James Arthur O'Connor (1792-1841)Wooded Defile with Figures and Distant Cattle Oil on canvas, 63 x 75cm (24¾ x 29½'')Signed and dated 1827Provenance: Collection of Dr. R.R Woods, Merrion Square, DublinExhibited: Dublin, Municipal Gallery of Modern Art, O'Connor Centenary Exhibition, 1941, Catalogue No. 35When, in Pride and Prejudice [1813] Jane Austen has Elizabeth Bennett exclaim ‘What are men to rocks and mountains?’ Austen, though offering us a humorous view of Romanticism, is nonetheless highlighting the beauty and power of landscape and its effect on us. For T.E. Hulme, the root of all Romanticism is when the individual feels within ‘an infinite reservoir of possibility’ and especially when the open, untamed landscape, the great outdoors, works wonders on both mind and imagination. James Arthur O’Connor belongs to the great Romantic movement, a movement that celebrates - in literature, music and especially in painting - creativity and a deep involvement with what Wordsworth calls ‘the goings on of earth and sky’. O’Connor was born, at 9 Exchequer St Dublin, in 1792. Shelley was born that same year. In 1792 Constable was sixteen, Turner was seventeen. Wordsworth and Beethoven were both twenty-two, and though not all of them knew each other, being contemporaries, their work reflected and expressed the spirit of the age in which they lived.O’Connor’s father, an engraver and printmaker, died when O’Connor was sixteen, his mother died before O’Connor’s twenty-first birthday. By 1809, O’Connor, then twenty-seven, began to exhibit with success at the Dublin Society. He most likely had been taught by his father but was also self-taught and his early work featured frequently commissioned landscapes of the west of Ireland including View of Lough Derg with Portumna Castle in the Background, The Grounds, Ballinrobe House, View of Westport with Croagh Patrick, Mangerton Killarney.In 1822, O’Connor, experiencing financial difficulties and hoping to improve his lot and help his orphaned sisters, moved to London with his wife Anastasia. He lived at Upper Marylebone Road, travelled widely in Britain and France, exhibited regularly at the Royal Academy, the British Institute and the Royal Society of British Artists. Exiled future French King Louis Philippe bought several of O’Connor’s work but O’Connor beset by conmen and dealers, who behaved dishonourably, deprived him of earnings that were rightly his.When he moved to Hampstead he lived close to where John Constable, an important influence, lived. In 1826 O’Connor spent a year in Brussels. In 1832 he lived in Paris for nine months and then spent six months in Southern Germany where the Saar and Moselle valleys inspired some of his best work. When O’Connor was forty-three, one of his Irish landscapes was acquired by the Musée des Beaux-Arts Thomas-Henry, Normandy, on its foundation in 1835, but during the 1830s O’Connor’s eyesight deteriorated and his career went into decline. O’Connor died poor in London aged forty-nine and was buried at St Luke’s Church, Chelsea. Prince Albert and the RA initiated a subscription to assist his widow. His obituary in the Dublin Monthly Magazine spoke of O’Connor as ‘a spirit of exceeding mildness; manly, ardent, unobtrusive and sincere; generous in proclaiming contemporary merit, and unskilled and reluctant to put forth his own’.His skill, imagination and brilliant compositional talents are evident in this exceptional work painted when he was thirty-five years old, Wooded Defile, Figures and Distant Cattle [1827]. Defile, here, means ‘a steep-sided narrow gorge or passage (originally one requiring troops to march in single file)’ and the dramatic, steep, rocky cliff-like landscape to the left and the rising ground to the right create a pathway along which four figures are travelling. These four figures, three men and a woman, carry with them and contain their own stories. In the foreground the two figures, a man and a woman, lit from behind, are given prominence. The tall-hatted man in rust-coloured jacket with walking stick and a dog on a lead, seems to have paused to look back at his companion. The woman in red dress, blue-green shawl and carrying a receptacle - a small cage perhaps? - as if in response to the man before her, stands her ground. Farther along the path, the man with his back to us carrying a basket and stick walks on slowly; the blue cloth in his basket a little bright detail, the side of his face brightly lit. A fourth figure in dark clothes and white shirt walks towards us leading a young cow. Each one prompts in the viewer a narrative of our own making. In this painting from 1827 we are invited to ask, who are they? where are they going? what are they like? And against the distant trees the ‘distant cattle’ of the title – important enough to get a mention.There are beautiful details here: in O’Connor’s handling of trees, rocks, shrubs but the triumph is in his capturing the way light falls through the defile and that beautifully bright golden-blue sky. Light, shade, perspective all make this a radiant and stunning work.Constable who died in 1837, just three years before O’Connor, said that ‘A gentleman’s park is my aversion. It is not beauty because it is not nature.’ Here, O’Connor celebrates the untamed, natural beautiful landscape, a landscape imbued with a Romantic sensibility where rocks and mountains dominate in every sense. Niall MacMonagle, February 2022
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Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
AFTER ALFRED DUBUCAND (FRENCH, 1828-1894), A FRENCH BRONZE GROUP OF 'L' ANIER DU CAIRE' (A BOY AND DONKEY)LATE 19TH CENTURY The base inscribed 'A E DUBUCAND', foundry stamp to reverse EV 2816,21cm high, 18cm wide, 10cm deepAlfred Dubucand (1828-1924) studied under the animalier sculptor Barye and, following Barye's influence, produced realistic models of animals throughout his career. He made his debut at the Salon of 1867 and exhibited until 1883. Dubucand is renowned for his work depicting the people and animals of North Africa and the Middle East- as illustrated by this work.For a related bronze see Bonham's, London, Period Design, 9 June 2009, lot 43 (£3,000)Condition Report: There are very minor rubbing marks, consistent with age and use.Small spot stain to front of plinth, right stirrup missing, reins misshapen, some rubbing to rear around saddle edges, his stick is duller in colour suggesting it has either been repositioned- or replaced. Retains some red colour to his hat Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders Condition Report Disclaimer
A Victorian pearl, ruby, turquoise and enamel stick pin, with a baroque pearl, claw set to a leaf and hoop frame, with royal blue guilloché enamel to a white enamel ribbon bow below, set with turquoise, tested as approximately 18ct gold, 22.00 x 13.70mm, 4.11gCondition report: One ruby chipped.One red spinel replacement. Table and crown facet edge wear. Setting not secure - requires attention. Damage to the nacre.Fully drilled.Loss of enamel.
A Georgian rose cut diamond cluster ring, with a central rose cut diamond, to two row stepped surround of smaller rose cut diamonds, all in close backed silver settings, to a later gold shank, tested as approximately 18ct gold, head 15mm diameter, 2.85g.Finger size I-J approximatelyCondition report: Ring does not sit on a ring stick, finger size is an approximation only.Shank is probably a later addition.Silver underbezel probably a later addition.Surface marks/scratches to metal.Surface reaching inclusions to some of the diamonds.Wear to the setting edges.
A collection of gold jewellery,comprising a 9ct gold filed box link chain with bolt ring clasp, import hallmark London 1978, links worn, a gold bead, bar and trace link chain, tested as approximately 9ct gold, worn, a 9ct gold cornelian and bloodstone spinner fob with curb link mount, Birmingham 1914, a 9ct gold watch bracelet, Birmingham, a garnet stick pin, the cabochon garnet rub set in gold, to later metal pin, lead soldered, together with a metal Albert chain and fob (qty.)9ct gold - 10.23g totalCondition report: Catalogued weight of 9ct gold includes the two chains and the watch bracelet.
A GEORGE III MAHOGANY AUTOMATON BRACKET CLOCK BY FRANCIS DORRELL LONDON, C.1760-70 the brass eight day movement with a pull-repeat and a verge escapement striking on a bell, the backplate finely engraved with Rococo motifs, including: a ho-ho bird, a basket of flowers, scrolls and a pagoda, the seven inch arched dial with a silvered chapter ring with Roman and Arabic numerals, the matted centre with a date aperture and signature panel, inscribed 'Francis Dorrell, London', the arch with a painted village scene with a pond and figures, one baiting a goose with a stick, the moulded case with fretwork panels, the pagoda top with a brass handle 48.7cm high, 29cm wide, 18.7cm deep Catalogue Note Francis Dorrell worked in Whitecross Street, he was apprenticed in 1731 and was free of the Clockmakers' Company 1755-1780.
ERCOL; A BEECH STICK BACK OPEN ARM EASY CHAIR (2)71cm wide; 76cm high, with matching footstool, 70cm wideCondition report: General scuffs, wear and marks commensurate with use and age. Two cushions appear to be associated. Foot stool with plugged holes down one side, adjacent to the webbing. See images. The webbing straps are probably replacements but intact.
FIVE ROYAL COPENHAGEN FIGURES AND GROUPS (5)Comprising; `Windswept Horse' ( 1362); `Children with Dog' ( 707); `Boy with Calf ( 772); `Crying Faun' ( 1061) and `Swineherd' ( 848), blue and green printed and painted marks, sizes 12cm to 20cm highChip to tip of boy's stick on the Swineherd group. Otherwise in good condition
SIX ITEMS OF JEWELLERY (6)Comprising; an 18ct gold and emerald single stone stick pin, London 1979, gross weight 1.5 gms, a pair of Mikimoto cultured pearl earrings, with screw fittings, detailed S, a pair of 9ct gold earclips, a pair of gold earrings, the screw fittings detailed 9 CT and two gilt metal neckchains
FIVE ITEMS OF JEWELLERY (5)Comprising; a Victorian gold stick pin, with a cross of St Andrew motif, a gold and imitation pearl necklace, detailed 9 CT, a gold, opal and ruby oval cluster pendant detailed 9 CT, with a gold neckchain, a pair of 9ct gold and amethyst earrings and a 9ct gold charm, designed as a basket of flowers, overall combined gross weight 13.8 gms
TWELVE ITEMS OF JEWELLERY (12)Comprising; a Victorian reverse monogrammed crystal, pale blue enamelled and half pearl set circular pendant, a Russian cloisonne enamelled egg shaped pendant, a circular pendant locket, a small oval pendant locket, with a blue enamelled cross motif, a gold topped, seed pearl and diamond stick pin, with a crescent and star motif and seven various brooches
A late 19th century pearl and diamond stick pin Modelled as an acorn, the ovoid pearl above a rose-cut diamond base, and old brilliant-cut diamond accent, mounted in silver and gold Accompanied by a report dated 23rd February 2022 from GCS, stating that the pearl was found to be natural of saltwater origin.(Terminal length: 1.5cm)
A Victorian yellow metal bar brooch, set with a crown above initials 'RV', unmarked, length 7.5cm, together with three stick pins including an example set with Georgian panel (4).Additional InformationNone of the sticks are marked, the example with the crown is slightly bent, the Georgian example is missing her nose, tarnishing wear.
SWAINE & ADENEY; a leather cased sword stick, length 59cm, and a fencing sword and a turned wooden rule (3).Additional InformationThe blade of the sword stick with tarnishing, rusting and some scratches, a pitted appearance to the tip and to the end section from the name engraving to the handle. Leather with general age wear and come losses to the upper section of the scabbard.
HERMÈS; a rose tan unused lipstick in original hessian case and box, and a Beige No.16 used lipstick in hessian case and original box.Additional InformationThe beige used lipstick has only been used once and the Hermès is still embossed onto the stick, both boxes and hessian bags are in good unused condition.
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