Aloysius C O'Kelly Paintings & Artwork for Sale | Aloysius C O'Kelly Art Value Price Guide

Dec. 02, 2024
Aloysius C. O'Kelly (1853-1936) BRETON SCENE
Est: €20,000 - €30,000
Aloysius C. O'Kelly (1853-1936) BRETON SCENE oil on canvas signed lower left h:29 w:36.25 in. Literature: Niamh O'Sullivan, Aloysius O'Kelly: Art, Nation, Empire, Dublin, Field Day, 2010 Aloysius O'Kelly was among the first Irish artists to study at the École des Beaux-Arts in Paris in 1874, under the tutelage of Jean-Léon Gérôme. He was also the first Irish artist to discover Brittany in the 1870s, and was influential in drawing other Irish artists there. He executed a series of tavern and kitchen scenes set in Brittany, redolent of the American artist Robert Wylie, and seventeenth-century Dutch interiors, subjects he continued to explore well into the twentieth century. About a day and a half's journey from Paris, Pont-Aven was a small community of farmers, millers and fishermen. There were several hotels, including the Pension Gloanec, where O'Kelly stayed. The patronne loved the company of her artists; the walls of her dining room and kitchen were covered in their work, featuring the local men and women who posed for the foreign artists. Several of O'Kelly's works feature the Gloanec, including, it would appear, this painting. He shows himself to have been an acute observer of the variety and complexity of Breton dress in which infinitesimal variations revealed specifics concerning the locality and status of the individual, and which articulated relationships of status, wealth, and kinship. Many artists came to Brittany in search of the 'primitive', but whether the term is used to signify (negatively) a lack of civilization, or (romantically) a simplicity in the face of the over-civilization of western societies, it stereotypes those depicted. O'Kelly, however, evinced an empathy with, and conferred a dignity upon the Breton people. He had a clear understanding of Breton separatism, and perceived underlying similarities with the interrelationship of history, religion, land and nationalism in Ireland, where he adopted a dissident role which projected the west of Ireland as the repository of the spiritual, cultural, and social values of the imagined nation. In Brittany, under the influence of Jules Bastien-Lepage, he oscillated between a type of rural realism and naturalism. In Concarneau, he experimented successfully with (but never fully absorbed) Impressionism, responding selectively to the pressures of modernism by employing Impressionist-type techniques for outdoor subjects while retaining more academic methods for the rendering of indoor scenes, as we see here. Since his works do not follow the usual stylistic progression - some later interiors being considerably more conservative than some earlier, more avant-garde landscapes - the dating of his paintings can be difficult. In his interiors, he reverted to a traditional genre style while his landscapes displayed considerable technical verve, as well as a knowledge and understanding of the more avant-garde trends of the time. This painting, therefore, was likely painted around 1910 in Pont-Aven, to which he returned regularly. Prof Niamh O'Sullivan, November 2024
Whyte's
Sep. 30, 2024
Aloysius C. O'Kelly (1853-1936) ROYAL HORSE ARTILLERY
Est: €5,000 - €7,000
Aloysius C. O'Kelly (1853-1936) ROYAL HORSE ARTILLERY oil on canvas signed lower right h:21 w:36 in. Provenance: Morgan O'Driscoll, 30 November 2021, lot 24; Private collection Niamh O'Sullivan has previously noted that this is an early work from the artist, as evidenced by his signature in the lower right corner.
Whyte's
Sep. 19, 2024
Aloysius O'Kelly RHA (1853 - 1936), The Chapel of Locmaria-an-Hent, Brittany
Est: £8,000 - £12,000
Aloysius O'Kelly RHA (Irish, 1853 - 1936) The Chapel of Locmaria-an-Hent, Brittany, 1905 Oil on canvas Signed and dated lower right With a Coran Gallery of Art, Washington DC label verso Provenance: William Doyle Auctioneers, New York, 5 May 1994, Lot 109; With Cynthia O'Connor Gallery, Dublin, July/August 1994; Mealy's Auctioneers, Castlecomer, Co. Kilkenny, 30 October 2010, Lot 609; Morgan O'Driscoll, 7 December 2015, Lot 83; Adam's, Dublin, 6 December 2023, Lot 51. Exhibited: Possibly New York Watercolour Club, No. 3 as 'Devotion'; Corcoran Biennial Exhibition, Washington, 1907, No. 178; Cynthia O'Connor Gallery, Dublin, 1994; Hugh Lane Municipal Gallery of Modern Art, November 1999, No. 24 (illustrated). Literature: Niamh O'Sullivan, 'Aloysius O'Kelly, Art, Nation, Empire, Field Day Publication' (Dublin: University of Notre Dame, 2010). Few artists match the Irish painter, illustrator and political activist Aloysius O’Kelly for intrigue. His involvement in republican politics —secret addresses, false identities, dangerous liaisons – began in Paris when he was a student at the École des Beaux-Arts. His admission to the prestigious studio of Jean-Léon Gérôme, as well as the private studio of Joseph-Florentin Bonnat added to his pedigree as an young artist of note in the 1870s. In turn, he brought Irish interests to bear on French cultural life. His chef d’oeuvre, Mass in a Connemara Cabin, was the first painting of an Irish subject ever exhibited in the Paris Salon when it was shown there in 1884. Summer holidays were spent in Brittany, away from the academic strictures of the École. There, artists from all nationalities immersed themselves in more naturalistic modes of representation. In Brittany, O’Kelly reconciled a range of styles derived from both traditional and avant-garde art, in effect blending academic, realist and plein-air elements into an innovative mode of rural naturalism. This painting, and a number of others representing religious devotion are set in the pilgrimage chapel of Locmaria-an-hent in the commune of Saint Yvi, between Pont-Aven and Quimper. Renowned for its stained glass, the church was built in the sixteenth century and dedicated to the Virgin Mary. O’Kelly imbues the stained glass with a vibrant prismatic quality (an earlier version, Interior of a Church in Brittany (National Gallery of Ireland), painted in the late 1870s, is more ethnographic in character). In paintings of religious subjects – what were considered superstitious rituals and strange religious customs – contemporary right-wing critics perceived the profound piety of the people, while left-wing critics saw nothing more than a display of the picturesque. But all agreed, the ‘soul’ of the race was visible in the features of Breton worshippers. O’Kelly’s 1905 painting, would have appealed to those who gave religious piety primacy. According to critic Henry Blackburn, Bretons had only three vices (avarice, contempt for women and drunkenness) in contrast to five virtues (love of country, resignation to the will of God, loyalty, perseverance and hospitality). Nowhere are there ‘finer peasantry; nowhere do we see more dignity of aspect in field labour; nowhere more picturesque ruins’, he argued. But, he equivocated, Bretons are ‘behindhand in civilization’, nowhere does one find such ‘primitive habitations and such dirt’. Such aspersions compare with those ascribed to the peasants of the west of Ireland at the time. Over time, jaundiced accounts of Breton stupidity, savagery and superstition were transformed into sociological studies of Breton poverty, primitivism and piety. But an artist less dependent on the popular stereotype, such as O’Kelly, would have been attuned to the realities of communities in transition, and been aware of the need for subtle correction in the representation of people afflicted by acute poverty. He thus paints the peasants of Brittany with the same respect and integrity he accorded their Irish counterparts. Indeed, he relished the Celtic historical, cultural and ethnic connections between Ireland and Brittany. O’Kelly shows himself to have been an observer of the variety and elaborations of Breton dress. The women wear distinctive white linen coiffes and wide collars, dark skirts, fitted bodices, embroidered waistcoats, and heavy wooden sabots. The men wore woolen jackets, waistcoats, bragoù-bras, black gaiters and felt broad-rimmed hats The artist and ethnographer, René-Yves Creston has identified sixty-six principal styles of Breton dress and over 1,200 different kinds of coiffe revealing the rich typography of Breton dress in which almost infinitesimal variations identify the locality and status of the individual, and which articulated relationships of wealth, kinship and ethnicity. Dimensions: (Canvas) 36 in. (H) x 25.5 in. (W) (Frame) 40 in. (H) x 29.5 in. (W)
Sloane Street Auctions
Feb. 24, 2024
ALOYSIUS C. O'KELLY (BRITISH 1853-1936) OIL ON CANVAS
Est: $800 - $1,200
Aloysius C. O'Kelly (Ireland, New York, 1853-1936) Secrets (Brittany) Late 19th Century. The Realist oil on canvas genre scene with two young girls in red is signed lower right and titled verso by period paper label. Canvas measures 36 x 28.75 with a framed size of 47 x 40.75 inches. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
Dirk Soulis Auctions
Dec. 04, 2023
Aloysius C. O'Kelly (1853-1936) THE DESERT CHARGE
Est: €10,000 - €15,000
Aloysius C. O'Kelly (1853-1936) THE DESERT CHARGE oil on canvas h:18 w:30 in. Provenance: Family of the artist; Whyte's, 24 November 2014, lot 13; Private collection; Whyte's, 27 November 2017, lot 123; Private collection Indicative of a broader plan to destabilise Britain in Ireland, in 1883 Aloysius O'Kelly and his brother James went to Sudan to report on the British campaign against the Mahdi, James as correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. With them were a number of French revolutionaries and Socialists who had forged alliances with Irish militant and cultural Nationalists during O'Kelly's sojourn in Paris in the 1870s. British involvement in the region was ostensibly to end the slave trade but, in reality, to extend Anglo-Egyptian influence further south. In 1881, Muhammad Ahmad ibn Abdallah declared himself the prophesied Mahdi and called for a jihad to purge Islam of the infidel and rout the foreign forces from Sudan. His fearsome reputation as a violent anti-colonialist grew over the next three years. The jihad had strong resonance for Fenian opponents of the British regime in Ireland. If 'England is engaged in a great war that will strain her resources to the utmost', wrote James O'Kelly to Michael Davitt, 'seizing some critical moment [if we] attack her with all our power... we help ourselves by promoting the long wished for "opportunity".' There was much at stake; according to the Victorian domino theory, Irish demands for Home Rule constituted the beginning of the disintegration of the empire. The mantra, that Britain's pain was Ireland's gain, was given powerful visual expression by O'Kelly. This work is part of a unique series of paintings and illustrations of these events. Most war artists acted, in effect, as public relations personnel for Britain's colonial projects overseas. O'Kelly's decision to cover the colonial war from behind the battle lines of Britain's enemy was thus an act of remarkable audacity. O'Kelly painted many scenes in the Orientalist manner of his master, Jean-Léon Gérôme. But desert skirmishes, such as this, full of colour and movement, gave rise to several virtuoso paintings by O'Kelly that are unusual in that they demonstrate an early application of Impressionist technique to an Orientalist subject, a further indication of O'Kelly's originality. O'Kelly was at his best when adapting an aesthetic subversion to a political one. Professor Niamh O'Sullivan Professor Emeritus of Visual Culture, National College of Art and Design, Dublin; author of Aloysius O'Kelly: Art, Nation, Empire, Field Day Publications, 2010; Founding Curator of Ireland's Great Hunger Museum, Quinnipiac University.
Whyte's
May. 31, 2023
Aloysius O'Kelly RHA (1853-1936) 'Mass in a Connemara Cabin' Monochrome watercolour and bodycolour, 19.5 x 27.5cm (7¾ x 10¾) Signed and inscribed verso; also inscribed: The Duchess of Connaught presenting new colours to the 4th Oxfordshire Light
Est: €3,000 - €5,000
Aloysius O'Kelly RHA (1853-1936) 'Mass in a Connemara Cabin' Monochrome watercolour and bodycolour, 19.5 x 27.5cm (7¾ x 10¾) Signed and inscribed verso; also inscribed: The Duchess of Connaught presenting new colours to the 4th Oxfordshire Light Infantry at Alalish () on Friday. Provenance: Christie's London, lot 181, 15 Dec. 1994, where purchased by the present owner. Exhibited: Dublin, Hugh Lane Municipal Gallery of Modern Art, 1999-2000, No. 1 Literature: Niamh O'Sullivan, Re-orientations. Aloysius O'Kelly: Painting, Politics and Popular Culture, Dublin, 1999. The full scale version of this painting is currently on loan to the National Gallery of Ireland from the people of St Patrick's, Edinburgh and the Trustees of the Archdiocese of St Andrew's and Edinburgh
Adam's
Apr. 18, 2023
Aloysius C. O'Kelly (1853-1936) Breton Church Interior with Figures
Est: €10,000 - €15,000
Aloysius C. O'Kelly (1853-1936) Breton Church Interior with Figures oil on canvas signed 'ALOYSIUS O'KELLY' lower right h:91.50 w:64 cm. Provenance: Sotheby's, London, 9th May 2007, lot 26; These Rooms, 14th September 2020 lot 24; Private Collection Within the darkened interior of a church, beneath a Gothic arch, a man and a woman, dressed in traditional Breton clothing, have come to worship. The woman is on her knees, hands joined in prayer, while the man, hat in hand, stands alongside. Beyond is the altar, with an ornate stained glass Gothic window. The centre light of the window, with its decorative geometric glass panels, is flanked by panels depicting saints. High on the wall, above the couple, is a carved and painted statue. Dr. Niamh O'Sullivan has established that this painting is a study for O'Kelly's 1905 painting Inside the Chapel, exhibited in New York shortly after its completion, and more recently, in 1994, at the Cynthia O'Connor Gallery in Dublin, and at the Hugh Lane Gallery. Dr. O'Sullivan suggests that the more finished work was originally titled Devotion, and shown at the New York Watercolor Club (no. 3) in 1906, and the Corcoran Biennial, Washington (no. 178) in 1907. The present work was intended by O'Kelly as a preliminary study for the larger, more finished canvas, but is also a fine painting in its own right. The setting is the pilgrimage church of Chapelle Locmaria-en-hent, in the commune de Saint Ivi, not far from Concarneau, the fishing port in Brittany to which O'Kelly travelled in 1876. Dedicated to the Virgin Mary, the sixteenth-century church is famous for its carved effigies of saints, among them John the Baptist, Symphorien and Isidore. The sculpture on the wall, visible in the present painting, represents St. Roch. The stained glass seen in the painting has been replaced by modern stained glass, and the altar rails have been removed, but otherwise the interior has changed very little since O'Kelly's time. He evidently loved Chapelle Locmaria, and what it represented, and over the course of two decades, completed several paintings depicting the interior. One of these, Interior of a Church in Brittany is in the National Gallery of Ireland. Another, a version closer to the present work and titled Brittany, the stained glass window, sold at Christies in May 2007. Born in Dublin, Aloysius O'Kelly was the brother of Fenian activist James J. O'Kelly, MP for Roscommon and close friend of Parnell. His other brothers Charles, Stephen, and his sister Julia, were also active in the Fenian movement. The O'Kelly family was also keenly involved in the art world. In 1861, O'Kelly emigrated to London, before moving to Paris, where in 1874 he studied under Jean-Léon Gérome at the École des Beaux-Arts. He also studied with Léon Bonnat, and began making painting trips to Brittany, where among his paintings were views of religious ceremonies, processions and church scenes. Returning to Ireland in 1880, as an artist working for the Illustrated London News, he documented events in the Land War, and also painted in Connemara. His most famous painting, Mass in a Connemara Cabin, painted in 1883, was exhibited at the Paris Salon, at the RA and the RHA, and is now in the National Gallery of Ireland. In Paris he nurtured connections with the Communards. By the mid-1880's O'Kelly was in Cairo; he then travelled to Sudan, to document the war with the Mahdi. During these travels he combined painting scenes in North Africa, and exhibiting at the RHA, with collecting intelligence on resistance movements that might be of assistance to the Fenians in Ireland. He deliberately obscured his identity in order to avoid being detected. In 1895, O'Kelly moved to New York, although he made several return trips to France. He died in the United States. A retrospective exhibition, curated by Niamh O'Sullivan, was held in the Hugh Lane Gallery, Dublin, in 1999. Peter Murray, March 2023
Morgan O'Driscoll
Nov. 16, 2022
Aloysius O'Kelly, Irish (1853-1936) "Portrait of an Elegant Young Lady, (possibly Breton)," O.O.
Est: €3,000 - €4,000
Aloysius O'Kelly, Irish (1853-1936) "Portrait of an Elegant Young Lady, (possibly Breton)," O.O.P., depicting studio head and shoulders of a Lady with side buns and frilled collar dress, approx. 36cms x 28cms (14" x 11"), Signed lower right, remnants of exhibition label on reverse, gilt frame. (1)
Fonsie Mealy Auctioneers
Nov. 04, 2020
Aloysius O'Kelly, Irish 1853-1936 - Portrait of a girl head and shoulders;
Est: £800 - £1,200
Aloysius O'Kelly, Irish 1853-1936- Portrait of a girl head and shoulders; oil on canvas laid down on panel, signed, 31x23.4cm., (unframed) Please refer to department for condition report
Roseberys
Nov. 04, 2020
Aloysius O'Kelly, Irish 1853-1936 - Portrait of a boy head and shoulders;
Est: £800 - £1,200
Aloysius O'Kelly, Irish 1853-1936- Portrait of a boy head and shoulders; oil on canvas laid down on panel, signed, 29.8x24.5cm., (unframed) Please refer to department for condition report
Roseberys
Sep. 02, 2020
Aloysius O'Kelly (1853-1936)A Breton GardenOil on canvas, 80 x 100cm (31½ x 39¼'')SignedQuintessentially a work by Aloysius OKelly, this painting dates to the early twentieth century. The subject matter, style and treatment is typical of OKell
Est: €6,000 - €10,000
Aloysius O'Kelly (1853-1936)A Breton GardenOil on canvas, 80 x 100cm (31½ x 39¼'')SignedQuintessentially a work by Aloysius OKelly, this painting dates to the early twentieth century. The subject matter, style and treatment is typical of OKellys Breton work at this time. In 1874, OKelly had enrolled in the École des Beaux-Arts in Paris, gaining access to the most prestigious studio, that of Jean-Léon Gérôme. From the mid 1870s, during the summer recess, huge numbers of artists made the annual painting pilgrimage from the ateliers of Paris to Brittany, initially to Pont-Aven then Concarneau and beyond, in keeping with the cult of peasant realism that swept through the salons of the day. OKelly was constantly on the move around the region.Here he reconciled a range of styles derived from both traditional and avant-garde art, blending academic, realist and plein-air elements into a beguiling mode of naturalism. OKelly was wont to employ an Impressionist-type technique for his outdoor subjects, while relying on more traditional academic techniques for his indoor scenes. In this summer scene, he enlivens the rather heavily-composed farmhouse and outhouses with some spontaneity, evident in the handling of the verdant foliage.Niamh OSullivan
Adam's
Sep. 16, 2019
Aloysius C. O'Kelly (1853-1936) A FÊTE AT CONCARNEAU, FRANCE
Est: €1,800 - €2,200
signed lower right
Whyte's
Mar. 27, 2019
Aloysius O'Kelly (1853-1936)Expectation, West of IrelandOil on canvas, 74.5 x 62.5cm (29.5 x 24.4)SignedExhibited: Royal Hibernian Academy 1881, Cat. No. 323; Aloysius O'Kelly Retrospective Exhibition The Hugh Lane Gallery, Dublin Nov 1999 -
Est: €40,000 - €60,000
Aloysius O'Kelly (1853-1936)Expectation, West of IrelandOil on canvas, 74.5 x 62.5cm (29.5 x 24.4)SignedExhibited: Royal Hibernian Academy 1881, Cat. No. 323; Aloysius O'Kelly Retrospective Exhibition The Hugh Lane Gallery, Dublin Nov 1999 - Jan 2000, Cat. No. 5Literature: Aloysius O'Kelly - Re-orientations by Niamh O'Sullivan (1999) full page illustration p.19; Irish Rural Interiors in Art by Claudia Kinmonth (2006) p.85, full page illustration p.86This painting provides an indirect commentary on many aspects of life in the west of Ireland in the late nineteenth century. O'Kelly's scenes of domestic contentment promoted a new image of the peasantry that countermanded the prevailing stereotypes of the Irish. The thatched cottage stood for simplicity and community solidarity - for traditional values and national virtues embodying the concept of the state-in-waiting. Making the homes of Ireland Irish was considered analogous to the creation of the nation. O'Kelly's mother and child, set in a prosperous traditional Irish cottage, is thus politically redemptive. The geraniums are in full bloom, the turf glows in the fire, and the over-flowing bowl of potatoes contrasts with more traditional images of want. In contrast to the landless labourers who lived in small one-roomed cabins (sharing the warmth with their few animals), this is an image of plenty, and full of promise. Even the title - Expectation, West of Ireland - is auspicious. The allegorisation of Ireland as woman is historically embedded in Irish literature, but it also occurs in visual representation; here her role is clear. The toddler-boy is dressed in a transitional garment, as his beautiful mother nurtures him towards manhood and, by implication, independence. (Up to the age of puberty, boys were dressed like girls, in a dress or frock with a red or white flannel skirt, sewn at the waist to a cotton or linen bodice which came to the calf, the bodice of which was buttoned up the back, and the skirt pleated horizontally to allow for growth. The practice of dressing boys as girls was intended to deflect the fairies from taking a boy child and leaving a changeling in his place.)The little boy must have re-awakened memories for the painter of his dead nephew and godchild, Jamie, the offspring of a bigamous marriage between his brother, James and a young American girl. Little Jamie died in 1879, at about the same age as this little boy. O'Kelly played an unusually intimate and protective role in this boy's brief life. It would seem therefore that this is also a personal image of loss. Professor Niamh O'Sullivan
Adam's
Nov. 26, 2018
Aloysius C. O'Kelly (1853-1936) A FÊTE AT CONCARNEAU, FRANCE
Est: €3,000 - €5,000
signed lower right
Whyte's
Sep. 26, 2018
Aloysius O'Kelly (1853-1936)The Gate of Bab ZuwaylaOil on canvasSigned and inscribed 'Cairo'From childhood, Aloysius OKelly lived and breathed a mixture of art and political sedition in Ireland, Britain, France, and the United States, as well a
Est: €20,000 - €30,000
Aloysius O'Kelly (1853-1936)The Gate of Bab ZuwaylaOil on canvasSigned and inscribed 'Cairo'From childhood, Aloysius OKelly lived and breathed a mixture of art and political sedition in Ireland, Britain, France, and the United States, as well as outposts of empire such as Sudan and Egypt. In 1883, he and his brother James were drawn into the vortex of violence surrounding the Mahdi in Sudan, James as war correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. OKellys illustrations of the jihad in Sudan were part of a plan to thwart Britain in Ireland. By distracting Britain overseas, they sought to destabilise the coloniser in Ireland. The conventions of Orientalism were problematic for OKelly, because he was bound by them aesthetically, but resistant politically. OKelly subverted the insidious representation of the East as exotic by rendering it ordinary. The Egyptian stereotype was of an unreasonable, superstitious, ignorant, indolent, sexually incontinent, deceitful and dirty people in need of civilising by their colonial masters (much like the Irish). Indeed, there are ethnographic continuities between OKellys North African and Irish paintings, as manifest in his Mass in a Connemara Cabin and The Harem Guard.This painting was executed in the mid 1880s. It shows the Bab Zuwayla gate in Cairo.1 The old city was divided into quarters, separated by gates, manned by porters. On the left, the ever-present donkey and donkey-boy, and on the right, the watercarrier, pass through. While OKelly, and his master, the Orientalist Jean-Léon Gérôme, shared an interest in ethnographic realism, OKelly was clearly concerned with modern Cairo - as it was rather than as its colonial masters thought it was, or should be - a benign view of a stigmatised setting.OKellys topographical competence is undeniable; the red and white coursed stone work, the deep shadows and bright sunlight attest to his skills as an enchanting urban portraitist. But Cairo in the 1880s was a tinder box, a source of great anxiety to the colonial authorities. The savage repression of the Egyptian nationalist movement had created massive social problems - the narrowness of the streets may have kept the inhabitants cool in the heat, but there were political consequences for a population packed together. This has the initial appearance of a highly finished painting, evident in the detailed treatment of the architecture, but on closer inspection the brushstrokes are looser, more vibrant and gestural than one associates with conventional Orientalist painting. Prof. Niamh OSullivan1. I am grateful to Prof. Bernard OKane at the American University in Cairo, for identifying the location
Adam's
Apr. 30, 2018
Aloysius C. O'Kelly (1853-1936) Breton Church Interior with Figures
Est: €10,000 - €15,000
Aloysius C. O'Kelly (1853-1936) Breton Church Interior with Figures oil on canvas signed lower right h:91.50 w:64 cm. Provenance: Sotheby's, London, 9th May 2007, Lot 26; Private Collection Aloysius O'Kelly was born in Dublin in 1853. In 1874, Kelly travelled to Paris and attended the Ecole des Beaux-Arts where he studied painting and drawing under the French masters Bonnat and Gérôme. In 1876 he visited Brittany, joining several other artists in practising plein-air painting in order to capture the naturalism of its villages and fishing ports. In 1895, he emigrated to America, settling in New York, where he painted many cityscapes and figurative scenes. This work was probably executed around c.1905. Aloysius O'Kelly exhibited in London and at the Royal Hibernian Academy (RHA) in Dublin. He also showed in Paris and New York. His paintings are in many public and private collections, including the National Gallery of Ireland.
Morgan O'Driscoll
Mar. 27, 2018
Aloysius O'Kelly (1853-1936)Figures in a Cottage InteriorOil on canvas, 72 x 61cm (28¼ x 24'')Provenance: From the collection of the late Gillian Bowler.Although originally catalogued by Christies in May 1989 as being by Augustus Burke, this uns
Est: €1,000 - €2,000
Aloysius O'Kelly (1853-1936)Figures in a Cottage InteriorOil on canvas, 72 x 61cm (28¼ x 24'')Provenance: From the collection of the late Gillian Bowler.Although originally catalogued by Christies in May 1989 as being by Augustus Burke, this unsigned painting features the same girl, probably in the same kitchen, as OKellys unfinished Kitchen, West of Ireland, painted in the early 1880s, the seated woman, barely blocked-in in the latter, being perhaps the older woman in this painting.At the time, OKelly was living in Lugnanaugh in a cottage nestled below Maol Chnoc or Garraun Mountain which rises above Lough Fee on the Kylemore estate of Mitchell Henry, the Home Rule MP. On his departure in 1884, OKelly left behind many unfinished works.Burke was in the west of Ireland around the same time as OKelly, but the subject, location and style would indicate that OKelly was the artist. The painting is probably a preliminary sketch for a larger work. The older woman in mid conversation, and the younger immersed in her own sad thoughts, suggest a narrative, not evident in this fragment.See Niamh OSullivan, Aloysius OKelly: Art, Nation, Empire, Field Day, 2010.Niamh OSullivan
Adam's
Nov. 27, 2017
Aloysius C. O'Kelly (1853-1936) THE DESERT CHARGE
Est: €8,000 - €10,000
Aloysius C. O'Kelly (1853-1936) THE DESERT CHARGE
Whyte's
Nov. 25, 2017
Aloysius O'Kelly (1853-1936), Oil Portait on Canvas
Est: $8,000 - $16,000
Aloysius O'Kelly (Irish B., 1853-1936). Portrait of a young Breton woman. Oil on canvas, signed lower left. Approximate Measurements: Framed - 29" T x 22" W. Condition: Painting has not been cleaned.
Antique 2 Modern Auction House
Jun. 10, 2017
ALOYSIUS C. O'KELLY (BRITISH, 1853-1926) NEW ENGLAND LANDSCAPE OIL ON PANEL 13 X
Est: $2,000 - $3,000
Aloysius C. O'Kelly (British, 1853-1926) New England Landscape Oil on panel 13 x 9 inches (33.0 x 22.9 cm) Signed lower right: A. O'Kelly PROPERTY FROM THE COLLECTION OF DR. AND MRS. HENRY AND MARY ANN GANS HID04901242017
Heritage Auctions
May. 31, 2017
Aloysius O'Kelly (1853-1936)Figures in a Cottage InteriorOil on canvas, 72 x 61cm (28¼ x 24'')Provenance: From the collection of the late Gillian Bowler.Although originally catalogued by Christies in May 1989 as being by Augustus Burke, this uns
Est: €2,000 - €4,000
Aloysius O'Kelly (1853-1936)Figures in a Cottage InteriorOil on canvas, 72 x 61cm (28¼ x 24'')Provenance: From the collection of the late Gillian Bowler.Although originally catalogued by Christies in May 1989 as being by Augustus Burke, this unsigned painting features the same girl, probably in the same kitchen, as OKellys unfinished Kitchen, West of Ireland, painted in the early 1880s, the seated woman, barely blocked-in in the latter, being perhaps the older woman in this painting.At the time, OKelly was living in Lugnanaugh in a cottage nestled below Maol Chnoc or Garraun Mountain which rises above Lough Fee on the Kylemore estate of Mitchell Henry, the Home Rule MP. On his departure in 1884, OKelly left behind many unfinished works.Burke was in the west of Ireland around the same time as OKelly, but the subject, location and style would indicate that OKelly was the artist. The painting is probably a preliminary sketch for a larger work. The older woman in mid conversation, and the younger immersed in her own sad thoughts, suggest a narrative, not evident in this fragment.See Niamh OSullivan, Aloysius OKelly: Art, Nation, Empire, Field Day, 2010.Niamh OSullivan May 2017
Adam's
Feb. 27, 2017
Aloysius C. O’Kelly (1853-1936) TREE LINED SHORE
Est: €1,800 - €2,200
signed lower left
Whyte's
Dec. 07, 2016
Aloysius O'Kelly (1853-1936)Fishing Boats at ConcarneauOil on board, 23 x 30.5cm (9 x 12'')Signed
Est: €2,000 - €4,000
Aloysius O'Kelly (1853-1936)Fishing Boats at ConcarneauOil on board, 23 x 30.5cm (9 x 12'')Signed
Adam's
Mar. 23, 2016
Aloysius O'Kelly (1853-1936)Lord of the SunsOil on canvas, 55 x 46cm (21¼ x 18'')SignedProvenance: Important Irish Art Sale, These Rooms 1st April 2009. Cat. No. 58 where purchased by current ownerLiterature: Aloysius O'Kelly; Art Nation, Empi
Est: €3,000 - €5,000
Aloysius O'Kelly (1853-1936)Lord of the SunsOil on canvas, 55 x 46cm (21¼ x 18'')SignedProvenance: Important Irish Art Sale, These Rooms 1st April 2009. Cat. No. 58 where purchased by current ownerLiterature: Aloysius O'Kelly; Art Nation, Empire 2010 by Niamh O'Sullivan. Cat. No.54
Adam's
Nov. 30, 2015
Aloysius C. O’Kelly (1853-1936) THE GOOD SAMARITAN LUTHERAN CHURCH, ROOSEVELT ISLAND, NEW YORK
Est: €1,500 - €2,000
Aloysius C. O'Kelly (1853-1936) THE GOOD SAMARITAN LUTHERAN CHURCH, ROOSEVELT ISLAND, NEW YORK oil on board signed lower right h:9.50 w:12.50 in. Provenance: Ross's, 7 March 2012, lot 17; Private collection Good Samaritan Lutheran Church (est. 1917) served the large German immigrant population living on Blackwell's Island, later known as Welfare Island (from 1921 when it was used principally for hospitals) and ultimately Roosevelt Island from 1973. By the 1950s, most of the island's institutions had relocated or closed among them the Good Samaritan Lutheran church which was abandoned and ultimately demolished.
Whyte's
Sep. 28, 2015
Aloysius C. O’Kelly (1853-1936) BRETON FIGURES IN AN ORCHARD
Est: €15,000 - €20,000
Aloysius C. O'Kelly (1853-1936) BRETON FIGURES IN AN ORCHARD oil on canvas signed lower right h:25 w:20.75 in. Provenance: Nadeau's Gallery, Connecticut, USA; Private collection See PDF catalogue for a detailed note on this work. Click here: http://whytes.auctioneersvault.com/catalogues/20150928/20150928.html#26 *
Whyte's
Apr. 01, 2015
Aloysius O' Kelly (1853-1936) Cattle in a Woodland Path Oil on canvas, 53 x
Est: €1,500 - €2,500
Aloysius O' Kelly (1853-1936) Cattle in a Woodland Path Oil on canvas, 53 x 45cm (20¾ x 17¾'') Signed
Adam's
Apr. 01, 2015
Aloysius O'Kelly (1853 - 1936) Le Passage Oil on board, 24 x 32cm (9½ x 13'
Est: €3,000 - €5,000
Aloysius O'Kelly (1853 - 1936) Le Passage Oil on board, 24 x 32cm (9½ x 13'') Signed Inscribed with title verso Provenance: The Irish Sale, Sotheby's, London, May 2003, Lot 42, where purchased by the current owners
Adam's