Nicholas Condy, British 1793-1857- Yesterday's News; oil on panel, signed 'N.Condy' (lower left), bears old BEACONSFIELD label with printed inscription 'Nicholas Condy / An Item of News' attached to the frame, 41.5 x 51.5 cm. Provenance: Anon. sale, Christie's, South Kensington, 11 March 1999, lot 317; where purchased by the current owner. Private Collection, UK.
NICHOLAS CONDY (BRITISH, 1793-1857) - THE R.Y.S. CUTTER YACHT 'GANYMEDE', WITH THE OWNER J.H.W. PIGOTT SMYTH PIGOTT ESQ. ON DECK NICHOLAS CONDY (BRITISH, 1793-1857) The R.Y.S. cutter yacht 'Ganymede', with the owner J.H.W. Pigott Smyth Pigott Esq. on deck signed and inscribed 'The Cutter Yacht/ Ganymede 70 Ton/ Piggott Esq/ Painted by N. Condy Esq.' (on the artist's label, to the reverse) Oil on panel 13¾ x 17⅞in. (34.9 x 45.4cm.) Ganymede was a 70-ton cutter first recorded at the Dublin Regatta on 22 July 1828 when she was owned by Colonel Madden. By the time the Colonel was elected to the Royal Yacht Squadron in 1832, he had sold Ganymede to the 3rd Lord Graves who only kept her for one season before selling her to Viscount Exmouth. After two further rapid changes of ownership, she was acquired by J.H.W.P. Smyth-Pigott in 1842 and he kept her until 1848 during which period she is known to have been painted by Condy. Apart from her appearance at the Dublin Regatta in 1828, there is no other record of Ganymede racing and her subsequent owners appear to have used her exclusively for cruising, a pursuit which had gained considerable popularity during the reign of William IV (1830-37). The following extract is taken from Guest & Boulton’s Memorials of the Royal Yacht Squadron, 1815-1900, publ. 1903: “.....Mr Smyth Pigott, in the Ganymede, was a notable disciple of the cruising school, who lived on his yacht all the year round, and spent most winters in the south. Mr. Pigott, “who is devoted to yachting and a very experienced sailor, and one of the most active members of the spirited aquatic fraternity of the R.Y.S.,” as Bell’s Life records. “His vessel, for man-of-war-like efficiency, order, trim, and discipline, is the beau ideal of the English gentleman’s yacht,” as we are told......” good overall condition, light scattered retouching to edges
Nicholas Condy, British 1793-1857 Yesterday's News; oil on panel, signed 'N.Condy' (lower left), bears old BEACONSFIELD label with printed inscription 'Nicholas Condy / An Item of News' attached to the frame, 41.5 x 51.5 cm. Provenance: Anon. sale, Christie's, South Kensington, 11 March 1999, lot 317; where purchased by the current owner. Private Collection, UK.
Attributed to Nicholas Condy, British 1793-1857 Figures unloading their catch by the water, with view of the Royal William Victualling office, Stonehouse, Plymouth, beyond; oil on panel, 25.4 x 20.1 cm. (unframed). Provenance: Private Collection, UK. Note: Condy typically treated maritime themes, depicting ships at sea in calm or stormy waters, or, often, figures in the process of unloading, buying, selling, or preparing fish. Condy worked as a painter in Plymouth, and was clearly fascinated by the fishing community which surrounded him there. The present work very much recalls Condy's approach, and bears a particularly strong similarity to a painting of the same subject which was offered at Neumeister, Munich, on 29 September 2022 (lot 714).
NICHOLAS CONDY (1799-1857) Nocturnal Scene pencil, chalk and wash inscribed verso 14 x 20cm PROVENANCE The Estate of Daniel and Ioanna Ellerington, Melbourne
Cornwall.- Condy (Nicholas) & Rev. Francis Vyvyan Jago Arundell. Cothele on the banks of the Tamar, the ancient Seat of the Rt.Hon.ble the Earl of Mount Edgcumbe, hand-coloured lithographed pictorial title, lithographed dedication and plan, 16 hand-coloured tinted lithographed plates by Day & Haghe after Condy, a few leaves with small tears at edges repaired, light offsetting to verso of plates, Henry Fox Talbot's copy with presentation inscription "from his affectionate sister Caroline /Mount Edgcumbe 1st January 1847" to front free endpaper, endpapers foxed, original blue cloth with Mount Edgcumbe arms in gilt to upper cover, rather rubbed and faded, handsomely rebacked and cornered in blue straight-grain morocco, spine ruled in gilt, [Abbey, Scenery 414], folio, [c.1840]. ⁂ Excellent association copy of this work on Cothele, a medieval house with Tudor additions in Cornwall, which has changed little over the last five centuries. William Henry Fox Talbot (1800-77), inventor and pioneer of photography. Through his mother's second marriage to Admiral Charles Feilding he had two half-sisters, Caroline Augusta (1808-81) and Henrietta Horatia (1810-51). Caroline married Lord Valletort, later 3rd Earl of Mount Edgcumbe, on 6th December 1831.
NICHOLAS CONDY (BRITISH 1793-1857)FIGURES IN A MARKET (TRADITIONALLY IDENTIFIED AS BOROUGH MARKET) Oil on board Signed and dated '1836' (lower centre)36 x 46cm (14 x 18 in.)
NICHOLAS CONDY (attr.) (Torpoint 1793-1857). Pair of oil on panel paintings depicting ''FISHERMEN ON THE BEACH'' and ''FISH TRANSPORTERS WITH MULES''. NICHOLAS CONDY (attr.) (Torpoint 1793-1857). Coppia di dipinti olio su tavola raffiguranti ''PESCATORI SULLA SPIAGGIA'' e ''TRASPORTATORI DI PESCE CON MULI''.
NICHOLAS CONDY (BRITISH 1793-1857) NICHOLAS CONDY (BRITISH 1793-1857) The days catch Signed Condy (lower left). oil on canvas 30 x 40 cm PROVENANCE: Macconnal-Mason, London.
NICHOLAS CONDY THE ELDER (BRITISH 1793-1857)SHIPS LYING IN THE TAMAR RIVER, WITH THE ROYAL WILLIAM YARD AND MOUNT EDGCUMBE BEYONDOil on canvas29.5 x 44.5cm (11½ x 17½ in.)Provenance: Philip Varcoe, by 1961Anonymous sale, Christie's, South Kensington, 10 November 1994, lot 523 The Rowse CollectionExhibited:Plymouth, The City Art Gallery & Museum, Marine Painting, 1969, no. 37, lent by Philip Varcoe
N. M. CONDY SR. (BRITISH, 1799-1857) - THE ‘REINDEER’ RACING OFF BERRY HEAD, BRIXHAM, 1844 NICHOLAS MATTHEW CONDY (BRITISH, 1818-1851) The ‘Reindeer’ racing off Berry Head, Brixham Signed and dated 'N.M.Condy 1844' (lower right) Oil on panel 13 x 18in. (33 x 45.5cm.) Reindeer was a 107-ton carvel-built cutter yacht crewed by twelve men and owned by the Earl of Cardigan with her home port registered as Dublin. Scattered retouching.
ATTRIBUTED TO NICHOLAS CONDY (BRITISH 1799-1857) ATTRIBUTED TO NICHOLAS CONDY (BRITISH 1799-1857) First-rate ship of the line of the Royal Navy, lying at anchor, with shipping beyond pen and black ink, watercolour wash, heightended with white on blue/grey paper 30 x 40 cm The most famous of all first-rate ships, HMS Victory is a 104-gun first-rate ship of the line of the Royal Navy, she is the world's oldest naval ship still in commission. With 245 years' service as of 2023, ordered in 1758, laid down in 1759 and launched in 1765 - she is best known for her role as Lord Nelson's flagship at the Battle of Trafalgar on 21 October 1805. She additionally served as Keppel's flagship at Ushant, Howe's flagship at Cape Spartel and Jervis's flagship at Cape St Vincent. After 1824, she was relegated to the role of harbour ship. In 1922, she was moved to a dry dock at Portsmouth, England, and preserved as a museum ship and she has been the flagship of the First Sea Lord since October 2012.
CONDY, Nicholas(1793 Plymouth - 1857 Plymouth) Familie im bäuerlichen Interieur Öl auf Holz. Signiert. Datiert: 1852. 32 x 46 cm. Gerahmt : 43 x 55 cm. Rückseitig Reste alter Klebezettel. Profilierter Goldrahmen. Condy, Maler, Zeichner, Stecher, Vater des Nicholas Matthew. Seine Landschaften werden zuweilen mit denen seines Sohnes verwechselt. Nach einer kurzen Militärlaufbahn Hinwendung zur Malerei. Überliefert ist 1818 sein erstes Bild. Auf Ausstellungen der Royal Academy und der British Institution vertreten * Partnerauktion Bergmann. Literatur : Saur (1998), Thieme-Becker (1907-1950). Provenienz : Berliner Privat-Nachlass. CONDY, Nicholas(1793 Plymouth - 1857 Plymouth) Family in a peasant interior Oil on wood. Signed. Dated: 1852. 32 x 46 cm. Framed : 43 x 55 cm. On the reverse remains of old adhesive label. Profiled gold frame. Condy, painter, draftsman, engraver, father of Nicholas Matthew. His landscapes are sometimes confused with those of his son. After a short military career turn to painting. His first painting survives from 1818. Represented at exhibitions of the Royal Academy and the British Institution * Partner auction miner. Literature : Saur (1998), Thieme-Becker (1907-1950). Provenance : Berlin private estate. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
HER MAJESTY AND PRINCE ALBERT PROCEEDING IN THE STATE BARGE TO LAND AT ROYAL DOCKYARD, DEVONPORT Lithograph Plate size: 225 x 145mm Framed size: 58 x 51cm (23 x 20in) together with; three by the same hand: Departure of the Royal Yacht; Entrance of the Royal Yacht to Plymouth Sound; The Royal Yacht lying in Barn Pool. (4)
Fish market at the shore . Signed and dated 1835 lower right. Oil on panel. 25.4 x 20.2 cm. Damage to the edge of the upper margin (hidden by the frame). Restored. Framed (38 x 33 cm).
Nicholas Condy (1793-1857) Boys fishing in Plymouth Sound oil on panel 29 x 39.5cm Provenance: With N R Omell, London by 1985 Exhibited: London, N R Omell, Marine Exhibition, Autumn 1985, no. 44 50.5 x 41cm framed
Nicholas Condy (1793-1857) Interior of an Irish Inn at Ballyboyleboo Oil on canvas 47 x 63.5cm (18½ x 25) Signed Exhibited: London, Royal Academy, 1843, No. 415 Exhibited at the Royal Academy in 1843, Condys recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicols The 16th, 17th (St Patricks Day), and 18th March (National Gallery of Ireland). It seems likely that equality or at least the superficial appearance of equality has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condys signature, Lt. Condy bf 43rd regt reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background. Claudia Kinmonth notes that Condys Ulster subjects convey a real sense of how poor peoples homes in Antrim may well have been in the 1840s (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the mans motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context. Condys composition is artfully created and rather than the mere slice-of-life recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Tenierss well-kept kitchen compositions (de welvoorziene keuken). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with low-life genre scenes such as this and his work was avidly collected and frequently engraved. Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy old master tonalities and shows a similar delight in details and in rough irregular surfaces (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization exaggerating the Irishness of the name of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped at a lone public house between Larne and Ballymena and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be the premises now call the Ballyboley Inn. An earlier building on this site may also be the setting for Condys work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Nicholas Condy (British, 1799-1857) Wash Day on the accommodation hulks at Devonport, with other shipping, including a 1st rate ship-of-the-line, nearby oil on canvas 56.5 x 76.8cm (22 1/4 x 30 1/4in). For further information on this lot please visit the Bonhams website
Nicholas Condy (British, 1793-1857) A family meal; and Figures conversing the first signed and dated 'N Condy 1828' (lower left of centre under the plank of wood) oil on panel 48 x 59.5cm, a pair
Nicholas Condy (British, 1793-1857) A family meal; and Figures conversing the first signed and dated 'N Condy 1828' (lower left of centre under the plank of wood) oil on panel 48 x 59.5cm, a pair
* Condy (Nicholas, the Elder, 1799-1857). Warships at Devonport, oil on canvas, a busy port scene showing naval ships at anchor, boats and figures, 61.5 x 81 cm (24.25 x 31.75 ins), unsigned, relined, acanthus gilt moulded gesso frame, with Parker Gallery label to verso Qty: (1)
Circle of Nicholas Condy (British, 1799-1857) A view towards the Royal William Victualling Yard, Plymouth indistinctly signed 'L E R---' and dated '1842' (lower left) oil on board 30.5 x 40.5cm (12 x 15 15/16in). unframed For further information on this lot please visit the Bonhams website
Attributed to Nicholas Condy (1793-1857) Fisherman in a busy shipping scene, watercolour with bodycolour, inscribed to backboard 'N CONDY' and backboard numbered 49, 6.1" x 9.5", Provenance: The Collection of Rosemary & Christopher Warren.
Nicholas Condy (British, 1799-1857) Bataille navale dans l'Archipel, 31 Janvier 1825 huile sur carton contrecollée sur toile 26.5 x 40cm (10 7/16 x 15 3/4in). oil on cardboard laid canvas For further information on this lot please visit the Bonhams website
Nicholas Condy (1793-1857) Nicholas Condy (1793-1857) A first rate man-o'-war, at anchor, with other shipping off the coast signed indistinctly l.r., oil on panel 30 x 40cm
Nicholas Condy, attr., Auslaufender Dreimaster unter englischer Flagge auslaufendes Segelschiff, mit nur teils gehissten Segeln, mit spitzem Pinsel ausgeführte maritime Malerei, Öl auf Holz, Mitte 19. Jh., Craquelure, etwas reinigungsbedürftig, gerahmt und hierauf Schild mit Aufschrift „Nicholas Condy“, Falzmaße ca. 22 x 29 cm. Künstlerinfo: englischer Maler (1793 Torpoint (?) bis 1857 Pleasant Terrace, Plymouth), ab 1818 als Maler tätig, zwischen 1830–45 Teilnahme an Ausstellungen der Royal Academy, Quelle: Thieme-Becker und Wikipedia.
Nicholas Condy (British, 1793-1857). Rowing boats unloading in a bay, shipping visible beyond. Signed left centre N Condy. 13 x 18cm. Framed and glazed.
ATTRIBUTED TO NICHOLAS CONDY (BRITISH, 1793-1857) The arrival of George IV aboard R.Y. 'Royal George', Weymouth, circa 1820 ATTRIBUTED TO NICHOLAS CONDY (BRITISH, 1793-1857) The Royal Yacht 'Royal George' hove-to in Plymouth Sound to take George IV aboard soon after the king's return from Scotland in August 1822 Watercolour heightened with gouache 4¼ x 6in. (10.5 x 15.5cm.)
NICHOLAS CONDY (BRITISH 1793-1857) Gathering shellfish on the beach; Clam digging at Carrickfergus both watercolour and bodycolour 10 x 14 cm (4 x 5 1/2 in); 9.75 x 14.75 cm (3 3/4 x 5 3/4 in) a pair (2) Provenance: Thomas Agnew and Sons Ltd., London
Attributed to Nicholas Condy (1793 - 1857) Oil on panel with original wood framework. Interior genre scene and frame measure 14 x 21 inches. Excellent condition. Third party shipping required.
Attributed to Nicholas Condy (1793 - 1857) Oil on panel with original wood framework. Interior genre scene and frame measure 14 x 21 inches. Excellent condition. Third party shipping required.
Watercolor painting attributed to Nicholas Condy in pencil on rear. Fisherman on a beach with woman and child. Ca. first half of 19th century. On card, 13 x 10.5cm. Tipped to board at upper margin, with matting. Small chip to upper right corner, very rich color, attractive and well-executed. Sold as-is, see photos.
Nicholas Condy (1799-1857) A VIEW OF PENZANCE WITH FIGURES IN THE FOREGROUND AND SAINT MICHAEL'S MOUNT IN THE DISTANCE Watercolour and bodycolour 11 x 16cm; and another by the same hand FAIR HEAD, WITH FISHERMEN HAULING IN THEIR NETS Signed l.r., watercolour and bodycolour 10.5 x 15cm (2)
NICHOLAS CONDY (BRITISH, 1799-1857) ‘The Falcon, the Earl of Yarborough’s yacht’ signed and inscribed ‘N.Condy Jun’ (lower right), inscribed with title and further inscribed ‘N.Condy Jun Pinx’/Devonshire Terrace/ Plymouth’ (on board verso) oil on board 20 x 25.5cm (7 7/8 x 10 1/16in). Launched in June 1824, the widely celebrated Falcon was built for Lord Yarborough in List’s yard at Wootton Bridge, Fishbourne, Isle of Wight, at a cost of P18,000. Though designed as a purely private yacht, her full-rig and general appearance prompted one spectator to remark that she more resembled a P20-gun ship-of-warP, and she undoubtedly proved a highly impressive flagship to the Royal Yacht Squadron, a role she occupied for over ten years. It is notable that one of the main objectives of the R.Y.S.’s pioneers-and of far greater importance than the annual regatta at Cowes-was to improve the form and sailing qualities of British warships and, to that end, Falcon was the most successful of several experimental craft of her time. Yarborough, the R.Y.S’s first commodore, was a particularly colourful character in the early history of yachting and employed fiftyfour PchoiceP hands under the command of a naval officer to crew Falcon whenever she raced. A serious accident at sea followed by illness prompted Lord Yarborough to dispose of Falcon and in 1836 she was sold to Captain Clifton, on whose behalf Baring Brothers had financed the purchase for P5,500. Fitted with 48hp. paddle propulsion, she sailed for India in January 1838, but had the engine removed upon her arrival at Calcutta when she was resold to Jardine, Matheson & Co. Her new owners put her straight onto the opium run to Macao where her speed enabled her to continue trading throughout the so-called ‘Opium War’ of 1840-42. This acknowledged speed merely added to her lustre as flagship of the Jardine fleet and once the War was over, her main port of discharge became Hong Kong following the island’s acquisition by British troops in 1841. Remaining a frequent sight all along the opium route until the mid-1850’s, the end of her career remains shrouded in mystery. Said by some to have been taken by mutineers and by others to have been scuttled by pirates, there is circumstantial evidence that she was wrecked off Breaker Point, a projecting headland 60 miles South of Swatow, although this has never been proven. Whatever the truth however, she was without doubt one of the most interesting ships involved in the China trade in the first half of the nineteenth century. A somewhat similar composition by N.M.Condy, signed and dated 1844, and showing Falcon off the coast of China in company with other opium carriers is known in commerce.
Nicholas Condy, British 1793-1857- Rouen Cathedral, interior and exterior views, c.1835; pen and black and brown ink and wash heightened with white, a pair, ea. 16x11cm, (2)
Nicholas CONDY (1793-1857) La lecture de la Gazette Huile sur panneau, signé et daté en bas vers la droite 'N Condy - 1840' ; petite griffure à gauche h: 46 w: 35 cm Commentaire : The Gazette reading, a signed and dated 1840 oil on panel, by Nicholas Condy Estimation 1 000 - 1 200 €
Earle' Circle of Nicholas Condy (1793-1857), Oil on canvas, A harbour scene with fishermen on a quay & small sail trading craft along the harbour wall, Signed & dated 1827, 21" x 30.25" (53.3cm x 76.8cm)
Nicholas Condy (1793-1856) - Oil painting - "News from the Town" - Interior of house with two gentleman talking and young child looking on, Rowney & Forster Flemish ground panel board, 16ins x 12ins, signed and dated 1840, in gilt moulded leaf scroll pattern frame Provenance: Sotheby's, Olympia, Hammersmith Road, London - Auction 21st January 2004 - Lot 265
