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Walter Frederick Osborne Auction Price Results

Walter Frederick Osborne (1859 - 1903) Ireland

Lot 44: Walter Frederick Osborne (1859 - 1903) Ireland

Auction Date: Nov 14, 2021

Estimate: $700 - $1,000

Description:
Measure 3 1/2"in H x 9 1/2"in W and 19 3/4"in H x 9 3/4"in W with frame
...

Location: Coral Gables, FL, US

Auction House: Coral Gables Auction

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Walter Frederick Osborne (1859 -1903) The Pump of St Nicholas, Antwerp Oil on Canvas, 45 x 32cm (17¾ x 12½'') Signed 'F.W. Osborne' on the stretcher J.D. Spense Picture Frame Makers label verso. Provenance: Collection of Mr Hanna (of Fred Hanna

Lot 50: Walter Frederick Osborne (1859 -1903) The Pump of St Nicholas, Antwerp Oil on Canvas, 45 x 32cm (17¾ x 12½'') Signed 'F.W. Osborne' on the stretcher J.D. Spense Picture Frame Makers label verso. Provenance: Collection of Mr Hanna (of Fred Hanna

Auction Date: Sep 29, 2021

Estimate: €70,000 - €100,000

Description: Walter Frederick Osborne (1859 -1903) The Pump of St Nicholas, Antwerp Oil on Canvas, 45 x 32cm (17¾ x 12½'') Signed 'F.W. Osborne' on the stretcher J.D. Spense Picture Frame Makers label verso. Provenance: Collection of Mr Hanna (of Fred Hanna's Bookshop) who purchased the painting from Orgel & Co. 35 Nassau Street, Dublin 2 in 1963. Exhibited: probably Royal Hibernia Academy 1883, no. 150, ' The Pump of St Nicholas, Antwerp', £10. Literature: Thomas Bodkin, ?Four Irish Landscape Painters?, Dublin and London 1920, Appendix XI, p.117; Julian Campbell, ?Irish Students in Antwerp in the 19th Century?, in Logan Sisley, ed. ?Eugeen Van Mieghem, Port Life?, 2017, p.79. ?The Pump of St. Nicholas, Antwerp? was one of the first open-air pictures that Walter Osborne painted on the Continent. It shows two girls fetching water at a pump, the statue of Nicholas seated above, careful attention given to every detail of the background. There are striking contrasts of sunshine and shadow, showing the artist?s joy in representing an everyday scene with figures in sunshine. Exhibited in Dublin in 1883 when Osborne was still a student, the painting introduced a dramatic new strand of realism into Irish art. Born in Dublin in 1859, the son of successful animal painter William Osborne, Walter first studied in Dublin, at the Metropolitan School of Art and the RHA Schools, then continued his studies in Antwerp. Along with contemporaries from Ireland and Britain, he was drawn towards the Academie Royale, Antwerp by the presence of realist painter Karl Verlat as Professor of Painting there, the cheap cost of living and the fact that some of the teachers spoke English. Antwerp was located almost ninety kilometres from the North Sea but, situated on the River Scheldt, was one of the busiest ports in Europe and the late 19th century saw a great revival of Flemish culture (2). Osborne and fellow students from Dublin, J.M. Kavanagh and Nathaniel Hill, arrived in Antwerp in autumn 1881. He entered Verlat?s life class. By 1882 he was already painting outdoor scenes in the little streets and courtyards near the cathedral. ?The Pump of St. Nicholas?, with its statue on a tall column, was located in a square in the old city. St. Nicholas was one of the most popular of Christian saints, regarded as the patron of children, travellers and sailors and is the guardian of young women. Osborne features two girls near the pump, an older woman seated by a wall behind and considerable attention is given to the Flemish buildings and surroundings. The girl on the left is walking from the pump, carrying her green pitcher of water. The woman on the right appears to be looking back at her. Both figures are healthy-looking, wearing white bonnets, rough jackets, dresses or aprons and clogs. Osborne represents the background details and buildings: the statue, the metalwork pump handle, the old stone or plaster walls and roof tiles with equal care. He skilfully conveys the weathered surfaces with textured brushstrokes, the foreground cobbles, for instance, strikingly impastoed. His delight in observing details, such as pots of geraniums on the window sills, the letters ?estaminet? (referring to an inn) on the wall, clothes on a washing line and the blue socks worn by the girls is also evident! Impastoed brushwork visible beneath the image of the right-hand girl suggests that her figure may have been added afterwards. The glimpse of blue sky above the rooftops and the white clouds, perhaps conveyed with a palette knife, give a sense of freedom from daily activity. A contemporary critic observed of such pictures: ?a certain blackness in the shadows? characteristic of the Antwerp method? (2). But there is a richness in the use of earthy tones and in Osborne?s skill in painting and his affection for the young women, their faces lit up by sunlight. Remembering the happy times of his student days, the artist returned to Antwerp in 1894 and painted a study of St. Nicholas? pump again (sold in these rooms, 25th March 1998), but in a more colourful, impressionistic style. Julian Campbell, August 2021 See Logan Sisley, ed., ?Eugeen Van Mieghem, Port Life?, Dublin City Gallery, The Hugh Lane, 2017. ?Dublin University Review, Illustrated Art Supplement?, 1885, p.9....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) A copy of Samuel Cooper’s miniature portrait of James S

Lot 51: Walter Frederick Osborne RHA ROI (1859-1903) A copy of Samuel Cooper’s miniature portrait of James S

Auction Date: Sep 29, 2021

Estimate: €200 - €300

Description: Walter Frederick Osborne RHA ROI (1859-1903) A copy of Samuel Cooper’s miniature portrait of James Scott, 1st Duke of Monmouth and Buccleuch, eldest son of King Charles II. The original is in the Royal Collections. Pencil, 14 x 11cm (5½ x 4¼'') Provenance: Collection of Miss Violet Stockley, sale 'Trentham', Foxrock, Prof. Doyle, July 1977, where purchased; Collection of Antoinette & Patrick J. Murphy...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) Girl Sitting Selling Ducks Pencil, 15.5 x 25cm (6 x 9¾) Inscribed Provenance: Collection of Miss Violet Stockley, sale 'Trentham', Foxrock, Prof. Doyle, July 1977, where purchased; Collection

Lot 52: Walter Frederick Osborne RHA ROI (1859-1903) Girl Sitting Selling Ducks Pencil, 15.5 x 25cm (6 x 9¾) Inscribed Provenance: Collection of Miss Violet Stockley, sale 'Trentham', Foxrock, Prof. Doyle, July 1977, where purchased; Collection

Auction Date: Sep 29, 2021

Estimate: €200 - €300

Description: Walter Frederick Osborne RHA ROI (1859-1903) Girl Sitting Selling Ducks Pencil, 15.5 x 25cm (6 x 9¾) Inscribed Provenance: Collection of Miss Violet Stockley, sale 'Trentham', Foxrock, Prof. Doyle, July 1977, where purchased; Collection of Antoinette & Patrick J. Murphy....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne, R.H.A. (1859-1903) In St Stephen's Green oil on c

Lot 20: Walter Frederick Osborne, R.H.A. (1859-1903) In St Stephen's Green oil on c

Auction Date: Jul 09, 2021

Estimate: £150,000 - £250,000

Description: Walter Frederick Osborne, R.H.A. (1859-1903) In St Stephen's Green oil on canvas 28 x 36 in. (71.1 x 91.4 cm.)...

Location: London, LDN, UK

Auction House: Christie's

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Walter Frederick Osborne, R.H.A. (1859-1903) Life in Connemara, a Market Da

Lot 21: Walter Frederick Osborne, R.H.A. (1859-1903) Life in Connemara, a Market Da

Auction Date: Jul 09, 2021

Estimate: £150,000 - £250,000

Description: Walter Frederick Osborne, R.H.A. (1859-1903) Life in Connemara, a Market Day oil on canvas 25 x 31 ½ in. (63.5 x 80 cm.)...

Location: London, LDN, UK

Auction House: Christie's

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Walter Frederick Osborne RHA (1859 - 1903) - Her Garden (1891)

Lot 22: Walter Frederick Osborne RHA (1859 - 1903) - Her Garden (1891)

Auction Date: Jun 02, 2021

Estimate: €80,000 - €120,000

Description: Walter Frederick Osborne RHA (1859 - 1903)
Her Garden (1891)
Oil on panel, 35.5 x 25.5 cm (14 x 10)
Signed Exhibited: Royal Hibernian Academy, Dublin 1891, No. 224 Entitled Her Garden, £10-10
Literature: Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, Cat No. 300, p. 130; Adrian le Harival and Michael Wynne, National Gallery of Ireland, Acquisitions, 1984 - 1986, 1986, p. 68 Among Walter Osborne's favourite subjects were scenes of girls in gardens, (1), farmyards, orchards and courtyards, and boys in the landscape, village street or by the seashore, painted variously in Antwerp, Brittany, England and Ireland. The theme of the garden became immensely popular during the Impressionist period. (2)
Painted in an English village in the middle of his career, the present picture of a girl in a garden belongs to this tradition, and is notable for its sunlit atmosphere and vivid colouring. Executed on a sturdy wooden panel, the picture was exhibited at the Royal Hibernian Academy in 1891, entitled Her Garden. Osborne recorded the painting in a small ink drawing for his sketchbook. In visits to England from the mid 1880's to the early nineties Osborne painted in a number of small towns and villages, working in the company of fellow artists. He painted many open-air scenes of villages, streets, gardens and farmyards, of farming subjects with people at work or relaxing, and of landscapes and coastal subjects. In the late eighties his careful Realist style gave way to a broader more colourful approach. This marked a response to a series of exceptionally sunny summers, to the vivid red brickwork and verdant surroundings of English villages, and to the influence of contemporaries, such as W. Blandford Fletcher, or the Impressionism of Philip Wilson Steer or John Singer Sargent. Painted in 1888 Her Garden is a companion picture to the larger canvas A Cottage Garden, (probably originally entitled Bachelor's Garden, 1888, NGI)
which also features a profuse garden, a similar red brick farmhouse, and a figure: that of a bearded man standing in his doorway in the background. The present picture shows a girl in a cottage garden watering flowers on a sunny day. The back door and window of the cottage are open, suggesting contact between house and garden. As in many of his paintings, Osborne enjoys the interlocking lines and forms of walls, rooftops, doors and windows. In Her Garden the lower roofs have red tiles, while the main roof of the house is thatched. Osborne captures the glare of a summer's day, where sunshine falls upon the farmhouse, the roof, and much of the garden; and upon the straw hat, the lower part of the girl's face, and upon her shoulders. Although her figure is treated with generality rather than detail, and her hat overshadows her eyes, there is a feeling of contentment to her. Osborne made a tiny ink sketch after the painting. This was included in a sketchbook in which he recorded many of his pictures painted 1879-1893. This remained in a family collection, and was presented to the National Gallery of Ireland by Mrs Sophia Mallin in 1984(3). The drawing features the girl watering flowers in the garden, with the house behind. Slight differences between the sketch and the painting: the windows, the lack of the gabled house on the left in the sketch, the slope of the roof, upper right, and the angle of the tree, can be explained by the fact that this is not a preparatory drawing for the painting but is a sketch made afterwards, probably from memory. The fluid lines on the left, indicating the foliage, suggest that Osborne had represented the garden and flowers in a broader, more abstract way. Below the sketch Osborne has written the title, which may initially appear to be the word 'Hereforden', ie. suggesting that the girl is a native of Hereford. However, Adrian le Harival and Michael Wynne have correctly interpreted the inscription as Her Garden (4), the title of the painting which Osborne exhibited at the RHA in 1891. However, it is worth noting that the sketch is included on a page of other drawings of pictures painted in 1888-89, indicating that Her Garden was also painted in this period, and exhibited a couple of years later. Osborne was skilled at integrating the figures of children into the landscape, at work or resting. He often featured a girl in the foreground of his rural scenes, as for example in Apple Gathering, Quimperlé, 1883 (NGI), Feeding Chickens, 1884(5), Girl in a Garden (NGI)
and Study from Nature (6). Girls wearing similar sturdy white straw hats and simple white dresses appear in several pictures of the period. There are several distinctive characteristics of Osborne's plein-air paintings of this period that appear in Her Garden. First is his skill at representing the hands of women and children, at work or at rest. This can be seen in Apple Gathering, Feeding Chickens, Potato Gathering (7), St Patrick's Close, 1887 (NGI), and Piping Times (Boy and Girl in a Garden)
(8). Secondly, there is the representation of the tree trunk, employing a 'square-brush' style, and the section of bare wood near the bottom of the tree. Thirdly, there is the depiction of a cottage rooftop and section of blue sky above it, as, for instance, in Flemish Farmstead (9), A Sunny Morning in the Fields, Pont Aven, 1883 (included in the present sale), The Intruder, 1883 (10), The Farmyard, Brittany (11), and in the present picture, Her Garden. Within the relatively small picture Osborne employs a variety of colours, brushmarks and textures, to evoke the warm summer's atmosphere of the scene. Inspired by the vivid red of the brick houses and the verdant gardens of some English villages, a number of paintings of this period employed vibrant red, ochre and green tones. In Her Garden Osborne uses a variety of colours to create a warm, vibrant effect: pale pinks, browns and reds in the cottage, white in the piece of fabric in the garden, a glowing green in the garden, dappled whites, blues and pinks in the girl's dress, viridian, burgundy and blue-green in the flowers, and a pale blue in the strip of sky. Osborne's skill in observing subtle hues is seen for instance in the soft blues present in the shadows of the girl's dress and the wall behind her head, and in the strip of lilac below the roof. Osborne's use of varied brushmarks and textures convey the feeling of sunlight: upright brushstrokes in the thatched roof of the cottage and light green areas of the garden; lively strokes in the girl's dress and in the bush, upper right; a 'square-brush' style in the trunk of the small tree; and more varied marks in the flowers and grasses in the foreground. In the companion picture A Cottage Garden (NGI)
mentioned above, Osborne similarly experiments with bolder marks and thicker paint to suggest the varied forms and textures of flowers and grasses. Infra-red examination of Her Garden has revealed the presence of the date '-88' below the signature, in the lower right-hand corner. This indicates that the picture was painted in 1888, and that Osborne retained it in his studio for three years before exhibiting it. He would have been aware of the Impressionistic garden scenes of J.S.Sargent exhibited in London in this period, and may have been stimulated to experiment with a more colourful Impressionistic style. Thus, Her Garden is an important transitional picture between the 1880s and nineties. Upon his return to Dublin, in his garden scenes Osborne pursued a more fluid style of painting, using thinner paint. During his career Osborne enjoyed making use of different surfaces for his paintings: canvases, light wood panels, millboards, and here a sturdy wooden panel with bevelled edges (12). On the reverse is a label by the Dublin art suppliers: from J.D.Spence, Printseller, Artists Colorman, Picture Frame Maker &c .7, Lower Sackville Street, Dublin. This is the same artist's suppliers at which Osborne purchased h
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Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) SKETCHES OF TWO WOMEN, 1886/87 (A PAIR)

Lot 27: Walter Frederick Osborne RHA ROI (1859-1903) SKETCHES OF TWO WOMEN, 1886/87 (A PAIR)

Auction Date: May 31, 2021

Estimate: €2,000 - €3,000

Description: Walter Frederick OsborneRHA ROI (1859-1903)
SKETCHES OF TWO WOMEN, 1886/87 (A PAIR)
pencil; (2) (framed together)
both dated lower left
h:6.25  w:4.50 in.

With a copy of a letter from Homan Potterton, Director of The National Gallery of Ireland attributing the works to Walter Osborne.

The previous owner thought the sitters to be the artist's mother, Annie Jane Osborne and a friend of the artist, Betty Webb.
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Location: Dublin, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903) Loiterers (1888) Oil on panel, 35.5 x 25.4cm (14 x 10'') Signed and dated (18)'88 Exhibited: Royal Hibernian Academy, Dublin 1889, Catalogue No.220; Institute of Painters in Oil Colours, undated; 'The Iris

Lot 54: Walter Frederick Osborne RHA ROI (1859-1903) Loiterers (1888) Oil on panel, 35.5 x 25.4cm (14 x 10'') Signed and dated (18)'88 Exhibited: Royal Hibernian Academy, Dublin 1889, Catalogue No.220; Institute of Painters in Oil Colours, undated; 'The Iris

Auction Date: Dec 09, 2020

Estimate: €40,000 - €60,000

Description: Walter Frederick Osborne RHA ROI (1859-1903) Loiterers (1888) Oil on panel, 35.5 x 25.4cm (14 x 10'') Signed and dated (18)'88 Exhibited: Royal Hibernian Academy, Dublin 1889, Catalogue No.220; Institute of Painters in Oil Colours, undated; 'The Irish Revival', Pyms Gallery, London May/June 1982, Catalogue No.2, colour illustration; 'Walter Osborne', National Gallery of Ireland, Dublin November/December 1983, Catalogue No.27, illustrated; 'Walter Osborne', Ulster Museum, Belfast January/February 1984, Catalogue No.27. Literature: Jeanne Sheehy, 'Walter Osborne', Ballycotton 1974, Catalogue No.220. In his painting Loiterers Walter Osborne shows an encounter between three people in a village street, with a pair of horses and a dog, and a hilly landscape behind lit by rosy evening sunlight. A realistic scene, the painting has a particular lyricism and warmth of colour. The boy in the foreground, holding a stick, sheepdog by his side, pauses to observe the man seated upon a white horse and a standing woman who are chatting. Each figure wears the plain clothing of English country people, the boy for instance, in a white smock. But each has distinctive head ware: the man a conical straw hat, the woman a bonnet, and the boy a deerstalker cap. In the background are thatched cottages and a small cart, while a basket and cloth has been left on the grassy verge on the right. The foreground is in shadow, but a strip of sunlight falls across the road, and beautiful sunlight also lights up the chimney stacks, tops of the roofs and hedge, and the hat of the mounted figure, while the hills behind and two clouds are illuminated by a warm, roseate light. The picture is dated 1888; in this period Osborne was working in Hampshire, Oxfordshire and Berkshire, often in the company of fellow-artists, such as Blandford Fletcher, and painting some of the finest pictures of his career. He painted in villages along the rivers Kennett and Thames, and he visited that part of the English countryside which lies to the north and south of the Berkshire Downs, (J. Sheehy, 1974, p.22). Loiterers may be set in Uffington or near Newbury. Osborne admired the rustic styles of village buildings, for example, the cottages with steep thatched roofs or stepped gables, small windows and red brick chimneys. The diagonal roofs to the right add a dynamic energy to the composition. In spite of its title, the people in the picture are not 'loitering' but relaxing, perhaps exchanging news after a day's work in the fields. In many pictures Osborne presented such people in the village street, stopping to talk, or simply observing the scene. He often used pencil studies from his sketchbooks, or juxtaposed figures from other pictures, to create interesting ensembles of local characters. For example, the figure of a boy in the foreground, viewed from behind and looking into the picture, becomes an archetypical image in several works. The woman, the boy in his smock, and the patient white and black plough horses also appear in a contemporary picture The Lock Gate, while a faithful sheepdog is present in several of Osborne paintings. The woman in the bonnet is also a familiar figure from many of Fletcher's Village scenes. The cottages and the landscape behind, the Downs and clouds, lit by beautiful evening light, are as much characters of the picture as the human figures. As Simon Jenkins writes : There is a gently rolling quality to the Berkshire chalk lands... The curves are more enfolding, the slopes more wooded... Yet they can still be wild and...mysterious. (England's 100 Best Views, 2019, p. 140.) If we look closely at Osborne's picture we see some surprising details: light paint is visible behind the boy, suggesting that his figure was added after the background was completed; and there are traces of pentimento on the grassy bank, where the figure of a seated woman may have been painted over. The picture is crisply executed yet Osborne's brushwork is lively, as for example in the 'blurred' treatment of the boy's smock, and the freely painted foreground and bank. Exquisite colouring is sprinkled throughout the picture, for example in the rosy clouds, the pale duck egg blue of the sky, and the touches of red in kerchiefs and chimney stacks. Loiterers is painted on a sturdy wood panel. Osborne made a lively ink drawing after the picture (sketchbook in NGI, cat. No. 19, 201, sheet 25), with a vignette of the boy and dog beside it, suggesting that he felt a special attachment to this painting. Acknowledgements: with grateful thanks to Anne Hodge, NGI, for assistance in research. Julian Campbell, September 2020....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) A TALE OF THE SEA, 1885

Lot 41: Walter Frederick Osborne RHA ROI (1859-1903) A TALE OF THE SEA, 1885

Auction Date: Dec 07, 2020

Estimate: €300,000 - €400,000

Description: signed and dated lower left...

Location: Dublin, IE

Auction House: Whyte's

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WALTER OSBORNE (IRISH 1859-1903)

Lot 323: WALTER OSBORNE (IRISH 1859-1903)

Auction Date: Nov 07, 2020

Estimate: $1,200 - $1,500

Description: WALTER OSBORNE (IRISH 1859-1903)

Newbury Streetscape [recto] Sketch of Seated Man [verso], 1887
pencil on paper
22 x 13 cm (8 1/2 x 5 in.) [full sheet]
dated lower left, titled lower center, signed lower right; illustrated bio of artist on verso

PROVENANCE
Carrickmines House, Foxrock, Co. Dublin, Ireland, Including An Important Collection of Modern Irish Pictures, Christie’s and Edmiston’s LTD. Monday, 10 February 1986 at 11.00 a.m. and 7.00 pm (label on verso)
William A. Smith, Inc. auctioneers and Appraisers, Plainfield, NH, sale 03781, lot 369 (label on verso)

CONDITION

N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

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Location: Mamaroneck, NY, US

Auction House: Shapiro Auctions LLC

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Walter Frederick Osborne RHA ROI (1859-1903) A Young Girl in a Village Oil on artist's board, 20.5 x 14.3cm (8 x 5½'') Provenance: With Jorgensen Fine Art, Dublin. Walter Osborne's small painting of children in a village square on a sunny day is bo

Lot 28: Walter Frederick Osborne RHA ROI (1859-1903) A Young Girl in a Village Oil on artist's board, 20.5 x 14.3cm (8 x 5½'') Provenance: With Jorgensen Fine Art, Dublin. Walter Osborne's small painting of children in a village square on a sunny day is bo

Auction Date: Oct 20, 2020

Estimate: €30,000 - €40,000

Description: Walter Frederick Osborne RHA ROI (1859-1903) A Young Girl in a Village Oil on artist's board, 20.5 x 14.3cm (8 x 5½'') Provenance: With Jorgensen Fine Art, Dublin. Walter Osborne's small painting of children in a village square on a sunny day is both characteristic of him, yet colourful and surprising, combining Naturalism with an evocative narrative content, a carefully controlled composition with a relaxed 'snapshot', almost 'cinematic' quality, and a contrast of strong sunlight and shadow. The figures, of the girl in the foreground, the boy with donkey or mule, and the silhouetted person behind, are sheltering from the heat of the day, and stand in deep shadow. As in several of Osborne's pictures, the little girl is viewed in profile or from behind, looking back at the other figures, creating a relationship with them, and inviting the viewer's interest. Are these children brother and sister, what sort of rural lives do they lead, and who is the figure in the background In contrast, the upper part of the picture, showing the square and farm buildings, is in bright sunlight. The contrast of bright light and deep shadow, the donkey and sun-baked square, and the hot reds and oranges, give the painting a slightly Spanish atmosphere. Yet the costumes of the children: girl with neat straw hat and bow, boy with hat and white shirt, and the brick buildings, barns and red-tiled roofs, indicate that the setting is in England. Osborne spent much of the period from 1884 to the early 1890's working in villages and in the countryside, and their street scenes, rural subjects with children and landscapes are among his finest paintings. In the present picture, the red brick buildings and high colouring are characteristic of his Berkshire paintings of c.1887/88, so it may date to this period. A diagonal line divides the shadowy foreground area from the sunny background. This is 'echoed' by the diagonals in the roofs which, together with horizontal lines, show the artist's love of blocked, interlocking shapes of buildings and walls. Equally typical is the little strip of trees and sky in the upper right corner of the picture, hinting at nature beyond. The colours of the buildings and square: reds, mauves, umbers, pale blues, pinks and oranges, glow with warmth. Certain colours are used in different parts of the picture, giving unity to the picture surface, in certain places, for instance in the girl's shoulder, and the sunny edge of a wall above the donkey's ear, Osborne employs a 'square-brush' style, while the pale blue walls and sky are brushed in more broadly. The picture is painted on millboard, a compressed pasteboard often used by Osborne and other Plein-air painters. Julian Campbell...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) Portrait of a Lady Wearing a Bonnet Pencil, 12 x 8cm (4¾ x 3'') Provenance: Ms. Violet Stockley (the artist's niece) to Sophia Mallin, thence by descent; sale DeVeres, September 2017; with Jorgensen Fine A

Lot 75: Walter Frederick Osborne RHA ROI (1859-1903) Portrait of a Lady Wearing a Bonnet Pencil, 12 x 8cm (4¾ x 3'') Provenance: Ms. Violet Stockley (the artist's niece) to Sophia Mallin, thence by descent; sale DeVeres, September 2017; with Jorgensen Fine A

Auction Date: Oct 20, 2020

Estimate: €1,000 - €1,500

Description: Walter Frederick Osborne RHA ROI (1859-1903) Portrait of a Lady Wearing a Bonnet Pencil, 12 x 8cm (4¾ x 3'') Provenance: Ms. Violet Stockley (the artist's niece) to Sophia Mallin, thence by descent; sale DeVeres, September 2017; with Jorgensen Fine Art, Dublin....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) ZAANDAM, 1901

Lot 105: Walter Frederick Osborne RHA ROI (1859-1903) ZAANDAM, 1901

Auction Date: Mar 09, 2020

Estimate: €8,000 - €12,000

Description: signed, inscribed and dated [May] indistinctly on reverse...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903)ZaandamOil on canvas, 26.5 x 37cm (10½ x 14½'')Signed, inscribed and dated May 1901 indistinctly on the turned edge of the canvasProvenance: With Milmo-Penny Fine Art, Dublin 1991; Sotheby's London, The

Lot 42: Walter Frederick Osborne RHA ROI (1859-1903)ZaandamOil on canvas, 26.5 x 37cm (10½ x 14½'')Signed, inscribed and dated May 1901 indistinctly on the turned edge of the canvasProvenance: With Milmo-Penny Fine Art, Dublin 1991; Sotheby's London, The

Auction Date: Dec 04, 2019

Estimate: €10,000 - €15,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)ZaandamOil on canvas, 26.5 x 37cm (10½ x 14½'')Signed, inscribed and dated May 1901 indistinctly on the turned edge of the canvasProvenance: With Milmo-Penny Fine Art, Dublin 1991; Sotheby's London, The Irish Sale, 11/5/06, Lot 34; Private Collection.Exhibited: Milmo-Penny Fine Art, 'Exhibition of Irish Art', Dublin June 1991, No.14.A stream leads from the left-hand side of the composition, winding through flat landscape towards the horizon, beneath an overcast sky of wind-tossed clouds. On the left is a windmill, in the centre another windmill and on the right a low cottage or barn. The scene is set in Zaandam in The Netherlands.A keen traveller, Walter Osborne is better known for his village scenes with figures and landscapes painted in Belgium, Brittany, England and the West of Ireland. But, in the 1890s, he also visited Spain and The Netherlands, in the company of Walter Armstrong, Director of the National Gallery of Ireland.He visited Amsterdam in c.1894, painted in Zaandam in 1895, then travelled in Holland with Armstrong in 1896, painting a small number of watercolours and oils on these trips (1).Zaandam was a picturesque village in the Zaanstad region, about seven miles north of Amsterdam. In the seventeenth century it had become a centre for ship building. In 1797 it attracted an important visitor, the Russian Tzar, Peter the Great, who came to study shipbuilding. On several visits he stayed in a small wooden house. This was known as the ?Czaar Petershuisje? and became a tourist attraction in the town (2).In the nineteenth century, Zaandam and its surroundings became a popular tourist area, attracted by its rows of brightly painted houses, masts and canals and its distinctive windmills, becoming known as ?La Chine d?Hollande?, because of its slightly oriental appearance (3). The village attracted artists including French Impressionist Claude Monet in the 1870s, who painted a series of colourful pictures there.In his picture ?Zaandam?, Osborne does not paint in the village but in the surrounding countryside. But the representation of windmills, cottages and masts on the horizon suggest that there is human presence nearby. The light is overcast, the sky filled with clouds, vigorously painted. Some of these, as well as one windmill, are reflected in the stream, lighting up part of the foreground. The moss green of the moor is rapidly painted so that the vigorous brushstrokes are visible. Osborne employs quite a rough-weave canvas, its grain showing through where the paint is thin. The pinkish tones in the left-hand horizon recur in the cloud in the centre of the sky.Much of his work of the 1890s is more impressionistic and light-filled. But ?Zaandam? has affinities with the pictures of the painters of the Hague School, the great Dutch Realist landscapes of the mid-century, in its grey and green tones and subdued atmosphere, for example with ?Allotments near the Hague? by Jacob Maris (Haags Gemeeentemuseum, the Hague), which also shows a canal winding into the landscape and a brooding, cloud-filled sky (4).Osborne?s ?Zaandam? may relate to a watercolour ?Near Zaandam?, featuring a landscape with windmills, painted in 1895 (5). However, an inscription on the edge of the current canvas reads ?Walter Osborne Zaandam May 1901?, suggesting that he may also have visited the village at this later date.Julian Campbell, September 2019See Jeanne Sheehy, ?Walter Osborne?, Ballycotton 1974 and Jeanne Sheehy, ?Walter Osborne?, National Gallery of Ireland 1983. Osborne?s painting ?on the Canals, Amsterdam? was exhibited at Institute of Painters in Oil Colours, 1894-95 (Sheehy, 1974, cast. No. 419). A watercolour ?Canal, Amsterdam? was included in the ?Osborne Memorial Exhibition?, 1903-1904.Martin Dunford and Jack Holland, ?Amsterdam?, 1997, p.319.?Amsterdam?, 1997, p.319.Hague artists such as Maris, Gerard Bilders, Paul Gabriel and Jan Weissenbruch painted flat landscapes with canals and windmills with towns in the distance, but often included figures and animals in the foreground.Sheehy, 1974, cat. no.451....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)Market Sellers SketchPencil, 24 x 17cm (9½ x 6¾)Dated 1892 indistinctlyProvenance: Violet Stockley; Prof. Doyle 'Trentham', Foxrock, Contents Sale, July 1977.

Lot 35: Walter Frederick Osborne RHA ROI (1859-1903)Market Sellers SketchPencil, 24 x 17cm (9½ x 6¾)Dated 1892 indistinctlyProvenance: Violet Stockley; Prof. Doyle 'Trentham', Foxrock, Contents Sale, July 1977.

Auction Date: Oct 23, 2019

Estimate: €800 - €1,200

Description: Walter Frederick Osborne RHA ROI (1859-1903)Market Sellers SketchPencil, 24 x 17cm (9½ x 6¾)Dated 1892 indistinctlyProvenance: Violet Stockley; Prof. Doyle 'Trentham', Foxrock, Contents Sale, July 1977....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)Study of a GirlPen and ink, 24 x 16cm (9½ x 6½)Dated 1891

Lot 35: Walter Frederick Osborne RHA ROI (1859-1903)Study of a GirlPen and ink, 24 x 16cm (9½ x 6½)Dated 1891

Auction Date: Sep 25, 2019

Estimate: €3,000 - €5,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)Study of a GirlPen and ink, 24 x 16cm (9½ x 6½)Dated 1891...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)'Old Inn'Watercolour on card, 24.5 x 17cm (9.6 x 6.6”) SignedWith a fragment of the original back panel board and an old label verso inscribed ‘ “Old Inn” / Walter Osborne / 1886 - His First Exhibited Wa

Lot 36: Walter Frederick Osborne RHA ROI (1859-1903)'Old Inn'Watercolour on card, 24.5 x 17cm (9.6 x 6.6”) SignedWith a fragment of the original back panel board and an old label verso inscribed ‘ “Old Inn” / Walter Osborne / 1886 - His First Exhibited Wa

Auction Date: Sep 25, 2019

Estimate: €6,000 - €8,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)'Old Inn'Watercolour on card, 24.5 x 17cm (9.6 x 6.6?) SignedWith a fragment of the original back panel board and an old label verso inscribed ? ?Old Inn? / Walter Osborne / 1886 - His First Exhibited Watercolour / P.C Trench / 5 Fitzwilliam Place?Exhibited: Possibly, Dublin Art Club, 1886 as The Village Inn, cat. no. 126Julian Campbell has written : ?Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage.?...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, Lond

Lot 72: Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, Lond

Auction Date: Mar 27, 2019

Estimate: €60,000 - €80,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ?Sutton Courtney? and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: ?Sutton?s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight? it is a setting for the rarer moments in life?. Gibbings did not linger in the village, ?leaving the last golden hours of evening to the boys fishing on the weirs? (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints? Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman?s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy?s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne?s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ?square brush style? is employed, for example, in parts of the boy?s clothing, the woman?s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ?blurred?, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam?s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O?Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints? Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (?Exhibition of Irish Paintings and Sculptures?, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam?s, 30th May 2018, lot 32; and Ne...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Lot 11: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Auction Date: Nov 26, 2018

Estimate: €15,000 - €20,000

Description: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES...

Location: Dublin, IE

Auction House: Whyte's

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WALTER FREDERICK OSBORNE, R.H.A | The Artist's Mother

Lot 92: WALTER FREDERICK OSBORNE, R.H.A | The Artist's Mother

Auction Date: Nov 21, 2018

Estimate: £10,000 - £15,000

Description: oil on canvasboard...

Location: London, LDN, UK

Auction House: Sotheby's

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WALTER FREDERICK OSBORNE, R.H.A | Seated Boy and Sea

Lot 11: WALTER FREDERICK OSBORNE, R.H.A | Seated Boy and Sea

Auction Date: Nov 21, 2018

Estimate: £60,000 - £80,000

Description: oil on board...

Location: London, LDN, UK

Auction House: Sotheby's

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WALTER FREDERICK OSBORNE, R.H.A | At the Breakfast Table

Lot 55: WALTER FREDERICK OSBORNE, R.H.A | At the Breakfast Table

Auction Date: Nov 21, 2018

Estimate: £100,000 - £150,000

Description: oil on canvas...

Location: London, LDN, UK

Auction House: Sotheby's

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WALTER FREDERICK OSBORNE, R.H.A | Study from Nature

Lot 28: WALTER FREDERICK OSBORNE, R.H.A | Study from Nature

Auction Date: Nov 21, 2018

Estimate: £60,000 - £80,000

Description: oil on panel...

Location: London, LDN, UK

Auction House: Sotheby's

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Walter Frederick Osborne RHA ROI (1859-1903) AT A CHILD'S BEDSIDE, 1898

Lot 12: Walter Frederick Osborne RHA ROI (1859-1903) AT A CHILD'S BEDSIDE, 1898

Auction Date: Oct 01, 2018

Estimate: €8,000 - €12,000

Description: signed and dated lower left; inscribed [Violet Stockley, aged 5 years] on RHA label on reverse; titled on other label on reverse...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903) VIEW IN ANTWERP, 1881-1882

Lot 14: Walter Frederick Osborne RHA ROI (1859-1903) VIEW IN ANTWERP, 1881-1882

Auction Date: Oct 01, 2018

Estimate: €8,000 - €10,000

Description: signed with initials lower right and 'F. W. Osborne' lower left...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898

Lot 14: Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898

Auction Date: Oct 01, 2018

Estimate: €20,000 - €30,000

Description: signed lower left...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903) THE HIGH CHAIR (VIOLET STOCKLEY, AGED ONE YEAR, EIGHT MONTHS), 1894

Lot 13: Walter Frederick Osborne RHA ROI (1859-1903) THE HIGH CHAIR (VIOLET STOCKLEY, AGED ONE YEAR, EIGHT MONTHS), 1894

Auction Date: Oct 01, 2018

Estimate: €6,000 - €8,000

Description: signed and dated lower left; inscribed on RHA label on reverse...

Location: Ballsbridge, IE

Auction House: Whyte's

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WALTER FREDERICK OSBORNE (ENGLISH 1859-1903) OIL ON CANVAS LAID ON PANEL, EUROPEAN STREET SCENE, SIGNED. 14 X 11"; FRAMED 17 3/4 X 14 1/2"

Lot 60: WALTER FREDERICK OSBORNE (ENGLISH 1859-1903) OIL ON CANVAS LAID ON PANEL, EUROPEAN STREET SCENE, SIGNED. 14 X 11"; FRAMED 17 3/4 X 14 1/2"

Auction Date: Sep 30, 2018

Estimate: $5,000 - $6,000

Description: WALTER FREDERICK OSBORNE (ENGLISH 1859-1903) OIL ON CANVAS LAID ON PANEL, EUROPEAN STREET SCENE, SIGNED. 14 X 11"; FRAMED 17 3/4 X 14 1/2"...

Location: Chester, NY, US

Auction House: William J Jenack Auctioneers

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Walter Frederick Osborne RHA ROI (1859-1903)MoonriseOil on canvas, 50 x 68cm (19¾ x 26¾'')Signed and dated (18)'93Provenance: Adam's, Important Irish Art, 14th December 1994, Lot No.28.Exhibited: Dublin, Royal Hibernian Academy Annual Exhibition

Lot 82: Walter Frederick Osborne RHA ROI (1859-1903)MoonriseOil on canvas, 50 x 68cm (19¾ x 26¾'')Signed and dated (18)'93Provenance: Adam's, Important Irish Art, 14th December 1994, Lot No.28.Exhibited: Dublin, Royal Hibernian Academy Annual Exhibition

Auction Date: Sep 26, 2018

Estimate: €60,000 - €80,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)MoonriseOil on canvas, 50 x 68cm (19¾ x 26¾'')Signed and dated (18)'93Provenance: Adam's, Important Irish Art, 14th December 1994, Lot No.28.Exhibited: Dublin, Royal Hibernian Academy Annual Exhibition 1894, No.113; London, Institute of Painters in Oil Colours, 1894, No.451.Literature: Jeanne Sheehy, 'Walter Osborne', Ballycotton 1974, Catalogue No.402, p.137; Thomas Bodkin, 'Four Irish Landscape Painters', Dublin and London 1920, Appendix XI, p.124, 137; Irish Independent, 12th March 1894 - Well treated picture of the Impressionist type.Moonrise is an interesting painting in Walter Osborne?s oeuvre, in that it is a ?pure? landscape, including sheep grazing, but lacking in human figures, and in the presence of a vivid moon rising in a clear blue sky - a contrast to the subdued palette of the earth. There is a reflective feeling for nature, reminiscent of the Barbizon school, particularly Charles Daubigny?s crepuscular scenes of shepherds with sheep and moons rising above the land(1) and Nathaniel Hone?s pastoral landscapes.The 1890s was an intensely busy but fulfilling period in Osborne?s career, when he was undertaking official portraits of dignitaries and society ladies; painting more informal portraits of his family, such as At the Breakfast Table, 1894, and friends; representing genre scenes in the Dublin streets; painting landscapes around Dublin; making visits to Co. Galway; as well as helping to look after his family. He thus found solace in nature, painting in the open air in north Co. Dublin, where his friend, Hone, was depicting cattle or sheep in pastures near Malahide and Raheny and Joseph M. Kavanagh was painting sheep grazing in Fingal and in Foxrock, a few miles south of Dublin, where fellow landscapist J.B.S. McIllwain lived. Moonrise may be set near Foxrock, with its mixture of farmland and scrubby landscape. It is contemporary with some of Osborne?s major Irish landscapes of the period, for example The Thornbush, 1893 and Milking Time, c.1893.Being the son of animal painter William Osborne, Walter had a real empathy for animals, both pets and farm animals, and he seemed to capture something of their true spirit. During the 1880s, he had painted a number of pictures of shepherds with their flocks of black-faced sheep in England, including The Sheepfold, 1885 and Counting the Flock, 1885 (sold in Adam?s, Important Irish Art, May 2018, Lot 32)(2). In England, the sheep were guarded by a shepherd, but in Moonrise they are untended, grazing freely in the rougher Irish landscape. With its pastures, hedges, trees, horizon line and large sky, its earthy tones of olive greens and browns and its free ?buttery? brushstrokes, Moonrise is reminiscent of Hone?s scenes of pastures with cattle. With their dun-coloured fleeces, Osborne?s sheep are carefully observed, but well integrated into the landscape. A notable feature of his sheep, and indeed animal paintings in general, is the way that one or two of the animals in the foreground might look out at the viewer with curiosity, thus engaging our interest - as if caught in a photograph, or based on a preparatory drawing by the artist.Some of Osborne?s paintings show his interest in moonlight and starlight, for example in scenes observed in Rush, Galway and Roundstone. During the early 1890s, he observed the atmospheric scene of Rising Moon, Galway Harbour (Dublin City Gallery, The Hugh Lane). Here, in Moonrise, he was moved by the sight of the moon rising in daylight, in a clear blue sky, and by the lit-up cloud beyond the horizon. The painting is contemporary with the early Celtic Twilight poems of W.B. Yeats and, although Osborne?s emphasis was naturalistic rather than symbolic, his image of a bright, three-quarter, lozenge-shaped moon rising above the tranquil landscape and grazing sheep, is a romantic one, symbolising the seasonal regeneration of nature.Moonrise was exhibited at the Royal Hibernian Academy, Dublin in 1894 and then at the Institute of Painters in Oil Colours, London in the same year.Julian Campbell, August 20181. Eg. Daubigny?s ?Return of the Flock?, 1877 (Montreal Museum of Fine Arts).2. The Sheepfold?, c.1885, illustrated in J. Sheehy, ?Walter Osborne?, 1983, p.74, Catalogue No.22; ?Counting the Flock?, 1885, ?Important Irish Art?, Adam?s, May 2018, Lot 32. See also ?The Return of the Flock?, 1885 and ?A Shepherd and His Flock?, 1887 (?Important Irish Art?, Adam?s, 3rd December 2002, Lot 78)....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)A River Landscape with Buildings in the DistanceWatercolour, 12 x 16.5cm (4¾ x 6¾'')SignedProvenance: 'The Irish Sale', Christie's, London 8/12/2008, Lot 26.

Lot 30: Walter Frederick Osborne RHA ROI (1859-1903)A River Landscape with Buildings in the DistanceWatercolour, 12 x 16.5cm (4¾ x 6¾'')SignedProvenance: 'The Irish Sale', Christie's, London 8/12/2008, Lot 26.

Auction Date: May 30, 2018

Estimate: €1,200 - €1,500

Description: Walter Frederick Osborne RHA ROI (1859-1903)A River Landscape with Buildings in the DistanceWatercolour, 12 x 16.5cm (4¾ x 6¾'')SignedProvenance: 'The Irish Sale', Christie's, London 8/12/2008, Lot 26....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)Beached Rowing Boat and Figures by the ShoreOil on board, 25 x 21cm (9¾ x 8¼'')Provenance: Sale, Adam's, 16 June 1993, Lot 69, where purchased by the late Gillian Bowler.Walter Osborne’s picture depic

Lot 31: Walter Frederick Osborne RHA ROI (1859-1903)Beached Rowing Boat and Figures by the ShoreOil on board, 25 x 21cm (9¾ x 8¼'')Provenance: Sale, Adam's, 16 June 1993, Lot 69, where purchased by the late Gillian Bowler.Walter Osborne’s picture depic

Auction Date: May 30, 2018

Estimate: €8,000 - €12,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)Beached Rowing Boat and Figures by the ShoreOil on board, 25 x 21cm (9¾ x 8¼'')Provenance: Sale, Adam's, 16 June 1993, Lot 69, where purchased by the late Gillian Bowler.Walter Osborne?s picture depicts a sloping, high river bank upon which small rowing boats are moored. Just over the brow is a large pavilion-like building with steep roof, tall chimneys and masts. On the left, a figure in hat and white smock stands silhouetted against the sky, while in the right foreground another man in white sits in his boat, moored below the steps which climb the banks. The smooth water below reflects the boat and river bank, complementing the dark shape of the building above. Osborne?s scene is viewed against the light, so the tone of the picture is subdued. Yet a quiet sense of mystery is evoked, the two men conversing with one another perhaps, or lost in their own thoughts. Osborne?s scene has echoes of small, intimate pictures of heath or quarries by earlier landscapists such as John Crome and William Mulready.Osborne spent much of the period 1884 to c.1891 painting in English villages and coastal towns in the summer months. The setting of the present picture is probably at Rye in East Sussex.Rye had been an old fortified town on the river Rother on the Sussex coast and became one of the ?Cinque ports?. But in the 16th century the harbour began to silt up, so that the town became situated two miles inland. The Flemish portraitist Anthony Van Dyck painted beautiful watercolours there c.1633. Osborne was working in Rye c.1889-1890, and was inspired to paint some of his finest paintings there. These include ?Cherry Ripe?, c.1889 (Ulster Museum); ?The Ferry?; ?When the Boats Come In?; small oil studies such as ?On the Quay at Rye, 1889 and the present picture; and the wash painting ?Boats in Rye Harbour? (National Gallery of Ireland); and he also took photographs there (NGI).English villages provided Osborne with interesting subject matter and also inspired a new palette in his paintings, the warm russets, oranges and maroon colours of brickwork and roof tiles, the browns of old woodwork, often being lit up by lovely sunlight. In the present scene, which is observed against the light, the tones, dark maroons, plum colours, raw siennas (lighter at the top of the bank) and dark blues, are more subdued. But the sky is bright, covered by light cloud and with touches of blue sky breaking through. Osborne?s brushwork is light but expressive. On the riverbank, for example, changes in direction are visible as his brush moves quickly over the picture surface, while in the clouds fluid, horizontal brush marks can be seen, creating blurred edges where the building meets the sky.Osborne?s painting belonged in the collection of Gillian Bowler, founder of Budget Travel. A very similar subject was exhibited at the Dublin Art Club in 1890.Julian Campbell, April 20181) ?The Ferry?, Important Irish Art, de Vere?s, Dublin, 27th November 2013, Lot 39.2) ?When the Boats Come In?, 19th Century European, Victorian and British Impressionist Art, Bonhams, London, 1st March 2017, Lot 62.3) ?On the Quay at Rye?, 1889, Irish Sale, Sotheby?s, London, 18th May 2001, Lot 165 - this was a gift from Osborne to fellow painter Blandford Fletcher....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903)Counting the Flock (c.1885/86)Oil on board, 33 x 40cm (13 x 15¾'')SignedProvenance: Given by the artist to Sarah Purser; by descent; Irish Sale, Christie’s, 19th May 2000, Lot 212 (mis-titled); Irish S

Lot 32: Walter Frederick Osborne RHA ROI (1859-1903)Counting the Flock (c.1885/86)Oil on board, 33 x 40cm (13 x 15¾'')SignedProvenance: Given by the artist to Sarah Purser; by descent; Irish Sale, Christie’s, 19th May 2000, Lot 212 (mis-titled); Irish S

Auction Date: May 30, 2018

Estimate: €100,000 - €150,000

Description: Walter Frederick Osborne RHA ROI (1859-1903)Counting the Flock (c.1885/86)Oil on board, 33 x 40cm (13 x 15¾'')SignedProvenance: Given by the artist to Sarah Purser; by descent; Irish Sale, Christie?s, 19th May 2000, Lot 212 (mis-titled); Irish Sale, Christie?s, London, 15th May 2003, Lot 37 (mis-titled) where purchased by the current owner.Exhibited: Probably exhibited Dublin, Royal Hibernian Academy, 1886, No.161, £20; Walker Art Gallery, Liverpool, Autumn Exhibition 1886, No.219, £15.Literature: Thomas Bodkin, ?Four Irish Landscape Painters?, Dublin and London 1920, Appendix XI, p.119; Jeanne Sheehy, ?Walter Osborne?, Ballycotton, 1974 , Catalogue No.138, page 120.A shepherd stands watching over his flock of sheep, at the edge of a flat landscape which stretches into the distance, beneath a magnificent sky of rolling clouds. The man wears a tall felt hat and a white coat. His hand rests a stick on the ground, and there is another staff crooked under his left arm. A faithful black dog with a collar sits upright at his heels, watching over the flock of black-faced sheep and waiting for his master?s orders. The sheep are calm, some facing the shepherd or resting on the grass, while the majority of them are grazing. Being the son of animal painter William Osborne, the younger Osborne had a real understanding of animals and he observes the dog and sheep skilfully. The shepherd?s coat being the same off-white as the sheep, he is nearly one with his flock, creating a tranquil mood to the picture.He is standing in the left foreground, viewed from behind, inviting the viewer to look into the landscape. To the left, a shepherd?s or farm workers? hut with wheels can be seen in the middle distance. A flight of seagulls rises into the air, suggesting some agricultural activity behind. The grassy plain stretches back to the horizon, where to the left there may be low buildings and to the right low hills. Yet, in contrast to the calm of the pastoral scene, much of the composition is dominated by the lively sky above. Like his fellow Irish landscapist, Nathaniel Hone, Osborne was fascinated by cloudscapes and changing skies. Here, clouds appear beyond the horizon and roll towards us, their upper parts white, their lower edges a pale pinkish-grey, with areas of a cheerful duck-egg blue sky above them, creating a summery mood.In the foreground, Osborne employs more subdued tones: light moss greens and browns, duns and off-whites, but a sprinkling of red flowers, perhaps poppies, provide joyous points of colour.?Counting the Flock? may be set in Hampshire or Berkshire, where Osborne was working c.1886. After he had studied in Dublin and Antwerp, and painted in Brittany, Osborne felt the need to live abroad further, and he spent much of the period 1884 to c.1891 in England, enjoying staying in small towns and villages with fellow painters, valuing an independence from his family and painting rural subjects and landscapes in the open air. He produced some of his finest works during this period.Osborne was fascinated by the flatness of the landscape and the rolling downs and attracted to landscapes with domestic or farm animals. He painted a number of scenes of shepherds with sheep, men ploughing with horses, a boy guarding pigs, girls feeding chickens and so on. Here, during the mid-eighties, he made several small studies on panels and larger pictures of sheep, for example the sunny ?Sheepfold Shepherd and his Sheep?, 1887 and ?The Return of the Flock?, 1885.The subject of shepherds with sheep was frequently depicted by 19th century artists. ?Counting the Flock? belongs to the noble tradition of rustic naturalism, in which artists such as Jean-Francois Millet, Charles Jacque, Julien Dupré, Anton Mauve and George Clausen painted scenes of peasant figures with their flocks of sheep, goats or herds of cattle. In some French pictures, the guardian of the sheep is a shepherdess, but in Osborne?s he is a man. As in several works by the artist?s friend Joseph M. Kavanagh, he is viewed from behind. He is standing still, watching over, or counting, his flock, looking into the landscape, or lost in thought. He is treated in an unsentimental, naturalistic manner. Indeed, with his hat and white coat, he is quite a modern figure, like a traveller about to embark upon a journey, a character in a play by Beckett - a kind of everyman.?Counting the Flock?3 is probably the painting of the same name which Osborne exhibited twice in 1886: at the Royal Hibernian Academy in Dublin and at the Walker Art Gallery, Liverpool?s Autumn Exhibition.Julian Campbell, April 2018(I am grateful to Niamh MacNally, National Gallery of Ireland, for assistance in my research).1) Jeanne Sheehy, ?Walter Osborne?, Ballycotton, 1974, p.28.2) ?The Sheepfold?, c.1885, exhibited ?Walter Osborne?, NGI 1983, No.22, catalogue by Jeanne Sheehy, illustrated p.74; and ?A Shepherd and His Flock?, 1887, Sheehy, 1974, Catalogue No.152.3) ?Counting the Flock? has often been mis-titled as ?The Return of the Flock?. However, the latter picture (Sheehy, 1974, cat.no.128), shows a boy driving sheep through a village street....

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA (1859-1903) A Street in Antwerp (1894)

Lot 9: Walter Frederick Osborne RHA (1859-1903) A Street in Antwerp (1894)

Auction Date: Apr 30, 2018

Estimate: €1,500 - €2,500

Description: Walter Frederick Osborne RHA(1859-1903)
A Street in Antwerp (1894)
pencil drawing on paper
signed, titled and dated '94 lower right
h:25.50  w:18.25 cm.

Provenance:
Daniel Egan, Dublin (framing label verso);
Private Collection

A key figure in 19th century Irish art, Osborne studied in Antwerp where he delighted in documenting the intimate details of street life - women gossiping, carts unloading their wares, all against the backdrop of the magnificent Gothic Cathedral.
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Location: Dublin 4, IE

Auction House: Morgan O'Driscoll

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Walter Frederick Osborne (1859-1903) Irish. "A Dealer in Copper Utensils", Pencil Drawing, Inscribed with Title in Pencil, and Verso another Drawing "Old Windmill, Cairo" and Pencil Sketches of Two Gentlemen", 5.5" x 3.5".

Lot 178: Walter Frederick Osborne (1859-1903) Irish. "A Dealer in Copper Utensils", Pencil Drawing, Inscribed with Title in Pencil, and Verso another Drawing "Old Windmill, Cairo" and Pencil Sketches of Two Gentlemen", 5.5" x 3.5".

Auction Date: Dec 20, 2017

Estimate: £200 - £300

Description: Walter Frederick Osborne (1859-1903) Irish. "A Dealer in Copper Utensils", Pencil Drawing, Inscribed with Title in Pencil, and Verso another Drawing "Old Windmill, Cairo" and Pencil Sketches of Two Gentlemen", 5.5" x 3.5"....

Location: Haslemere, SRY, UK

Auction House: John Nicholsons Fine Art Auctioneer & Valuer

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Walter Frederick Osborne RHA (1859-1903) Rags, Bones and Bottles

Lot 50: Walter Frederick Osborne RHA (1859-1903) Rags, Bones and Bottles

Auction Date: Dec 04, 2017

Estimate: €80,000 - €120,000

Description: Walter Frederick Osborne RHA(1859-1903)
Rags, Bones and Bottles
oil on canvas
signed and dated lower right 'WALTER OSBORNE '91'
h:46  w:36 cm.

Provenance:
Sotheby's, London, Irish Art Sale, 9th May 2007, Lot 76;
Private Collection

Exhibited:
London, Royal Academy, 1891, no 137;
Liverpool, Autumn Exhibition, 1891, no. 262.


Literature:
'The Royal Academy', The Northern Whig, 2 May 1891, p. 5;
Jeanne Sheehy, Walter Osborne, 1974 (Ballycotton), p.130 (no.303);
Eamonn Mallie ed., One Hundred Years of Irish Art, 2000 (Nicholson & Bass), p. 248 (illustrated p. 249).

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Location: Dublin 2, IE

Auction House: Morgan O'Driscoll

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Walter Frederick Osborne, R.H.A. (1859-1903) - The Return of the Flock

Lot 77: Walter Frederick Osborne, R.H.A. (1859-1903) - The Return of the Flock

Auction Date: Nov 22, 2017

Estimate: £200,000 - £300,000

Description: Walter Frederick Osborne, R.H.A. (1859-1903)
The Return of the Flock
oil on board
13 x 16 in. (33 x 40.5 cm.)
...

Location: London, LDN, UK

Auction House: Christie's

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Walter Frederick Osborne, R.H.A. (1859-1903) - A Tale of the Sea

Lot 71: Walter Frederick Osborne, R.H.A. (1859-1903) - A Tale of the Sea

Auction Date: Nov 22, 2017

Estimate: £400,000 - £600,000

Description: Walter Frederick Osborne, R.H.A. (1859-1903)
A Tale of the Sea
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
...

Location: London, LDN, UK

Auction House: Christie's

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Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898

Lot 36: Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898

Auction Date: Oct 02, 2017

Estimate: €25,000 - €35,000

Description: signed lower left...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Lot 43: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Auction Date: Oct 02, 2017

Estimate: €18,000 - €22,000

Description: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederick Osborne RHA (1859-1903)A Young Girl in a VillageOil on board, 20 x 15cm (7¾ x 5¾'')

Lot 118: Walter Frederick Osborne RHA (1859-1903)A Young Girl in a VillageOil on board, 20 x 15cm (7¾ x 5¾'')

Auction Date: Sep 27, 2017

Estimate: €20,000 - €30,000

Description: Walter Frederick Osborne RHA (1859-1903)A Young Girl in a VillageOil on board, 20 x 15cm (7¾ x 5¾'')...

Location: Dublin 2, IE

Auction House: Adam's

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WALTER FREDERICK OSBORNE, R.H.A | Study of a Country Lane

Lot 48: WALTER FREDERICK OSBORNE, R.H.A | Study of a Country Lane

Auction Date: Sep 27, 2017

Estimate: £4,000 - £6,000

Description: oil on canvas board...

Location: London, LDN, UK

Auction House: Sotheby's

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WALTER FREDERICK OSBORNE (IRISH, 1859-1903)

Lot 197: WALTER FREDERICK OSBORNE (IRISH, 1859-1903)

Auction Date: Jun 27, 2017

Estimate: €600 - €800

Description: A gardener working at a bonfireWatercolourSigned with initials and dated [18]89...

Location: Shillelagh, IE

Auction House: Sheppards

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* Walter Frederick Osborne RHA, ROI (Irish, 1859-1903) When the boats come in

Lot 62: * Walter Frederick Osborne RHA, ROI (Irish, 1859-1903) When the boats come in

Auction Date: Mar 01, 2017

Estimate: £100,000 - £150,000

Description: Walter Frederick Osborne RHA, ROI (Irish, 1859-1903)
When the boats come in
signed 'Walter Osborne.' (lower left)
oil on canvas
71 x 102cm (27 15/16 x 40 3/16in).
Footnotes

Provenance
Private collection, South Africa
Thence by descent

Exhibited
London, Royal Academy, 1892, no.318, illustrated in catalogue
Liverpool, Autumn Exhibition, 1892, no.295, illustrated in catalogue
Dublin, Royal Hibernian Academy, 1894, no.22


Literature
Jeanne Sheehy, Walter Osborne, Ballycotton, Co. Cork, 1974, Cat no. 342, p. 133


Perhaps best-known for his street and market scenes in Dublin, his paintings of families in parks, or of children in gardens and interiors, and some of his portraits, much of Walter Osborne's finest work was also painted in England. Having undertaken his studies in Dublin and in Antwerp, and painted in the open air in Brittany, the artist spent much of the period, 1884-1891, in England, basing himself in a number of small towns and villages, with pets, bustling streets, quiet village or harbour scenes, agricultural subjects of people at work in the fields, and landscapes. These comprise a substantial body of work in the middle of Osborne's career, and include some of his finest paintings.

He worked in a number of coastal towns and villages, including Southwold and Walberswick in Suffolk, Lincoln, Wells-near-the-Sea, and at Hastings and Rye in Sussex. The present painting When the boats come in is a companion picture to Osborne's canvas The Ferry, 1890, which was painted at Rye, and which was described by Thomas Bodkin as 'the most important large landscape of Osborne's earlier works'1, which was sold at an auction in Dublin in 20132. While walking in the Sussex countryside in the 1870s English reformer Richard Heath encountered considerable poverty3. However, coastal towns and fishing ports were more prosperous and provided many with a living. Osborne was based at Rye in Sussex in c.1889-91, and found it a most congenial and inspiring place to work. He was attracted to both the town and the harbour, and executed some of his most important English works here, including Cherry Ripe c.1889 (Ulster Museum, Belfast); Boats in Rye Harbour (National Gallery of Ireland), a wash painting; The Ferry; When the boats come in; and possibly The Boat Builders, and he also took photographs.

Rye had been an ancient fortified town on the Sussex coast, and became one of the Cinque (five) ports4, but in the Middle Ages it was hit by a number of misfortunes; in 1287 a massive storm diverted the river Rother, and in 1377 the town was attacked and burned by the French. It was rebuilt, but in the 16th century the harbour began to silt up, and the town became situated two miles inland. In Osborne's day the town had a pretty, bustling main street of red brick and timber houses, as can be in his Cherry Ripe. He was also fascinated by the harbour of Rye, with its fishing community, fleet of boats, red-roofed village nestling among the trees, mud banks, and the winding, serpentine river flowing towards the sea. This river estuary is an important feature in The Ferry and When the boats come in, however Osborne takes a different viewpoint in each picture. The Ferry features a family group on the riverbank in the foreground, with the fishing fleet in the middle distance, whereas the present picture takes a different viewpoint further along the bank, but looking back, with a large boat in the foreground, figures at work, and red rooftops visible behind. From foreground to background in When the boats come in Osborne presents a host of different characters and bustling activity.

The stocky, bearded fisherman with white jersey, sailor's cap and pipe, is a good character study. There is another figure in similar attire in the prow of the fishing boat, and indeed a similar figure in the rowing boat in The Ferry5. In the foreground are some baskets and a flock of geese. Behind, to the right, are groups of fishermen, villagers and boys at work on the quayside. The small boy on the right carries a fish, while a man leans over a basket of fish, and there appear to be plaice on the ground. These activities, along with the grazing geese, are just the kind of genre details that Osborne loved to depict in his rural pictures.

In The Ferry various kinds of vessels, including a cutter, schooner and fishing boat, are visible6. Likewise, in When the boats come in Osborne shows a heavy, broad-beamed wooden vessel, with rigging visible and sails lowered, and a rowing boat half-hidden by the riverbank. Behind, red houses and trees can be seen, while the winding river entices our eyes towards the flat landscape, with low hills in the distance, and a grey, cloudy sky. Osborne was masterly in painting the placid waters of the estuary, with ripples reflecting tones of pale ultramarine, silver and pale pink. In both When the boats come in and The Ferry the sky is overcast, the light sombre, providing a subdued, but rich, tonality: grey-green, umber and brown in the present picture, and more pinkish in The Ferry.

Osborne painted his landscapes and small studies directly from Nature, but there is evidence that he employed preliminary drawings and photographs in the construction of his larger compositions, which he prepared for exhibition. Although ostensibly Naturalistic, When the boats come in is composed very carefully. The artist often placed figures in the foreground of his compositions, and here the fisherman may have been added as a point of focus and interest, almost as if he is pausing for a photograph, in front of the general group of figures. There are suggestions of changes of brushwork and pentimento around him, and the edge of the fishing boat and the rigging, providing interesting information on slight changes of composition, and processes of thought, made by the artist while he was composing the picture.

When the boats come in may have been painted around 1890-91 and (in contrast to The Ferry which has a signature with squared capitals), bears a more cursive signature. It was exhibited at several important venues: at the Royal Academy, London and Autumn Exhibition, Liverpool, in 1892, and at the Royal Hibernian Academy, Dublin in 1894, and it was illustrated in several exhibition catalogues.

We are grateful to Julian Campbell for his assistance in cataloguing this lot.
...

Location: London, LDN, UK

Auction House: Bonhams

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Walter Frederick Osborne RHA (1859-1903) The Hurdy-Gurdy Player (c.1887)

Lot 51: Walter Frederick Osborne RHA (1859-1903) The Hurdy-Gurdy Player (c.1887)

Auction Date: Dec 05, 2016

Estimate: €40,000 - €60,000

Description: Walter Frederick Osborne RHA (1859-1903)
The Hurdy-Gurdy Player (c.1887)
oil on panel
signed lower right
h:37  w:25.50 cm.

Provenance:
Purchased from the Cynthia O''Connor Gallery 1980;
Important Irish Art, Adam''s, Dublin 4th December 2012 Lot 62;
Private Collection

Exhibited:
Recent Acquisitions, Cynthia O''Connor Gallery, May-June 1980, cat. no. 10;
''''Ireland: Her People and Landscape'''' The AVA Gallery, June - Sept 2012, Cat. No. 42

Literature:
"Ireland: Her People and Landscape'''' Exhibition Catalogue, illustration p.49;
Important Irish Art, Adam''s, Dublin, 2012, illustrared p.80-81;

Walter Osborne spent much of the 1880''s dividing his time between Ireland and England. During several summers he worked in English villages and small towns, in 1887, for example, in Berkshire and Hampshire. It is possible that the present painting ''The Hurdy-Gurdy Player'' is set in Newbury, Berkshire.

Osborne enjoyed observing daily village life, with a cross-section of local people going about their business: walking, shopping or plying their wares, women chatting, and children going to school, and so on. On the right side there is a group of people, including a girl with red scarf, a boy with cap and a woman with black scarf. To the left stands the hurdy-gurdy man playing his instrument and there are other figures in the background.

The hurdy-gurdy was a stringed musical instrument which was played by turning a handle to produce a background drone, and the pressing of keys to play the tune. The instrument dated to the early middle ages and became popular among travelling musicians in Savoy and in the low counties in the 17th and 18th Centuries. The player and his instrument aroused the curiosity of some artists, who represented them in their paintings.

In Osborne''s picture, the street is in shadow, but sunlight falls upon some upper walls and chimney stacks. The artist employs warm reddish-browns, burnt sienna and amber tones. The figures are painted skilfully, while there are deft horizontal brushstrokes in the foreground and blurred ''square-brush'' strokes in the chimney stacks. Interesting architectural features in ''The Hurdy-Gurdy Player'' are the diagonal ''hipped'' edge of the high roof, (to protect against high winds), and the tall chimney stacks.

Julian Campbell, November 2016
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Location: Dublin 2, IE

Auction House: Morgan O'Driscoll

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Attributed to Walter Frederick Osborne RHA ROI (1859-1903) STUDY OF A CHILD CARRYING BOTTLES IN A LANDSCAPE

Lot 109: Attributed to Walter Frederick Osborne RHA ROI (1859-1903) STUDY OF A CHILD CARRYING BOTTLES IN A LANDSCAPE

Auction Date: Nov 28, 2016

Estimate: €2,000 - €4,000

Description: Attributed to Walter Frederick Osborne RHA ROI (1859-1903) STUDY OF A CHILD CARRYING BOTTLES IN A LANDSCAPE...

Location: Dublin, IE

Auction House: Whyte's

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Walter Fredrick Osborne RHA ROI (1859-1903)Sketch of a seated woman holding a dogPencil, 21 x 15.5 cm Signed and dated 10/4/94

Lot 49: Walter Fredrick Osborne RHA ROI (1859-1903)Sketch of a seated woman holding a dogPencil, 21 x 15.5 cm Signed and dated 10/4/94

Auction Date: Sep 28, 2016

Estimate: €1,000 - €1,500

Description: Walter Fredrick Osborne RHA ROI (1859-1903)Sketch of a seated woman holding a dogPencil, 21 x 15.5 cm Signed and dated 10/4/94...

Location: Dublin 2, IE

Auction House: Adam's

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Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Lot 81: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES

Auction Date: Sep 26, 2016

Estimate: €18,000 - €22,000

Description: Walter Frederick Osborne RHA ROI (1859-1903) GIRL FEEDING CALVES...

Location: Ballsbridge, IE

Auction House: Whyte's

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Walter Frederic Osborne - Feeding Time

Lot 8: Walter Frederic Osborne - Feeding Time

Auction Date: Sep 13, 2016

Estimate: £4,000 - £6,000

Description: Oil on Canvas; Exhibited: ‘Memorial Exhibition of the works of Walter Osborne’, Royal Hibernian Academy, Winter 1903-04, catalogue no. 71 (Lent by Mrs. Parker).Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Co. Cork, 1974, p.110, catalogue no. 1 (listed)Contained in original gilt frame with exhibition plaque dating to the artist’s Memorial Exhibition at the RHA, Dublin 1903-1904....

Location: Belfast, ATM, UK

Auction House: Gormleys Art Auctions

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WALTER FREDERICK OSBORNE, R.H.A | Milking Time

Lot 11: WALTER FREDERICK OSBORNE, R.H.A | Milking Time

Auction Date: Sep 13, 2016

Estimate: £15,000 - £25,000

Description: to be sold with a preparatory pencil sketch...

Location: London, LDN, UK

Auction House: Sotheby's

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