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John Ritchie

(1857 -  1875 )
RITCHIE John News From Abroad

Mar 20, 2018
Find artworks, auction results, sale prices and pictures of John Ritchie at auctions worldwide.
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Along with John Ritchie, our clients also searched for the following authors:
William Henry Margetson, Thomas Henry Hunn, William Havell, William Minshall Birchall, John, Syer Snr., William Cruickshank, Sydney Carter
Artworks in Arcadja

Some works of John Ritchie

Extracted between 22 works in the catalog of Arcadja
John Ritchie - Defending The Weak

John Ritchie - Defending The Weak



Lot number: 4

(british fl. 1858-1875)

"DEFENDING THE WEAK" Signed with conjoined initials ''JR'' bottom right; also inscribed with artist, title and location verso, oil on canvas 20 x 16 in. (50.8 x 40.6cm)

James D. Julia Auctioneers, Fairfield, Maine, sale of May 4, 2008, lot 587.

Frame: 28 x 23 3/4 in. the relined canvas in generally fair to good overall condition, with areas of the canvas being somewhat difficult to accurately 'read' under u.v. light due to varnish inconsistencies and pigments used. There are some areas of the painting having restoration, mostly in portions of the canvas at center and center left Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.
John Ritchie - Winter, St James's Park, London

John Ritchie - Winter, St James's Park, London

Original 1858


Lot number: 131
John Ritchie (fl. 1857-1875) Winter, St James's Park, London signed and dated 'Jo
Ritchie 1858' (lower right) and indistinctly inscribed 'J Ritchie....' (on the stretcher) oil on canvas 30 x 50 ¾ in. (76.2 x 128.9 cm.)
with The Cider House Galleries, Bletchingley, Surrey, by November 1978. with Owen Edgar Gallery, London.
London Daily News, 8 February 1858. Morning Post, London, 12 February 1858. Illustrated Times, London, 27 February 1858. J. Saunders and W. Marston (eds.), The National Magazine, vol. III, London, 1858, p. 342. Letters of Thomas Carlyle, 1826-1836, vol. 2, London, 1888, p. 386. M. Cowling, Victorian Figurative Painting: Domestic Life and the Contemporary Social Scene, London, 2000, pp. 140-3, illustrated in colour. C. Stanton, 'A closer look at A Winter's Day in St. James' Park by John Ritchie, 1858', The Newsletter of the Social History Curators Group, issue 66, December 2010, pp. 18-20, illustrated.
London, British Institution, 1858, no. 281 (£350). London, Museum of London, Looking at London, July - October 1980, number untraced. London, Riverside Studios, Victorian Painting at Riverside, March - April 1981, no. 38.
John Ritchie - Life In The Backwoods

John Ritchie - Life In The Backwoods



Gross Price
Lot number: 12
titled and signed on an old label pasted on to the stretcher

oil on canvas, unframed


Liverpool Academy, 1861, no. 481


John Ritchie?s modern-life subjects are treated with notable
sympathy for the hardships which people endured, and are apparently
both objective and impartial. His careful observation of the
condition and circumstances of men and women of the day makes him a
most interesting and intriguing artistic figure. In his painting

Life in the Backwoods
, he shows a rustic family in their
improvised woodland encampment. Seated at the centre of the group
is a man who drinks from a cup and has spread before him a simple
meal. Behind is a woman with a child in her arms whom she feeds
from a bowl held by an older child. On each side of these figures
stand a young man and a young woman, each wearing working clothes.
A loaded hand-cart is seen in the background on the right. In the
foreground is a basket and impedimenta, and on the right an iron
pot heating on a campfire. No indication is given of how the family
might be supported, nor whether they are indigent or living
permanently in the forest. During the 1850s and ?60s many people
were forced off the land because of falling grain prices and
consequent agricultural depression. Ritchie seems to be here
documenting the privations suffered by those who were dispossessed
during this period of rural hardship.

Ritchie is best known for his panoramic outdoor subjects
Summer Day in Hyde Park
(Museum of London), and
A Winter
Day in St James?s Park
(private collection), both of which
were first shown at the Liverpool Academy in 1858. These offer a
multiplicity of diverse social types, gathered together as a
metaphor of the diversity and inter-relatedness of the elements of
mid-Victorian society.

The artist?s landscape settings are always well observed, and he
seems to have had a particular fondness for the painting of trees
and woodland settings. In
A Summer Day in Hyde Park
, close
attention was paid to the different varieties of trees that form
the background to the composition. In 1861, Ritchie showed a
painting entitled
The Shadow on the Tree
? a work which
again displays the artist?s particular fondness for the textures of
bark and foliage. Probably from about the same date, came the
Extracting a Thorn
(Sotheby?s, 26 March 2004, lot
61), in which a mother tends to a child who has injured himself
while bird-nesting. In this painting, as in
Life in the
and other works by the artist with arboreal themes,
the variety of each tree is specified.

Documentary information about John Ritchie is very limited. He
first exhibited in Liverpool in 1849, sending a work entitled

The Musical Cobbler
from an address in Edinburgh. Whether
or not he was Scottish by birth, he seems to have transferred to
London by about 1853. His two remarkable London subjects of 1858
have already been referred to, but by the early 1860s, works were
again sent to exhibitions in Liverpool from Edinburgh. Towards the
end of his professional career, in the late 1860s and early ?70s,
he appears once again to have been based in the south. In addition
to showing at the Liverpool Academy, Ritchie also exhibited at the
Royal Academy, but with an intermission of five years from 1862. It
is quite possible that a work such as
Life in the
, had previously been submitted to the Royal Academy,
but was perhaps rejected by the selection committee. In its loving
observation of colour and texture and in its utter sincerity of
representation of an actual scene studied from life, and therefore
as a work showing the influence of Pre-Raphaelitism, it was the
type of painting that was discriminated against by an older
generation of artists within the Academy. The Liverpool Academy,
where it was in fact first displayed, was run in a more open-minded
spirit, and on many occasions provided space for progressive
paintings which had been previously refused in London.

Life in the Backwoods
has remained untraced since its
first exhibition in 1856, and is a most interesting addition to the
small corpus of works known by this obscure but fascinating

John Ritchie - The Sale Of The Captains Goods: An Auction In The Grounds Of A Country House

John Ritchie - The Sale Of The Captains Goods: An Auction In The Grounds Of A Country House



Gross Price
Lot number: 70
measurements measurements 20 by 30 in. alternate measurements 50.8 by 76.2 cm description signed and dated (maker's marks) signed with monogram r (lower left) artist's nationality british artist's dates active 1858-1875 material/medium oil on canvas provenance thomas laughton, esq. george rowney & co., london the leger galleries ltd., london (until june 21, 1966) purchased by h. p. kraus from the above
John Ritchie - News From Abroad

John Ritchie - News From Abroad



Lot number: 20
John Ritchie (British, active 1858-1875) News from abroad oil on canvas 46 x 62cm (18 1/8 x 24 7/16in).
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