Abraham Solomon, 1824 London-1862 Biaritz, fete gallant, caricaturing depiction of a miserly nobleman in company, multi-figured scene, probably based on a literary model, monogrammed AS lower left, oil/wood, min. color splash or slight Surface damage, 27x39cm, frame 41x51 cm, Solomon studied at the Royal Academy . German Description: Abraham Solomon, 1824 London-1862 Biaritz, fete galante, karikierende Darstellung eines geizigen Adligen in Gesellschaft, vielfigurige Szene, wohl auf literarischer Vorlage beruhend, links unten monogrammiert AS, Öl/Holz, min. Farbaufwurf bzw. l. Oberflächenschäden, 27x39cm, Rahmen 41x51 cm, Solomon studierte an der Royal Academy
Signed lower left and dated: "A Solomon 1850". Abraham Solomon exhibited his works at the Royal Academy, London from 1841-1862. He also exhibited at the Royal Institute of Painters, London. While there is only one known portrait that Charlotte Brontë sat for ( a portrait in chalk by George Richmond, 1850, in the National Portrait Gallery). it has been speculated that Solomon may have used this drawing for reference when completing this work. Copies of purchase receipts from Apple & Carpenter (1991), and Thomas W. Best Rare Books, Boston (1934) are included with this lot. Provenance: Purchased in 1991 from Apple & Carpenter Fine Art, Sarasota, FL by Robert & Marjorie Stahlman, Grosse Isle, MI. By family descent. Mrs. Helen Rivas, 480 Park Ave., NY, NY 1934. Thomas W. Best Rare Books, Boston.
Signed lower left and dated: "A Solomon 1850". Abraham Solomon exhibited his works at the Royal Academy, London from 1841-1862. He also exhibited at the Royal Institute of Painters, London. While there is only one known portrait that Charlotte Brontë sat for ( a portrait in chalk by George Richmond, 1850, in the National Portrait Gallery). it has been speculated that Solomon may have used this drawing for reference when completing this work. Copies of purchase receipts from Apple & Carpenter (1991), and Thomas W. Best Rare Books, Boston (1934) are included with this lot. Provenance: Purchased in 1991 from Apple & Carpenter Fine Art, Sarasota, FL by Robert & Marjorie Stahlman, Grosse Isle, MI. By family descent. Mrs. Helen Rivas, 480 Park Ave., NY, NY 1934. Thomas W. Best Rare Books, Boston.
Abraham Solomon (1823-1862) Abraham Solomon (1823-1862) Knocking at the door signed and dated 'A Solomon 1855' l.r., oil on panel, framed as an oval 28 x 24cm Condition Report: overall: 49 x 44cm The panel is sound. Unexamined under UV light, for a full report please contact the department.
Abraham Solomon Baylinson New York / Russian Federation., (1882 - 1950) Nude pastel and charcoal on paper signed center left. Working in a realist style influenced by modernism, Abraham Baylinson was a painter known for figural and still-life painting. He was born in Moscow and, like many Russian artists, emigrated to the United States in the early 20th Century. He settled in New York City and studied with Robert Henri at the New York School of Art and at the National Academy of Design. He was very active in the Society of Independent Artists, serving as secretary from 1918 to 1934 and participating in their exhibitions from 1917 to 1942. Abraham Baylinson was also a teacher at the Art Students League. Exhibition venues included the Whitney Museum of American Art, the Pennsylvania Academy and the Corcoran Gallery. Sources include: Spanierman Galleries, Ltd., "Fine American Art from 1845 to 1960" Peter Falk, "Who Was Who in American Art"
SOLOMON RAG RAG, Manchester University lithographic poster in colours, 1939, cond. B+, printed by C. Nicholls & Co. Ltd., Manchester, not backed 30 x 20 ins (76 x 51 cm) For further information on this lot please visit the Bonhams website
Abraham Solomon (British, 1824-1862) A Ballroom in the Year 1760 'Now let the youth to whose superior place It first belongs the splendid ball to grace, etc.' signed and dated 'Abraham Solomon 1848' (lower right) oil on canvas 122.5 x 183.5cm (48 1/4 x 72 1/4in). For further information on this lot please visit the Bonhams website
ABRAHAM SOLOMON (BRITISH, 1824-1862) Academy for instruction in the discipline of the fan, 1711 signed and dated 'AB. Solomon. 1849' (lower right) oil on canvas, unframed 44 x 63 3/8 in. (111.7 x 161 cm.) ,
A RARE PPM PORCELAIN LITHOPHANE OF 'SECOND CLASS-THE PARTING' AFTER ABRAHAM SOLOMON (1823-1862) The scene of a young emigrant taking his leave of his widowed mother and sister bound for the gold rush in Melbourne, after the 1854 painting, now in the National Gallery of Australia, Canberra, impressed marks. 17 x 21cm
ABRAHAM ELIAS APPOINTED TO ADMINISTER THE ESTATE OF JOSEPH SOLOMON - 1824 14th May 1824 vellum document with intact seal, titled "Administration of the Goods Chattels....of Solomon Josephs late of Windsor, dec'ed - to - Abraham Elias adm'or" and signed by the judge and sealed in the Supreme Court of Civil Judicature for the Territory of New South Wales. Such a document was required when a person dies without a will in the Territory. It appears that Solomon and Elias, as fellow (former?) convicts and the fact that they both had Jewish backgrounds, resulted in Elias taking on the responsibilities imposed by the Court, which included liquidating the available assets to meet any outstanding debts of the deceased. Joseph Solomon had been sentenced to be transported for life at the Surrey Assizes, arriving aboard "Indian" in December 1810. Abraham Elias found guilty at the Devon Assizes, had been transported for fourteen years, arriving aboard "Shipley" in April 1817.
Abraham Solomon (British, 1824-1862) The ball signed and indistinctly dated 'ASolomon 18-8' (lower left)oil on canvas35 x 51.4cm (13 3/4 x 20 1/4in). Provenance: Private collection, UK.
ABRAHAM SOLOMON (1824 - 1862) The Return (First Class) engraving published London 1857 by E. Gambart & Co engraved by W H Simmons inscribed in printed text on margin 47 x 68 cm
Abraham Solomon BAYLINSON (1882-1950) ; Flower still-life ; oil on canvas / framed ; dimensions 62 x 76 cm (24 1/2 x 30 in.) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to Europe, Russia, Middle Assia - DHL - $150 , National post with tracking service - $65 Abraham Solomon Baylinson (6 January 1882 – May 1950) was a Russian-American painter who was active in the early modernist movement. Born in Moscow, Russia on 6 January 1882, the Baylinson family moved to the United States around 1900. Baylinson studied at the Art Students League of New York, the National Academy of Design, and the New York School of Art. While at the New York School of Art he trained under Robert Henri and alongside students such as Edward Hopper, Rockwell Kent, Yasuo Kuniyoshi, Glenn Coleman, Eugene Speicher, and Patrick Henry Bruce. Baylinson exhibited in all the major exhibitions, such as; Art Institute of Chicago, Corcoran Gallery of Art, Detroit Institute of Art, National Gallery of Canada, Pennsylvania Academy of American Art. His works are in major collections, such as; Metropolitan Museum of Art, Museum of Fine Arts Boston, and the Newark Museum.
Abraham Solomon (British, 1824-1862) The monkey who has seen the world signed and dated 'A Solomon 1857' (lower left) oil on board 33 x 43cm (13 x 16 15/16in). Footnotes The subject for this work was inspired by John Gay's satirical poem published in 1793, The Monkey who had seen the World - Fable XIV, a scathing attack on the so-called civilizing influence of high society.
ATTRIBUTED TO ABRAHAM SOLOMON (1824-1862) 'Of Hermit Quarll We Read, In Island Rare' (From the poem by Revd. George Crabbe), inscribed in ink with title verso, sepia watercolour, 6" x 9" The mount also inscribed in pencil 'The Cot Where Thrives Th'industrial Swain' (also from a work by Revd. George Crabbe)
Abraham Solomon British, 1824-1862 Rehearsal for Othello Inscribed A. Solomon Esquire on the stretcher Oil on canvas 8 x 9 7/8 inches (20.3 x 25.2 cm) Provenance: Private Collection, New York Lionel Lambourne, a theater historian and former curator of the Theatre Museum of London, has suggested that the central figure in this painting might be Ira Frederick Aldridge (1807-1867). Aldridge was the first important African American Actor to emerge from the United States. Starting in 1833, he distinguished himself on the European stage as an interpreter of Shakespeare, especially the role of Othello. He also played Macbeth, Shylock and King Lear. C
Attributed to Abraham Solomon (1824-1862) ortrait of a lady fanning il on panel earing intials on reverse 23 x 18 cm (9 x 7 in) condition report: Under glass, minor scattered retouchings visible under UV light, may benefit from a light clean
Abraham Solomon, 'The breakfast table', óleo s/tel SOLOMON, Abraham Solomon (1824-1862) Cena de interior com figuras Óleo sobre tela Assinado e datado de 1846 Dim.: 111 x 86 cm. Abraham Solomon, oil on canvas, signed and dated 1846.
Abraham Solomon, A.R.A. (1824-1862) Waiting for the Verdict; and Not Guilty signed and dated 'Asolomon 1859' (lower left) oil on canvas 25 x 35 in. (63.5 x 88.9 cm.) a pair
The Departure et The Return par William-Henry Simmons Paire de gravures au pointillé et aquatinte, 1857, publiées à Londres par E. Gambart, papiers insolés, piqûres, salissures, taches d'humidité dont une importante dans l'angle inférieur gauche de The Return touchant le sujet, non examinées hors de leur cadre L'ensemble: 59 x 75 cm. (23 1/4 x 29 1/2 in.) (2)
The Bashful Lover signed and dated 'A Solomon 1854' (lower right) inscribed and numbered: 'No 1 The Bashful Lover/A Solomon' (on a label attached to the reverse) oil on canvas 13 1/2 x 17 in. (33.5 x 43.2 cm.)
The bashful lover signed and dated 'A Solomon 1854' (lower right) and further inscribed and dated 'No. 1 "The Bashful Lover" A Solomon/...' (on an old label on the reverse) oil on canvas 13 3/8 x 17 in. (34 x 43.2 cm.)
oil on panel, arched top PROVENANCE Bought from the artist by Charles Prater, his sale Christie's, 4 March 1882, lot 21; S. D. Schloss, his sale Christie's, 11-13 February 1980, lot 189; Christie's, 20-22 January 1912, lot 193; Mr Ismall; Sotheby's Belgravia, 1 April 1980, lot 189; Christopher Wood; Edmund J. and Suzanne McCormick EXHIBITED Royal Academy, 1856, no. 533; London, Christopher Wood Gallery, 1980, no. 15; New Haven, Yale Center for British Art, 1984, no. 35; London, Geffry Museum and Birmingham, City Art Gallery, Solomon: A Family of Painters, 1985-1986, no. 16 LITERATURE AND REFERENCES Athenaeum, 17 May 1856, p. 172; Susan Casteras, Journal of Pre-Raphaelite Studies, November 1981, p. 141; Solomon: A Family of Painters, exhibition catalogue for the Geffry Museum and Birmingham City Art Gallery 1985-1986, p. 54, repr. pl. 16
A Sketch from Memory signed and dated 'A Solomon 1851' (lower right) oil on canvas, painted arch 12 x 141/4 in. (30.5 x 36.2 cm.) PROVENANCE with J.S. Maas & Co., London, from whom acquired by the present owner in 1977. LITERATURE E. Shefer, 'Deverell, Rossetti, Siddal, and "The Bird in the Cage"', Art Bulletin, vol. LXVII, no. 3, September 1985, pp. 439-40, pl. 4. EXHIBITION The Pursuit of Leisure, 1997-8, no. 39. The Emergence of Jewish Artists in Nineteenth-Century Europe, 2001-2, cat. pl. 37. NOTES This young woman is clearly not a professional artist. Well dressed and evidently with time on her hands, she is one of the innumerable Victorian amateurs who enjoyed exercising their aritstic talents, which were often considerable. We can imagine her receiving early instruction from an itinerant drawing-master, someone like John Sell Cotman, David Cox, or one of their successors. As the cataloguers of the Pursuit of Leisure exhibition observe, the picture also invites a 'more sentimental reading'. The girl's 'male subject is clearly not present, and her abstracted gaze suggests a reverie of imagination or memory. Her situation, seated on a balcony, overlooking a continental landscape, whilst supported by pillows, wrapped in a fur-edged jacket and supplied with the delicacy of grapes, might inform a Victorian audience that she is convalescent and using her artistic skills to focus her reflections on the beloved at home.'.
Eastward Ho! - August 1857 signed and dated 'Henry O'Neil 1858' (upper right) oil on canvas 36 x 281/2 in. (91.4 x 72.4 cm.) PROVENANCE James Hamilton Houldsworth, 1878. Anon. sale; Sotheby's, Belgravia, 22 February 1972, lot 88 (œ2,600 to A. Glass). Anon. sale; Christie's, London, 16 October 1981, lot 26 (œ12,100). EXHIBITION Glasgow, Loan Exhibition in Aid of the Royal Infirmary, 1878, no. 2. Glasgow, International Exhibition, 1901, no. 199 (lent by James Hamilton Houldsworth). London, Whitechapel Art Gallery, Winter Exhibition, 13 December - 23 January 1901-2, no. 111. London, Corporation of London Art Gallery, Exhibition of Naval and Military Works, 1915, no. 139. NOTES Born in St Petersburg in 1817, O'Neil trained at the Royal Academy Schools in the early 1830s. The historical painter Alfred Elmore was among his fellow students, and in 1840 they travelled together in Italy. Meanwhile O'Neil had become a member of The Clique, a circle of young artists who also included Augustus Egg (born 1816), Richard Dadd and John Phillip (both, like O'Neil himself, born 1817), and William Powell Frith (born 1819). In some ways, this group anticipated the Pre-Raphaelite Brotherhood, founded in 1848. Like the Pre-Raphaelites, they were to express a new realism and emotional intensity. Also like the more famous group, they soon went their separate ways. Dadd, for example, specialised in fairy painting, achieving some of his most remarkable work as a certified lunatic in Bethlem and Broadmoor hospitals, while Frith became a highly successful exponent of anecdotal and sentimental genre. O'Neil remained as true as any to the group's original ideas, continuing to paint pictures which made a strong appeal to the emotions. The climax of O'Neil's career was the exhibition of his picture Eastward Ho! August 1857 (private collection) at the Royal Academy of 1858, depicting troops leaving for India to crush the mutiny. In 1856 the British annexed the kingdom of Oudh (now part of the state of Uttah Pradesh, India), and the many sepoys recruited in Oudh were deprived of their privileged position. The sepoys felt that British rule failed to respect their traditions of religion and caste. They resented the British introduction of social changes, and mounting discontent culminated in open revolt when the East India Company issued new Enfield rifles. To load the rifles, the sepoys had to bite off the ends of greased cartridges. Rumours that the cartridges were greased with the fat of cows and pigs outraged both Hindus, who regard cows as sacred, and Muslims, who regard pigs as unclean. The first mutinous act occurred on 10 May 1857, at Meerut, when 85 soldiers, who had been placed in chains for refusing to use the new cartridges, were freed by their comrades. The mutineers killed many of their officers and set out for nearby Delhi, which they captured with the help of the local garrison. Regiments then revolted at Cawnpore and Lucknow; Cawnpore was captured, and Lucknow was besieged. The mutinies and the British reprisals were equally savage, the mutineers murdering their officers, women, and children, and the British firing captured mutineers from cannon. The sepoys vastly outnumbered the British soldiers, and the rebellion quickly spread over north and central India, gaining widespread popular support. British troops recaptured Cawnpore in July 1857, and Delhi in September 1857. The long siege of Lucknow was lifted in March 1858. The last phase of the revolt, played out in central India, was quelled in April 1859. The most important result of the rebellion was the abolition in 1858 of the East India Company and the transfer of the administration of India to the British Crown. In the long term, it led to both greater consideration by British rulers of Indian sensibilities, and increased interest in Indian nationalism. Constant news of the massacres and reprisals had conditioned the public to respond ardently to O'Neil's poignant depiction of families saying goodbye to soldiers as they embarked for India. Crowds thronged to see the picture, as Anthony Trollope recalled in the obituary of O'Neil that he wrote for the Times in March 1880. By the time it was shown at the International Exhibition held in London two years later, it had acquired the status of a modern icon. Although other paintings also dealt with this incident - including N”el Paton's In Memoriam (private collection), Abraham Solomon's The Flight from Lucknow (Leicester Art Galleries), and Frederick Goodall's The Campbells are Coming, Lucknow, September 1857 (Sheffield Art Galleries), it was only O'Neil's interpretation which avoided the sensationalism of the atrocities and concentrated instead on the personal, individual dramas of leave-taking at the dock. Setting the scene in Gravesend, the point of embarkation for British troops destined for the war, O'Neil made the subject particularly relevant for a London audience. He captured a wide variety of responses and emotions inspired by this moment of departure, including, a young wife clasping her husband's hand, a widowed mother numbly parting from her son, and an indifferent boatman smoking his pipe. All would have appealed to a Victorian public avid for sentimental narrative. The Athenaeum concluded that the effect of the picture was 'a simple paths and truth that will bear an hour's perusal....The classes of life, the ages, and the stations of the different leave-takers are admirably expressed and contrasted. The centre of all is a poor soldier's widowed mother, whose foot is just on the last stop, and who is gazing with vacant, wet eyes, quite abstracted, on the tough boatman with the blue shirt and red braces, who is holding out to her his strong-knotted hand;... next up the steps comes a soldier's wife a poor woman but decent enough in her red-chequered trailing shawl, neat straw bonnet and blue ribbons. She carries in her arms heedlessly (for her eyes are strained upward to catch a last look at the dear fellow's face) a child...the grief is wonderfully varied, and is always concentrated, deep, and without self-consciousness.' (vol. for 1858, p. 586). Not surprisingly, O'Neil tried to repeat his success. The following year he showed Home Again, 1858 (fig. 2), in which troops returning from India were seen disembarking from their ship at Gravesend, many of them wounded. This was sold by Christie's, 14 June 2000, lot 18 (œ553,750). Companion pictures of this type were popular at the time. Abraham Solomon showed Waiting for the Verdict and its sequel Not Guilty (both Tate Gallery) at the Royal Academy in 1857 and 1859, and Millais's equally famous pair, My first sermon, and My second sermon, (Guildhall Gallery), appeared, again at the Royal Academy in 1863 and 1864. O'Neil's pair was a strikingly effective vision of Victorian attitudes towards war that combined patriotism, bravery and sentimentality. When both pictures were exhibited at the International Exhibition of 1862, the Art Journal reviewer saw them is highly relevant to the contemporary condition of England. This school of pictorial art is emphatically English...becausewee in England are daily making to ourselves a contemporary history. Britain is a land of action and of progress, trade, commerce, growing wealth, steadfast yet ever changeful liberty; a land and a people wherein a Contemporary Art may grow and live, because in this actual present hour to act heroically, suffer manfully and do those deeds which in pictures and by poems, deserve to be recorded. It seems that both the prime versions of Eastward Ho! and Home Again found ready buyers. Eastward Ho! was acquired by Edward Adam Leatham MP, if not directly from the Academy at least by the time the engraving after the picture was published. Home Again seems also to have been bought from the artist soon after its first exhibition. The enormous popularity of the works is reflected in the fact that O'Neil was encouraged by patrons to produce reduced versions of the pair. These versions retain all the sense of poignancy, melodrama, and contemporary history of their predecessors. Our painting was the first reduced version of Eastward Ho! that the artist undertook, and the composition remains the same as the original. A reduced replica of Home Again (1860), with the same dimensions as our picture and perhaps made as the basis for W.T. Davey's engraving, is in the National Army Museum. There is also a variant pair formerly in the McCormick Collection (1859 & 1861; measuring 32 5/8 x 25 3/8 in.) which was sold at Sotheby's, New York, 28 February 1990, lots 133-4 (55,000 dollars each). A smaller variant pair from the collection Sir Charles Booth, Bt. (1859 & 1861; 201/2 x 161/2 in.) was sold at Sotheby's Belgravia, 6 October 1980, lot 33 (œ12,000). A variation of Home Again (351/2 x 273/4 in.) focusing particularly on the central figure leaving the ship (private collection) was offered at Sotheby's on 6 November 1996, lot 262. O'Neil later tried to recapture the appeal of these pictures in works like his 1861 Parting Cheer (fig. 2), sold at Christie's 10 June 1999, lot 21, and The Soldier's Return (1858) and Before Waterloo (1868). None of these, however, was such a compelling image or received the same level of response as Eastward Ho!.
