Items Similar to Old Master Wooded Landscape - Irish 1830 art woodland oil painting
Want more images or videos?
Request additional images or videos from the seller
1 of 7
Old Master Wooded Landscape - Irish 1830 art woodland oil painting circa 1830
circa 1830
About the Item
A delightful large oil on canvas of a wooded landscape which dates to circa 1830 and is attributed to Irish artist James Arthur O’Connor. A superb painting and an excellent example of his work.
Provenance. Sotheby's London
Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition.
Housed in a fine carved frame, 38 by 33 inches framed. Very good condition.
James O'Connor was born in 1792, the son of William O'Connor, an engraver and print-seller who carried on business at No. 9 Exchequer Street, and, from 1791, at No. 15 Aston's Quay. James O'Connor, beyond some lessons he is said to have received from William Sadler (q.v.), was self-taught as an artist. His early works were compositions; his first studies from nature were made in the Dargle where he delighted in portraying its rocks and tangled foliage and rushing waters. In 1809 he commenced to exhibit, sending from 13 Aston's Quay an oil sketch, "Card-players," to the exhibition held in the Dublin Society's House in Hawkins Street. He continued to exhibit there until 1821, with the exception of the years 1816 and 1817, his contributions being mostly landscape compositions. In 1810 he published three etchings of figures, which were described in the "Hibernian Magazine" "as the first productions of a young and, as we have some reason to believe, a self-taught artist." He had formed a friendship with George Petrie and Francis Danby, to the latter of whom he had given some instruction in painting, and the three young artists determined to pay a visit to London. They arrived there in June, 1813; but their want of means made their stay a short one. Petrie returned to Ireland, and O'Connor and Danby set out on foot for Bristol where they arrived penniless. By the sale of some drawings Danby enabled O'Connor to return to Dublin; he himself remaining. On his return, O'Connor settled down as a landscape painter at 15 Aston's Quay, and later, in 1819, at No. 18 Dawson Street. He painted the scenery of Wicklow and the neighbourhood of Dublin, and in 1818 and 1819 was in the west of Ireland where he was patronized by Lord Sligo and Lord Clanricarde, for both of whom he painted a number of pictures of local scenery, views about Westport and Portumna. In 1820 he was awarded a premium of 25 guineas by the R.I. Institute. Though he worked hard he found but little demand for his pictures in Dublin; he had married, and, anxious to improve his prospects, he left Ireland and went to London. He began to exhibit at the Royal Academy the year of his arrival, 1822, and found some sale for his works. He continued as a constant exhibitor both at the Academy and at the British Institution until 1840, and also at the Society of British Artists, of which he was a member. He contributed to the Royal Hibernian Academy only twice, in 1836 and 1840; but a number of his works were exhibited there in 1842 and 1843, after his death. In 1826 he went to Brussels where he remained a year, and was successful in disposing of many of his pictures. In 1832 he was in Paris where he stayed eight months, leaving in May, 1833, when, accompanied by his wife, he visited Chalons, Saarbruck, Saarlouis and Metlach, and thence to Treves and down the Moselle to Coblentz and on to Mayence and Frankfort, returning to London in November, 1833. During this tour he painted some of his best pictures. In London he laboured incessantly, but with small success. He suffered from weak sight, and in 1839 his health began to fail. His inability to work involved him in pecuniary embarrassments, and, after a life of struggle and disappointment, he died in humble lodgings at No. 6 Marlborough Street, College Street, Brompton, on 7th January, 1841. He left a widow unprovided for. A subscription, headed with twenty guineas from the Prince Consort, was started for her benefit in 1845. O'Connor was a painter of deep feeling; his landscapes are solidly and vividly executed and are good in tone and colour. He was happy in the delineation of wild scenery and richly wooded landscapes, often with early morning or moonlight effects, in which he excelled. He was fond of introducing small figures in red coats or dresses into his landscapes. Most of his work was in oil, but he occasionally worked in water-colour. His works are housed in many National Collections.
- Attributed to:James Arthur O'Connor (1792 - 1841)
- Creation Year:circa 1830
- Dimensions:Height: 33 in (83.82 cm)Width: 38 in (96.52 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU853113392492
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
1stDibs seller since 2018
401 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Travellers and Carriage in Landscape Dutch 17th century Golden Age oil paintingLocated in London, GBThis superb Dutch Old Master Golden Age oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 the composition is a group of travellers who have stopped to rest. I...Category
17th Century Old Masters Landscape Paintings
MaterialsOil
- Wooded Figurative River Landscape - Dutch 17thC Golden Age art oil paintingLocated in London, GBThis superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute...Category
1640s Old Masters Landscape Paintings
MaterialsOil
- Village Scene Figures & Animals - British Old Master exh pastoral oil paintingBy James WardLocated in London, GBThis stunning British Old Master exhibited pastoral oil on panel is by noted artist James Ward. Painted circa 1815 with superb provenance, it was exhibited posthumously at the Royal ...Category
1810s Old Masters Animal Paintings
MaterialsOil
- Amsterdam Harbour Scene with Figures Dutch 17th Century art marine oil paintingLocated in London, GBThis superb Dutch 17th century Golden Age Old Master cityscape oil painting of Amsterdam is by noted artist Jacobus Storck. Painted circa 1670, the composition is a Dutch Amsterdam h...Category
17th Century Old Masters Landscape Paintings
MaterialsOil
- Arcadian Italian Landscape - Old Master 17thC French oil painting herdsman sheepBy (Attributed to) Gaspard DughetLocated in London, GBA delicate oil on canvas landscape capriccio of an Arcadian landscape with figures and sheep and goats in the foreground. A stormy sky and blasted tree populate the landscape and the...Category
17th Century Old Masters Landscape Paintings
MaterialsOil
- Dutch Marine Shipping Seascape - Golden Age art Old Master oil painting boatsLocated in London, GBThis superb Dutch Old Master marine oil painting is attributed to the circle of Jacob de Heusch. Painted circa 1690 the setting is an Italian coast with fisherfolk in the foreground....Category
17th Century Old Masters Landscape Paintings
MaterialsOil
You May Also Like
- Grand 19th Century English Marine Painting in Stunning LightBy John Wilson EwbankLocated in London, GBJohn Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...Category
19th Century Old Masters Figurative Paintings
MaterialsOil
- Important 18th Century Royal Academy Old Master Oil Painting of Georgian LondonLocated in Gerrards Cross, GB‘St. James’ Day’ by Richard Morton Paye (1750-1820). This very large and important 18th century oil on canvas depicts a diverse crowd of Londoners at an oyster stand on a summer’s ev...Category
1780s Old Masters Figurative Paintings
MaterialsOil
- Allegory of AbundanceLocated in New York, NYPainted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...Category
17th Century Old Masters Paintings
MaterialsCopper
- A WolfLocated in New York, NYProvenance: The Marchesi Strozzi, Palazzo Strozzi, Florence Sale, Christie’s, London, May 20, 1993, lot 315, as by Carl Borromaus Andreas Ruthart...Category
17th Century Old Masters Animal Paintings
MaterialsPaper, Canvas, Oil
- River Landscape with a Windmill and ChapelBy Jan Josefsz Van GoyenLocated in Palm Desert, CA"River Landscape with a Windmill and Chapel" is a painting by Dutch Old Master Painter, Jan van Goyen. There are traces of a signature on the bow of the boat...Category
1640s Old Masters Landscape Paintings
MaterialsPanel, Oil
- Early oil depicting the Great Fire of LondonLocated in London, GBThe Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...Category
17th Century Old Masters Landscape Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Antique Art Sale
Large Old Master
Master Of The Die
Friendship Art
Old Master Etchings
Old Pictures
Antique Oil Painting Red
View Master Antique
Antique View Master
Old Antique Dresses
Red Antique Landscape
Woodland Landscape
Ireland Landscape Painting
James West
Set 9 Paintings
7th Art
House Ireland
18th Landscape Oil