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Thomas Walmsley
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Lot 58
Price Realised:
€3,600
Estimate:
€1,500 - €2,500
Thomas Walmsley, 1763-1805
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Gouache, 20" x 28" (51 x 71cm), signed and dated 1800.
Provenance: Cynthia O'Connor Gallery
Dating from 1800, towards the end of Walmsley's short career,...
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Lot 58
Thomas Walmsley
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Lot 58
Thomas Walmsley
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Estimate:
€1,500 - €2,500
Thomas Walmsley, 1763-1805
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Gouache, 20" x 28" (51 x 71cm), signed and dated 1800.
Provenance: Cynthia O'Connor Gallery
Dating from 1800, towards the end of Walmsley's short career, this atmospheric landscape epitomises the continuing pursuit of the Picturesque in his art. It shows a substantial cottage orne called Mirables, belonging to a Mr and Mrs Arnold, on the Isle of Wight, whose grounds, according to a later handbook to the island, were 'laid out with considerable taste and judgment'. The gouache was made in connection with Walmsley's set of twelve aquatints published under the title Select Views of the Isle of Wight and Environs by James Daniell & Co. between 1798 and 1810. The house was extended later in the nineteenth century and is still extant despite issues with landslip, which might not surprise given its perilous siting shown in Walmsley's view.
The son of an army officer who was originally from Rochdale, Walmsley was born in Dublin where his father's regiment was stationed. After a family dispute he went to London and found employment as a scene painter at the King's Theatre and at Covent Garden. Walmsley was back in Dublin by 8 November 1784 when, together with the Italian decorative painter Angelo Bigari, he advertised his intention to open 'an academy for teaching geometry, architecture, perspective, landscape and figure, and every line belonging to drawing' (Hibernian Journal, Monday, 8 Nov. 1784). This private academy was not a success and in February 1786 Bigari alone placed an advertisement noting that while he 'was lately in Partnership with Thomas Walmsley' his erstwhile colleague 'had suddenly gone off from the kingdom' (ibid., Friday, 17 Feb. 1786).
His disappearance from Dublin was temporary and Walmsley was back working as a scene painter at the Crow Street theatre when it reopened in 1788 under Richard Daly (1758-1813). Two years later, however, he was again in London where he was based for the rest of his relatively short career. Walmsley started exhibiting at the Royal Academy in 1790 and his exhibits offer a compendium of picturesque sites in Ireland, North Wales and the Lake District. He periodically returned home in search of inspiration and in 1796, while living at 5 Rathbone Place, he exhibited three views of Killarney at the RA.
Walmsley's work is highly distinctive and instantly recognizable, His compositions usually adhere to the qualities prized by the Picturesque of variety and irregularity, and sometimes suggest an incipiently Romantic sensibility. Walmsley unsuccessfully sought advancement to ARA status in both 1794 and 1795 but after the 1796 exhibition did not send further work to the Academy. His health declined 'in his latter days' (Strickland) and he sought a cure in Bath, where, however, he died in the city's Argyle Buildings in July 1805 - not the following year, as is given by Strickland.
'MIRABLES': MR ARNOLD'S COTTAGE ON THE ISLE OF WIGHT
Gouache, 20" x 28" (51 x 71cm), signed and dated 1800.
Provenance: Cynthia O'Connor Gallery
Dating from 1800, towards the end of Walmsley's short career, this atmospheric landscape epitomises the continuing pursuit of the Picturesque in his art. It shows a substantial cottage orne called Mirables, belonging to a Mr and Mrs Arnold, on the Isle of Wight, whose grounds, according to a later handbook to the island, were 'laid out with considerable taste and judgment'. The gouache was made in connection with Walmsley's set of twelve aquatints published under the title Select Views of the Isle of Wight and Environs by James Daniell & Co. between 1798 and 1810. The house was extended later in the nineteenth century and is still extant despite issues with landslip, which might not surprise given its perilous siting shown in Walmsley's view.
The son of an army officer who was originally from Rochdale, Walmsley was born in Dublin where his father's regiment was stationed. After a family dispute he went to London and found employment as a scene painter at the King's Theatre and at Covent Garden. Walmsley was back in Dublin by 8 November 1784 when, together with the Italian decorative painter Angelo Bigari, he advertised his intention to open 'an academy for teaching geometry, architecture, perspective, landscape and figure, and every line belonging to drawing' (Hibernian Journal, Monday, 8 Nov. 1784). This private academy was not a success and in February 1786 Bigari alone placed an advertisement noting that while he 'was lately in Partnership with Thomas Walmsley' his erstwhile colleague 'had suddenly gone off from the kingdom' (ibid., Friday, 17 Feb. 1786).
His disappearance from Dublin was temporary and Walmsley was back working as a scene painter at the Crow Street theatre when it reopened in 1788 under Richard Daly (1758-1813). Two years later, however, he was again in London where he was based for the rest of his relatively short career. Walmsley started exhibiting at the Royal Academy in 1790 and his exhibits offer a compendium of picturesque sites in Ireland, North Wales and the Lake District. He periodically returned home in search of inspiration and in 1796, while living at 5 Rathbone Place, he exhibited three views of Killarney at the RA.
Walmsley's work is highly distinctive and instantly recognizable, His compositions usually adhere to the qualities prized by the Picturesque of variety and irregularity, and sometimes suggest an incipiently Romantic sensibility. Walmsley unsuccessfully sought advancement to ARA status in both 1794 and 1795 but after the 1796 exhibition did not send further work to the Academy. His health declined 'in his latter days' (Strickland) and he sought a cure in Bath, where, however, he died in the city's Argyle Buildings in July 1805 - not the following year, as is given by Strickland.
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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.
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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