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Lot 899
Geoffrey W. Birks YWS (1929-1993) ``Yesterday`s News`` Signed, inscribed verso, pencil and watercolour, 33cm by 47.5cm This was produced for the Canadian market and is a ``1 + 1`` with a miniature painting mounted within the mount. Only five were done, and this is, as far as we know, the only one remaining in England Excellent stat of preservation, rather muted colours, purposefully done by the artist, contained within a fairly plain outer cream card mount and inner coloured grey fillet mount with further inner cream card mount and plain outer gilt frame under glass (300113)
Lot 4
AFTER WILLIAM PRINGLE (active 1834-1858) The Review of the Queen`s Own Regiment of Yeomanry Cavalry on Kempsey Ham coloured engraving by H. Papprill, published by Ackermann, April 20th 1839 Pl 15 1/2 x 24in; a coloured lithograph by Newman depicting `Worcester from the North East` , published by Thomas N. Stratford; a coloured reprint depicting the river at Worcester;and a framed watercolour by Robert Kittermaster Marshall depicting a footbridge by a Cottage, said to be near Tenbury Wells;four (4) The original painting by William J. Pringle depicting The Review of the Queen`s Own Regiment of Yeomanry Cavalry on Kempsey Ham is in the Collection of the Worcestershire Yeomanry Cavalry Museum. That work is dateable to 1838.
Lot 39
DAVID WEST, R.S.W. (1868-1936) On a Country Track signed and dated `David West, 1892` watercolour 7 1/2 x 10 1/2in (19.1 x 26.7cm) David West was a pupil at Aberdeen Grammar School, before going to sea. As a seaman he continued painting culminating in a gold medal at the Industry and Art Exhibition in Aberdeen 1888. His exceptional ability as a watercolourist ensured that by his early twenties he had established himself as a landscape painter. In 1892 he was commissioned by the Countess of Aberdeen to undertake a number of paintings for her.Hhe regularly exhibited at the R.S.A. and R.A.
Lot 53
PAUL SANDBY, R.A. (1725-1809) The Old Welsh Bridge, Shrewsbury watercolour, gouache and body-colour, on paper laid on canvas 26 x 37 3/4 in (66.1 x 95.8cm) Provenance: The Rev. Thomas O`Grady, Ashbourne, Derbyshire D.A. Auton- Hall, Esq., Church Stretton Dick Stephens, Esq., Ludlow The Old Welsh Bridge at Shrewsbury was a favourite subject for Paul Sandby. It inspired him to paint a number of fine works. At least twelve views of the bridge from differing angles are known , they include a view titled `The Old Welsh Bridge, Shrewsbury` in the Victoria and Albert Museum, London. Luke Hermann states `that work and other equally impressive ones from the same period, illustrate Paul Sandby`s determination to remain among the innovators in British Landscape Art at the close of the eighteenth century.` The picturesque bridge was painted by many artists of the time including J.M.W. Turner in 1794, and Richard Wilson, R.A. Sandby was painting it from the time of his first visits to Wales in the early 1770`s. cf .for instance Sandby`s view of the Welsh Bridge (Yale Centre for British Art, Paul Mellon Collection ) Sited on the main coaching route into North Wales,the Old Welsh Bridge at Shrewsbury was a well known topographical feature of the town There had been a recorded bridge on the site from at least 1155. As a border town ,defending Shrewsbury was an important feature in the design of the bridge, which included a gatehouse to bolster defence against attacks from the Welsh. In the foreground of the painting, men are loading a trow and barges, whilst closer to the arches of the bridge,a rowing boat is being rowed ,with passengers seated beneath a canopy in the stern, an ensign fluttering behind them. Various figures in the foreground include a mounted dragoon on horseback casting a glance at a country girl,, and mounted soldiers on the bridge pass a wagon. Paul Sandby is certainly known to have exhibited at least three views of the Old Welsh Bridge at Shrewsbury; at the British Institution in 1809 (no.90), and two views at The Royal Academy in 1801 (nos 622 and 629) The example at Shrewsbury Museum , ( formerly owned by Sandby`s friend, the royal portraitist Sir William Beechey.) depicts a view towards the Old Welsh Bridge from the Frankwell district. Our picture depicts the bridge from the same view point. A further variant is in the Collection of the Newport Museum and Art Gallery, South Wales.
Lot 486
Watercolour Zurich Fete, Early Morning by Joseph Mallord William Turner (17751851): Painted in 1845, Original is in Kunsthaus Zurich (Zurich, Switzerland) This lot consists of Original Watercolour on Board unsigned in early unglazed frame having a card back with the dedication The Sample for the Original for B G Windus. (33 x 24cm). Benjamin Godfrey Windus (1790-1867) was a coach maker who lived in Tottenham, London. From 1820, he assembled an important collection of Turner watercolours, numbering more than fifty by 1834: this was memorialised in a watercolour depiction of his library, commissioned from John Scarlett Davis in 1835 (British Museum). He also collected drawings by David Wilkie and was later a supporter of the Pre-Raphaelites. This a very competent painting that has not been researched Turner Travelled France and Switzerland doing Paintings to pay his way (Is this one of those Paintings?)
Lot 462
Richard Henry Brock (British, exh.1897-1915), Two Boys Fishing, Grantchester Meadows, Cambridge, signed lower left "R H Brock", oil on canvas, 74 x 120cm (29 x 47in). Provenance: From the collection of L F Stokes, Dorset, and by descent. The Brocks - A Family of Cambridge Artists and Illustrators, C M Kelly, 1975, pub. Charles Skilton Ltd, p.40 - "Mr Stokes of Great Shelford, Cambridgeshire, also possesses, and displays upon his walls, half a dozen oil landscapes by Richard Brock, all of the local countryside. All were done between 1900 and 1914", p.125 - "… his landscapes, which should surely belong to the public of Cambridge, and be on exhibition, adorn the walls of Mr Stokes of Great Shelford", p.173 - Mr Lloyd Stokes (six landscapes in oils by R H Brock, and one oil painting by C E Brock of Anstey Hall, Trumpington, with a Young Man admiring a Passing Girl, in costume of circa 1820, painted in 1904). Richard Henry Brock (exh.1897-1915) was primarily a landscape painter, illustrator and illustrator of boys` annuals. He lived in Cambridge and exhibited at the Royal Academy eight times. All by the Brock brothers - Charles Edmund Brock, Henry Matthew Brock and Richard Henry Brock - lived and painted in Cambridge, where they shared a studio. A similar scene of Grantchester Meadows, but in watercolour, was exhibited in 1895, size 36 x 53cm and sold in these rooms (Sale, Cheffins, Cambridge, Thursday, June 05, 2008 [Lot 498])
Lot 484
Peter Wishart, ARSA (British, 1852-1932), Rural Landscape with Sheep, oil on board, 29 x 46cm (11 x 18in). Peter Wishart studied at the Royal Institute, Edinburgh, and later at Antwerp under Charles Verlat (Belgian, 1824-1890). "An interesting and forward artist" Wishart lived and worked in Edinburgh, painting landscapes and seascapes in oil and watercolour in a broad style which was influenced by the later work of William McTaggart (Scottish, 1835-1910). His work is in several public collections
Lot 431
WILLIAM DYCE (DYER) BEAUMONT (FL C1833-1850) SILHOUETTE OF LADY ISABELLA CATHERINE KEITH FALCONER (1824-1870) seated at a table painting a watercolour^ cut paper and ink with bodycolour^ signed and dated Beaumont fecit 1846^ 24 x 19.5cm ++In good condition with some light speckling^ some of which is on the underside of the glass^ in later Hogarth frame^ a delightful silhouette by this distinctive hand
Lot 449
BENJAMIN JOHN OTTEWELL^ HRI (C1860-1937) A HIGHLAND BURN signed and dated 1918^ watercolour^ 44 x 29.5cm B J Ottewell~s watercolours of the Highlands were admired by Queen Victoria who described seeing |some beautiful sketches by an artist^ of the name Ottewell^ who has spent several months in Braemar^ painting^ having been snowed up for some weeks in the winter^ at the Linn of Dee.| From 1895 until 1901 he sold the Queen over 130 watercolours of Scotland^ the Isle of Wight and South of France. See Millar (D)^ The Victorian Watercolours and Drawings in the Collection of Her Majesty the Queen^ 1995^ vol II^ pp 670-672.
Lot 45
Aloysius C. O’Kelly (1853-1936)ENGLISH PEASANT CHOPPING SWEDES, c.1887-1888oil on canvassigned lower right; with original label preserved on reverse, numbered [38]Portrait27 by 20in., 67.5 by 50cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 46
Aloysius C. O’Kelly (1853-1936)FISHING BOATS AT CONCARNEAU, FRANCEoil on boardsigned lower rightLandscaPortraite9 by 12in., 22.5 by 30cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 48
Aloysius C. O’Kelly (1853-1936)TREESoil on boardsigned lower rightPortrait12.5 by 9in., 31.25 by 22.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 49
Aloysius C. O’Kelly (1853-1936)EDMOND O`DONOVAN AS AN ORIENTAL, c.1883-84watercolour over pencil heightened with body colour on laid papersigned lower right; with Hugh Lane exhibition label on reversePortrait22.25 by 16in., 55.625 by 40cm.The Collection of Mervyn & Pat Solomon`Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 25 November 1999 to 30 January 2000O`Sullivan, Niamh, Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999, p.72 -73 (full page illustration p.72)A graduate of Belvedere and later Trinity College, Edmond O`Donovan was sworn into the Fenians by O`Donovan Rossa. After a failed uprising in 1867 he fled to Paris. He joined the Foreign Legion at the outbreak of the Franco-Prussian in 1870. Wounded and taken prisoner, he was shipped back to Ireland in May 1871. When he was home in Ireland he spent his time trying to revitalise the Fenian movement while also reporting on the Balkan War for the Daily News. His time as a correspondent came to a tragic end when he disappeared in the Sudan during the Mahdi uprising in 1883.Aloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 50
Aloysius C. O’Kelly (1853-1936)RIVER AND TREESoil on boardsigned lower rightLandscaPortraite10 by 13in., 25 by 32.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 52
Aloysius C. O’Kelly (1853-1936)YACHTS AT SUNSET, FRANCEoil on boardsigned lower rightLandscaPortraite4.5 by 5.75in., 11.25 by 14.375cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Lot 239
An 18th Century Sepia Watercolour Landscape Painting in the style of Gainsborough (A/F), 5¾ ins x 8 ins (14.5 cms x 20 cms), set in a deep moulded swept gilt frame decorated with rococo style cartouches to the corners, scrolling foliage and flowers. The frame measuring 14½ ins x 17 ins (37 cms x 43 cms).
Lot 819
‘The 59th Battle for the Ashes’. Stewart Beckett 1997. Large original colour watercolour painting of the Ashes urn with England Lion and Australian Kangaroo, to sides are images of England and Australian Captains, Michael Atherton and Mark Taylor in cricket attire. The painting signed in pencil by Beckett and dated 1997. Attractively mounted, framed and glazed. Overall 39”x29”. VG
Lot 726
Grace Pailthorpe (1883-1971), Untitled, signed, watercolour, 29 x 39cm.; 11.5 x 15.5in. * Grace Pailthorpe was the only daughter of ten children. During the First World War she saw active service as a surgeon in France and helped run a field ambulance unit. By the early twenties she was devoting herself to psychological medicine and had begun her training with a pupil of Freud, Dr Ernest Jones. She spent the rest of the decade in groundbreaking research into women`s prisons, delinquency and birth trauma. In 1932 she helped found The Institute for the Scientific Treatment of Delinquency. This led to the establishment of the `Psychopathic Clinic` later to be called the Portman Clinic that in 1948, became part of the NHS. Pailthorpe`s artistic career began at the age of 52, as a consequence of meeting Reuben Mednikoff, a professional artist. They set about immediately on a scientific project whose central aim was to use art `as a shortcut to the unconscious`. Within a few years her work was exhibited at landmark Surrealist exhibitions in London and in New York. Her artistic work pushed forward her investigation into the unconscious, linking her professional interests with Surrealist practice. She saw this practice as psychologically liberating and it led her to pioneering work in the development of art therapy in the late thirties. After the Second World War, Pailthorpe returned to psychoanalytical practice and continued to paint, although in private. She preferred painting in watercolour, a medium that allowed a speed and fluency of execution which she could equate with the `automatic` practices of Surrealism; `I felt that there must be somewhere a quicker way to the deeper layers of the unconscious than by the long drawn-out couch method and I had a feeling that it was through art. At any rate it should be used in conjunction`. She seldom exhibited during the last 25 years of her life. Artists` Resale Right ("droit de suite") may apply to this lot.
Lot 812
Charles H.C. Baldwyn (1859-1943), Rural views, signed, watercolour, unframed, 32 x 48cm.; 12.75 x 19in (4). * Charles Baldwyn was a porcelain decorator at the Royal Worcester factory, starting in 1880, and was a specialist bird painter, particularly swans. He also did watercolours and exhibited at the Royal Academy. After he left the factory he did freelance watercolour painting, employing an agent, and a lot of his work was sold in the North of England.
Lot 824
A collection of 19th century and other pictures and prints including watercolour of a mountainous lake scene, a 17th century black and white engraving, "The south view of Holdenby Palace in the county of Northampton", coloured print of a lady after Albrecht Durer, an oriental painting on silk of a pair of doves, a 19th century watercolour of the Alhambra, etc
Lot 657
WALTER FOLLEN BISHOP BRITISH-AUSTRALIAN (1856-1936) Hawthorn Blossom, Brownhill Creek, 1917 watercolour 124 x 74cm. Walter Follen Bishop was a Liverpool artist, though he also lived in both London and Jersey. Bishop worked in the strong tradition of Liverpool landscape painting, and like his contemporary J.T. Watts (1853-1930) he specialised in woodland scenes and must have been familiar with the writings of John Ruskin and the Pre-Raphaelites. His fidelity to nature and attempts to revive a sense of realism in landscape painting bear testimony to his adherence to Ruskinian principles. He was fascinated by the play of light on leaves, bracken, lichen and rocks. He managed to combine meticulous detail with a sense of atmosphere. He exhibited at the Royal Academy from 1882-1902 works such as Where moorland and forest meet, 1884, no. 992, The last rays of sunlight on forest and moor, 1885, no. 1318 and The wood with morning sunlight crowned, 1890, no. 1319 and also at Suffolk Street. He married the painter and sculptress Florence Fitzgerald (fl.1887-1927) who also exhibited at the Royal Academy works entitled By the Meadow Brook and Where the Wild Flowers grow and at Suffolk Street. Follen Bishop is known to have painted in Australia, as there are several known works of South Australian views, though little is recorded of his time here. He is represented within the collection of the Art Gallery of South Australia and in the City of Burnside collection South Australia. The present work which is on an unusual scale for a watercolour, shows a romanticised English interpretation of the Australian bush, with young girls in the woods beneath towering gum tree’s. PLEASE NOTE THAT GST WILL BE CHARGED ON THE HAMMER PRICE
Lot 467
India – 19th century Watercolour of the Taj Mahal. An absolutely sublime original landscape of the Taj Mahal at Agra, with reflections in the water, two figures standing on the shore and surrounding landscape. Signed by the artist bottom right: “H. R. B. Donne” (Henry Richard Beadon Donne), a British artist 1860-1949. Glazed and framed. Painting measures 34cms x 22.5cms, frame 41cms x 30cms high. The mausoleum is located in Agra, India. It was built by Mughal emperor Shah Jahan in memory of his third wife, Mumtaz Mahal. The Taj Mahal is widely recognized as the jewel of Muslim art in India and one of the universally admired masterpieces of the world’s heritage.
Lot 468
India – 19th c watercolour of Kutub Minar An exceptionally large and beautifully painted watercolour of the Islamic monument at Delhi Qutub Minra. Signed by the British Artists Henry Richard Beadon Donne, and dated Dec 1877. Painting measures 51cm x 33cm. Glass framed. Qutub Minar is the tallest minaret in India and a UNESCO World Heritage Site, located in Delhi, the Qutub Minar is made of red sandstone and marble and has a height of 72.5 metres and contains 379 stairs.. Construction began in 1192 by qutub-ud-din Aibak and was completed by Iltutmish.
Lot 61
* Ward (Herbert, 1863-1919). Head of an African man, 1901, watercolour, signed and dated lower right, 28 x 24cm (11 x 9.5ins), framed and glazed. Herbert Ward was an explorer and painter-sculptor, and one of the first collectors of African art. From 1884 to 1889 he was in the Congo, as Commander of the Bangala Trading Post during H.M. Stanley’s expedition to reach Emin Pasha in the Sudan. In the 1890s he studied painting at the Académie Julian in Paris. (1)
Lot 369
* Matania (Fortunino, 1881-1963). A small archive of drawings, together a collection of studies in watercolour, wash, pen, and pencil, incl. a framed allegorical pencil sketch entitled ‘Russia and Bolshevik’, a detailed pencil drawing of the Sacrifice to the Golden Calf (for an oil painting used as the basis for a scene in the film ‘The Ten Commandments’), a pencil sketch entitled ‘Rough for The Gift from Caesar’, and a pencil and watercolour study for the same work, sheet size 49 x 36cm (19.25 x 14ins) and smaller. Born in Naples, the son of artist Eduoardo Matania, Fortunino Matania studied at his father’s studio, designing a soap advertisement at the age of nine and exhibiting his first work at Naples Academy aged only eleven. Only a few years later he was helping his father produce illustrations for books and magazines. In his 20s Matania worked first in Paris and then London, where he was asked to cover the coronation of Edward VII for ‘The Graphic’. Matania subsequently covered every major event concerning British royalty up to the coronation of Queen Elizabeth in 1953. In 1904, Matania joined the staff of ‘The Sphere’ where some of his most famous work was to appear, including his illustrations of the sinking of the Titanic in 1912. At the outbreak of the First World War, Matania became a war artist and was acclaimed for his graphic and realistic images of trench warfare. After the war, he switched to scenes of ancient high life for the British woman’s magazine, ‘Britannia and Eve’, and was praised for his depictions of voluptuous nudes. Matania exhibited regularly at the Royal Academy and Royal Institute from 1908 and his work appeared in most of the principal magazines in Britain and America. He was a popular illustrator for advertising, posters and catalogues, working for Ovaltine, Burberry’s and many others. Matania also worked on films, most notably ‘The Ten Commandments’, producing a number of paintings of Rome and Egypt from which authentic designs could be made. (6)
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