italy. – A few light surface scuff marks, some light foxing in sky area, otherwise in very good condition. – With: Fratelli d'Alessandri (Antonio d'Alessandri [1818-1893] and Paolo Francesco d' Alessandri [1824-1889] and unknown. Portraits of noblemen and high-ranking religious figures of the Papal State and other Roman figures. Late 1860s. 11 finely hand-colored carte-de-visites and 1 albumen print, all mounted to one board (45 x 60 cm).
Los 4017
Baldus, Edouard-Denis -- Notre Dame. Circa 1856. Albumen print. 43 x 33,5 cm. Matted and framed under museum glass in wooden frame.Known for his pioneering role in 19th century architectural and landscape photography, the French photographer Édouard Baldus contributed significantly to the use of photography as a tool to document and preserve architectural heritage. His photographs of Notre Dame are crucial historical records that capture the intricate architectural details and the restoration process of the cathedral in the mid-19th century. – A few light spots and two foxing spots in upper right, otherwise a fine tonal print in very good condition.Provenance: Uta and Wilfried Wiegand Collection
Los 4018
Baldus, Edouard-Denis -- Notre Dame, Paris. 1860s. Albumen print. 21,5 x 28,4 cm. Mounted to original board (some light foxing spots and light traces of use), photographer's signature stamp in lower right on the mount, hinge-mounted along upper edge to window mat.A few small spots in sky area, otherwise a strong print and in very good condition. Provenance: Uta and Wilfried Wiegand Collection
Los 4019
Beato, Felice -- "Tangkoo Fort after Its Capture, showing the French and English Entrance, August 10th, 1860". 2-part albumen print panorama. 23 x 57,8 cm. Annotated in English in ink/pencil on verso, taped together at center on verso with paper strip, hinge-mounted in mat.The Italian-British photographer Felice Beato took a series of photographs during the Second Opium War (1856-1860) after the capture of Tangkoo Fort, which today are among the most important documents in the history of photography. The pano- ramic photo offered here shows the enormously large fort in an exterior view after the end of the battle.Lit.: Anne Lacoste, Felice Beato. A Photographer on the Eastern Road (exhibition catalogue). Los Angeles 2010, ill. plate 106. – Fade line and some buckling in center, some light fading in edges, light handling marks, some light foxing spots in sky area and soiling in upper area of left print, otherwise in good condition.Lit.: Anne Lacoste, Felice Beato. A Photographer on the Eastern Road (exhibition catalogue). Los Angeles 2010, ill. plate 106. Provenance: Robert Lebeck Collection
Los 4031
Daguerreotypes -- Photographer: Southworth & Hawes (active 1843-1863). Group family portrait. Early 1840s. Quarter-plate daguerreotype opened and newly sealed and paper taped.Southworth & Hawes, the renowned daguerreotype studio founded in 1843 by Albert Sands Southworth and Josiah John- son Hawes, excelled in creating striking and innovative photo- graphic portraits. Their work transcended traditional portrai- ture, capturing not only the physical features but also the inner character and essence of their subjects, setting new standards in the art form. – A few light scratches on surface, some oxidation marks in lower edge, otherwise in good condition.Lit.: Grant Romer/Brian Wallis. Young America, the Daguerreotypes of Southworth & Hawes. 2005, ill. 1785, p. 458.
Los 4032
Daguerreotypes -- (Most probably from a Berlin studio). Portrait of a girl and her doll. Late1840s. Sixth-plate daguerreotype, in original glass cover with paper mat and paper taped (edges slightly rubbed), unopened. A few light scratches in left edge, otherwise in near excellent condition.
Los 4038
India -- Photographer: Charles Shepherd (active 1858-1878), John Murray (1809-1898) and unknown. The Durbar of 1877 or the so-called “Delhi Proclamation”. 24 large-format albumen prints. Most ca. 22 x 27 cm. Mounted to board (slightly warped, some light foxing), titled in ink (2 colors) below the images on mount.The Delhi Proclamation, also known as the Royal Proclamation, marked a pivotal moment in British India‘s history, signifying a major shift in British governance of the Indian subcontinent. Although Queen Victoria declared herself Empress of India during this event, she was not physically present in Delhi. The proclamation was delivered by Lord Lytton, representing the Queen, and was read in both English and Urdu. In this proclamation, Queen Victoria expressed her intention to adopt the title of Quaisar-i-Hind, reaffirming its permanence. She also emphasized her concern for the welfare, health, and religious freedom of her subjects. However, the Durbar ultimately served as a declaration of imperial authority, reinforcing the Indian people‘s status as subjects of the British Empire. The collection includes several large group portraits from 1875 featuring high-ranking military officers and colonial officials. Additionally, two photographs depict the Prince of Wales and his staff in Bombay and Lahore, while two more photos taken by John Murray in 1859 showcase Indian monuments. – Some prints slightly faded in edges, otherwise most in good condition.Lit.: Julie F. Codell (Ed.). Power and Resistance - The Delhi Coronation Durbars 1877-1903-1911. (The Alkazi Collection of Photography) Mapin 2012.Provenance: Günter Heil Collection
Los 4040
Italy -- Private souvenir album with views of Siena and other Italian cities and landmarks. 1891. 50 albumen prints. Various sizes, most circa 12 x 17 cm. Mounted to album boards (slightly warped), bound in contemporary half leather album (edges rubbed, spine cracked) with gilt-stamped title on front cover.A few with some foxing spots, some with light fading in edges, otherwise most in very good condition with strong contrasts and rich tones.
Los 4045
MacPherson, Robert -- (Attributed to). View of the Temple of Hercules and Santa Maria in Cosmedin, Rome. Circa 1860. Large-format, gold-toned albumen print. 21,5 x 40,5 cm. Mounted to cream card (slightly soiled), annotated in ink on mount, photo of equestrian monument of Marcus Aurelius on mount verso. Some light foxing spots in sky area, otherwise in very good condition.Lit.: Dietmar Siegert. Rom vor hundert Jahren. Photographien 1846-1890. Munich 1985, ill. p. 31.
![[*] Marconi, Gaudenzio -- Male nude study. Circa 1875. Albumen print. 26,4 x 17,4 cm. Number in negative in lower portion, mo](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/8ad1edcc-6c7c-45eb-abc0-b0b600b5bab3/468x382.jpg)
Los 4046
[*] Marconi, Gaudenzio -- Male nude study. Circa 1875. Albumen print. 26,4 x 17,4 cm. Number in negative in lower portion, mounted to board (43,1 x 31,1 cm, slight edge wear and buckling, light soiling). Gaudenzio Marconi was a Swiss-Italian photographer celebrated for his academic nude studies, which are notable examples within the 19th-century French tableaux vivants tradition. In these compositions, often set against unadorned backgrounds or simple landscapes, Marconi displayed a keen focus on the sculptural qualities of the human form, emphasizing the dynamics of muscular movement. His photographs became a valuable resource for accomplished artists and students alike, with Auguste Rodin (1840-1917) enlisting Marconi's assistance during the creation and subsequent documentation of his influential sculpture "The Age of Bronze" in 1877. – Some light surface scuff marks, otherwise a strong print in very good condition.
![[*] Mylius, Carl Friedrich -- Early views of Frankfurt am Main: Dom, Römerberg, Gutenberg monument and Goethe monument. Ca. 1](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/dce9acd4-cf14-4669-b178-b0b600b5bf7e/468x382.jpg)
Los 4049
[*] Mylius, Carl Friedrich -- Early views of Frankfurt am Main: Dom, Römerberg, Gutenberg monument and Goethe monument. Ca. 1860. 4 albumen prints mounted to board. Each circa 23 x 17 cm (30 x 23 cm). Each signed in lower right corner on mount recto; annotations in pencil on mount verso. Carl Friedrich Mylius, a German artist proficient in painting, lithography, and photography, is known for his early architectural depictions of Frankfurt am Main. His photographic oeuvre constitutes a valuable archive of the 19th-century transformation of Frankfurt, focusing on the medieval Old Town rather than the contemporary architectural developments typical of that period. – Some fading and foxing, some light surface scuff marks, otherwise in good condition.
Los 4053
Ninci, Giuseppe -- Colosseum seen from the via Sacra, Rome. Mid-1860s. Large-format albumen print. 27 x 38 cm. Mounted to original board (slightly soiled/toned, a few tears in edges), photographer's blindstamp below image on mount.Giuseppe Ninci learned photography while he was employed as an art appraiser at Tommaso Cuccioni's studio in Rome. Although much of his personal life remains a mystery, historical records reveal that he was involved in the supply of photographic chemicals and sold photographs created during his time at Cuccioni's studio. Ninci eventually established his photography studio in Rome around 1866, leaving a notable legacy with works like an eight-part folding panorama of the Roman Forum. – Slight fading in parts of edges, a few light scuff marks, otherwise in very good condition. – With: Photographer unknown. View of Bizzaccheri Fountain with Temple of Hercules, the so-called Vesta Temple. 1870s. Large-format albumen print. 27 x 37,5 cm. Mounted to board, matted and framed under museum glass in wooden frame (62 x 71 cm). - Faded in right and lower edge, otherwise in good condition.Provenance: Uta and Wilfried Wiegand Collection
![[*] Perscheid, Nicola -- The composer Edvard Grieg. Circa 1900. Vintage photogravure. 15,1 x 11,7 cm (21,6 x 17 cm). Photogra](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/fc0ffea7-4edc-40e1-b25f-b0b600b60949/468x382.jpg)
Los 4055
[*] Perscheid, Nicola -- The composer Edvard Grieg. Circa 1900. Vintage photogravure. 15,1 x 11,7 cm (21,6 x 17 cm). Photographer's name, negative number and caption printed in lower margin; annotated in pencil on verso. Nicola Perscheid, renowned for his portraiture marked by adept soft focus and the use of natural light, possessed a unique talent for capturing the character and essence of his subjects during the late 19th and early 20th centuries. In this photograph, Perscheid portrays Edvard Grieg, a celebrated Norwegian composer and pianist famous for his Romantic-era music. – Some foxing, especially in margins, otherwise in good condition.
Los 4060
Sebah, J. Pascal -- Views of Constantinople. 1870s-90s. 4 large-format albumen prints. Various sizes between circa 26 x 34 cm and 18 x 23 cm. Most signed and titled in the negative in French in lower edge, mounted to board (slightly soiled), annotated in black ink below images on the mounts.Pascal Sebah's photographs of Constantinople stand out due to their exceptional artistic quality, capturing the city's iconic landmarks, daily life, and architectural details with remarkable precision and a keen eye for composition. This collection comprises images of the Fountain of Fresh Waters of Asia (Fontaine des Eaux Doux d'Asie), the Turkish Cemetery in Scutari, a Tomb in Eyoub, and a Fountain within Yeni Djami. – Some with light fading in edges, a few light surface scuff marks, otherwise in good to very good condition with strong tones. – With: Antonio Beato (1835-1906). View of the Citadel and Mamluk Tombs, Cairo. 1870s. Albumen print. 30 x 25 cm. Tipped in corners to card. - Handling creases/marks, some surface scuff marks and small spots in right upper area.Provenance: Uta and Wilfried Wiegand Collection
Los 4069
Switzerland -- Photographer: William England and Adolphe Braun. Views of Switzerland including an Alpine landscape, the Rigi train and view of Bern. 1860s/70s. 3 albumen prints and 1 salted paper print. 19 x 16 cm and 18 x 25 cm. Mounted to original boards (soiled, some with light foxing), 2 with printed text below images on mounts.William England and Adolphe Braun, both renowned 19th-century photographers, produced captivating images of Switzerland, showcasing its majestic landscapes, charming villages, and the grandeur of the Swiss Alps. Their work played a crucial role in popularizing Switzerland as a travel destination and is celebrated for its artistic value, also providing an important historical record of the country's stunning landscapes during the Victorian era. – Some surface scuff marks, some mirroring near edges, one slightly faded, otherwise with strong tones and in good condition.
Los 4071
Talbot, William Henry Fox -- "Nelson's Column under Construction, Trafalgar Square, London, April". 1844. Salted paper print from a calotype negative. 17 x 21,2 cm (18,6 x 22,6 cm). Annotated LA 309 in ink on verso, hinge-mounted in upper edge to window mat. William Henry Fox Talbot, a 19th-century English scientist and pioneer in the field of photography, is renowned for inventing the calotype process, a major advancement in early photography that enabled multiple prints to be made from a single negative. This photograph shows the unfinished base and part of the shaft of Nelson’s Column in Trafalgar Square, with the early 18th century church of Saint Martin-in-the-Fields in the background. Other examples of this image are in the collections of the Metropolitan Museum, the Museum of Fine Art Houston and the Getty Museum. – Faded, a few light handling marks, otherwise in good condition.Lit.: Larry J. Schaaf. The Photographic Art of William Henry Fox Talbot. Princeton 2000, see plate plate 81, p. 194 and cover, showing detail.Provenance: Uta and Wilfried Wiegand Collection
![[*] Völkerling, Gustav -- Tree study from the series "Dessauer Eichen (Oaks in Dessau)". 1859. Varnished salted paper print w](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/cd38d8b0-7bef-47f3-abca-b0b600b63d16/468x382.jpg)
Los 4078
[*] Völkerling, Gustav -- Tree study from the series "Dessauer Eichen (Oaks in Dessau)". 1859. Varnished salted paper print with rounded corners. 32 x 25,5 cm. Signed and dated by the photographer in ink in edge lower left, mounted to original board (a few spots) with applicated frame line, annotated in pencil in lower edge.Gustav Völkerling, a skilled German artist based in Dessau during the mid-19th century, transitioned from portrait painting to photography in 1857. He was renowned for integrating painterly methods into his photographic work, earning recognition for the artistic quality of his depictions of Dessau's landscapes and daily life, leading to prestigious commissions, notably from Duke Leopold IV of Anhalt. – Faded, some light surface scuff marks, a few retouched spots, otherwise in good condition.
Los 4081
Africa -- Photography agency: Georg and Otto Haeckel (1873-1942, 1872-1945). Inhabitants of East Africa. Circa 1910. 7 vintage gelatin silver prints. Between circa 18 x 12,7 cm and 8,5 x 14 cm. A few with typed text label on verso.The press photographers Georg and Otto Haeckel played a significant role in the development of photography in Germany. As press photographers, the brothers traveled extensively throughout the world, and would often accompany Reichstag officials on their journeys through German East Africa before their expulsion from the former colony at the end of WWI. The tribes depicted in these photographs include the Wavumba, Wanjamwesi, and Wageia of present-day Rwanda and Burundi – A few light handling marks, otherwise in very good condition.
Los 4090
Balász Studio -- Portrait of the Danish silent screen actor Arne Molander. Late 1920s. Vintage matte sepia-toned gelatin silver print. 22,7 x 17 cm. Mounted to original board (soiled, pinholes in corners), signed by the photographer in pencil below the image on the mount; photographer's studio stamp and annotated in pencil on the verso.Danish actor Arne Molander had a relatively limited presence in German cinema, featuring in just three films. He had a leading part in the war drama Richthofen, der Rote Ritter der Luft (Peter Joseph, Desider Kertesz, 1929) as the son of the famous German Baron and WWI hero. Following this, his subsequent appearances were smaller parts in Der höhere Befehl (Gerhard Lamprecht, 1935) and Schlussakkord (Douglas Sierck [later Douglas Sirk], 1936). – Light silver mirroring in edges, otherwise in near excellent condition.
Los 4098
Bokelberg, Werner -- Romy Schneider, Paris. 1966/printed later. Gelatin silver print. 17,4 x 24,5 cm (23,6 x 30,3 cm). Annotated and dated in pencil on the verso.Werner Bokelberg captured actress Romy Schneider through a series of photographs that have since achieved iconic status in the realm of portrait photography. Bokelberg possessed a discerning eye for encapsulating her innate beauty and charisma, frequently portraying her in a candid and relaxed manner, as exemplified in this particular portrait where she graces a carpet in evening attire, bathed in the soft glow of candlelight. – Slightly buckled in upper edge, light handling marks, otherwise in very good condition.
Los 4099
Both, Katt -- "Atikah Cigaretten", from "Bauhaus - 20 Photographs" portfolio 1931/printed 1984. Gelatin silver print. 27,2 x 20,8 cm (30 x 23,5 cm). Annotated in pencil and Pressprint & Copyright Galerie Rudolf Kicken stamp on the verso.The Bauhaus left a significant imprint on advertising photography and design, highlighting the importance of clean lines, basic geometric shapes, and clear typography to produce uncluttered visuals that effectively communicate messages, as seen in this advertising sketch for Atikah cigarettes. – A few light smudges in margins, otherwise in very good condition.
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