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James Francis Danby
SUNSET AFTER THE STORM
Lot 63
Price Realised:
€5,500
Estimate:
€4,000 - €6,000
James Francis Danby RBA, 1816-1875
SUNSET AFTER THE STORM
Oil on canvas, 18" x 30" (46 x 76cm), signed and dated 1869
This dramatic, but, at the same time, movingly elegiac, seascape perfectly justifies Strickland's description of James ...
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Lot 63
James Francis Danby
SUNSET AFTER THE STORM
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Lot 63
James Francis Danby
SUNSET AFTER THE STORM
Estimate:
€4,000 - €6,000
James Francis Danby RBA, 1816-1875
SUNSET AFTER THE STORM
Oil on canvas, 18" x 30" (46 x 76cm), signed and dated 1869
This dramatic, but, at the same time, movingly elegiac, seascape perfectly justifies Strickland's description of James Francis Danby as 'excelling in sunset effects'. He continues that Danby 'was particularly successful in his coast scenes where he found opportunities for rendering the effects of atmosphere in which he delighted'. The artist was the son of Francis Danby (1793-1861) and led a rather peripatetic life after his parents separated. His brother, Thomas, also became a landscape painter, specialising in bucolic scenes with a distinct Claudian inflection. Danby eventually settled in London and married Sophia Carter with whom he had eight children. He travelled extensively on the continent, painting in France, Italy and Switzerland. Having collaborated with his father on The Deluge (Tate), he seems to have produced replicas of some of his most famous works. James Francis exhibited frequently at the Royal Academy between 1842 and 1876, also showing at the RHA and the British Institution. Although he lived mostly in England, he travelled to Ireland for inspiration, sketching in Wicklow, Cork and County Antrim and, as the Belfast News-Letter noted on his death, he was 'well known in Irish art circles'.
Inspired by the example of Turner, and specifically works such as The Fighting Temeraire (1838, National Gallery, London), Danby often brings more than a hint of symbolism to his seemingly simple seascapes. He plays with all the emblematic resonance of the setting sun, often used as a metaphor for the end of an era or of life itself. Here the title, 'Sunset after Storm', evokes a new start, though it is left to the viewer to determine the precise meaning, or what is ending or, indeed, beginning. Similar metaphorical resonance had been explored by Beethoven in the 'Pastoral' Symphony's 'prayer of thanks in the glow of sunset after the storm'; Tennyson writes of 'the placid gleam of sunset after storm' while the same suggestion of new beginnings was no doubt intended in Danby's 1871 RA exhibit, The Day after the Gale. More prosaically, the title of the present work, in addition to its evident symbolic charge, alludes to the simple meteorological fact that the heavy rainfall of a storm clears the air of particulates which makes for particularly attractive sunsets
SUNSET AFTER THE STORM
Oil on canvas, 18" x 30" (46 x 76cm), signed and dated 1869
This dramatic, but, at the same time, movingly elegiac, seascape perfectly justifies Strickland's description of James Francis Danby as 'excelling in sunset effects'. He continues that Danby 'was particularly successful in his coast scenes where he found opportunities for rendering the effects of atmosphere in which he delighted'. The artist was the son of Francis Danby (1793-1861) and led a rather peripatetic life after his parents separated. His brother, Thomas, also became a landscape painter, specialising in bucolic scenes with a distinct Claudian inflection. Danby eventually settled in London and married Sophia Carter with whom he had eight children. He travelled extensively on the continent, painting in France, Italy and Switzerland. Having collaborated with his father on The Deluge (Tate), he seems to have produced replicas of some of his most famous works. James Francis exhibited frequently at the Royal Academy between 1842 and 1876, also showing at the RHA and the British Institution. Although he lived mostly in England, he travelled to Ireland for inspiration, sketching in Wicklow, Cork and County Antrim and, as the Belfast News-Letter noted on his death, he was 'well known in Irish art circles'.
Inspired by the example of Turner, and specifically works such as The Fighting Temeraire (1838, National Gallery, London), Danby often brings more than a hint of symbolism to his seemingly simple seascapes. He plays with all the emblematic resonance of the setting sun, often used as a metaphor for the end of an era or of life itself. Here the title, 'Sunset after Storm', evokes a new start, though it is left to the viewer to determine the precise meaning, or what is ending or, indeed, beginning. Similar metaphorical resonance had been explored by Beethoven in the 'Pastoral' Symphony's 'prayer of thanks in the glow of sunset after the storm'; Tennyson writes of 'the placid gleam of sunset after storm' while the same suggestion of new beginnings was no doubt intended in Danby's 1871 RA exhibit, The Day after the Gale. More prosaically, the title of the present work, in addition to its evident symbolic charge, alludes to the simple meteorological fact that the heavy rainfall of a storm clears the air of particulates which makes for particularly attractive sunsets
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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