{"title":"·Irish Artists in the Public Domain","description":"\u003cp\u003eArtworks and collections by Irish Artists which are now in the public domain. They're all out of copyright, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e","products":[{"product_id":"insects-of-india-1800-edward-donovan-1768-1837-58-images","title":"Natural History of the Insects of India 1800 - Edward Donovan (1768-1837) - 58 images","description":"\u003cp\u003eLearn about the fascinating world of 'Insects in India' (1800) with this stunning collection of 58 images by Edward Donovan (1768-1837).\u003c\/p\u003e\n\u003cp\u003eThis download features 58 hi-res images, in jpeg format, that are all 300dpi and range in size from 2255 pixels wide\/tall to 3187 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe book was published by Henry G. Bohn in Covent Garden, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003cbr\u003e\u003c\/p\u003e","brand":"Digital Download - 58 images","offers":[{"title":"Default Title","offer_id":49558653501770,"sku":"","price":3.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-InsectsofIndia1800.jpg?v=1747054993"},{"product_id":"natural-history-of-british-fishes-the-1802-08-edward-donovan-1768-1837-92-images","title":"Natural History of British Fishes, The 1802-08 - Edward Donovan (1768-1837) - 92 images","description":"\u003cp\u003eDiscover the wonders of British fish with 'The Natural History of British Fishes' from 1802-1808, featuring 92 images by Edward Donovan (1768-1837). Learn about the diverse species and their habitats in this informative and scientifically-driven collection.\u003c\/p\u003e\n\u003cp\u003eThis download features 92 hi-res images, in jpeg format, that are all 300dpi and range in size from 1995 pixels wide\/tall to 3496 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThis book was published by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 92 images","offers":[{"title":"Default Title","offer_id":49559690674506,"sku":"","price":3.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-BritishFishes1802.jpg?v=1747054992"},{"product_id":"natural-history-of-the-insects-of-china-the-1842-edward-donovan-1768-1837-50-images","title":"Natural History of the Insects of China, The 1842 - Edward Donovan (1768-1837) - 50 images","description":"\u003cp\u003eDiscover the fascinating world of Chinese insects with 50 images from 'The Natural History of the Insects of China' (1842) by Edward Donovan.\u003c\/p\u003e\n\u003cp\u003eThis download features 50 hi-res images, in jpeg format, that are all 300dpi and range in size from 2365 pixels wide\/tall to 3132 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThis book was published by Henry G. Bohn, Covent Garden, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 50 images","offers":[{"title":"Default Title","offer_id":49559734747466,"sku":"","price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-InsectsofChina1842.jpg?v=1747054991"},{"product_id":"natural-history-of-british-shells-the-v-1-1804-edward-donovan-1768-1837-36-images","title":"Natural History of British Shells, The v.1 1804 - Edward Donovan (1768-1837) - 36 images","description":"\u003cp\u003eDiscover the beauty of British shells with volume 1 of this exquisite book from 1804, illustrated by Edward Donovan. Featuring 36 stunning images, this comprehensive guide provides an in-depth look into the natural history of British shells.\u003c\/p\u003e\n\u003cp\u003eThis download features 36 hi-res images, in jpeg format, that are all 300dpi and range in size from 1910 pixels wide\/tall to 3483 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe Natural History of British Shells was published in 5 parts by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 36 images","offers":[{"title":"Default Title","offer_id":49560730566986,"sku":"","price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-BritishShells1804V1.jpg?v=1747054990"},{"product_id":"natural-history-of-british-shells-the-v-2-1804-edward-donovan-1768-1837-35-images","title":"Natural History of British Shells, The v.2 1804 - Edward Donovan (1768-1837) - 35 images","description":"\u003cp\u003eDiscover the beauty of British shells with volume 2 of this exquisite book from 1804, illustrated by Edward Donovan. Featuring 35 stunning images, this comprehensive guide provides an in-depth look into the natural history of British shells.\u003c\/p\u003e\n\u003cp\u003eThis download features 35 hi-res images, in jpeg format, that are all 300dpi and range in size from 1961 pixels wide\/tall to 3483 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe Natural History of British Shells was published in 5 parts by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 35 images","offers":[{"title":"Default Title","offer_id":49560737874250,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-BritishShells1804v2.jpg?v=1747054989"},{"product_id":"natural-history-of-british-shells-the-v-3-1804-edward-donovan-1768-1837-36-images","title":"Natural History of British Shells, The v.3 1804 - Edward Donovan (1768-1837) - 36 images","description":"\u003cp\u003eDiscover the beauty of British shells with volume 3 of this exquisite book from 1804, illustrated by Edward Donovan. Featuring 36 stunning images, this comprehensive guide provides an in-depth look into the natural history of British shells.\u003c\/p\u003e\n\u003cp\u003eThis download features 36 hi-res images, in jpeg format, that are all 300dpi and range in size from 1961 pixels wide\/tall to 3483 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe Natural History of British Shells was published in 5 parts by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 36 images","offers":[{"title":"Default Title","offer_id":49560765169994,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-BritishShells1804v3.jpg?v=1747054988"},{"product_id":"natural-history-of-british-shells-the-v-4-1804-edward-donovan-1768-1837-36-images","title":"Natural History of British Shells, The v.4 1804 - Edward Donovan (1768-1837) - 36 images","description":"\u003cp\u003eDiscover the beauty of British shells with volume 4 of this exquisite book from 1804, illustrated by Edward Donovan. Featuring 36 stunning images, this comprehensive guide provides an in-depth look into the natural history of British shells.\u003c\/p\u003e\n\u003cp\u003eThis download features 36 hi-res images, in jpeg format, that are all 300dpi and range in size from 1785 pixels wide\/tall to 3438 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe Natural History of British Shells was published in 5 parts by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 36 images","offers":[{"title":"Default Title","offer_id":49560814846282,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-_British_Shells_1804_V4.jpg?v=1747054987"},{"product_id":"natural-history-of-british-shells-the-v-5-1804-edward-donovan-1768-1837-36-images","title":"Natural History of British Shells, The v.5 1804 - Edward Donovan (1768-1837) - 36 images","description":"\u003cp\u003eDiscover the beauty of British shells with volume 5 of this exquisite book from 1804, illustrated by Edward Donovan. Featuring 36 stunning images, this comprehensive guide provides an in-depth look into the natural history of British shells.\u003c\/p\u003e\n\u003cp\u003eThis download features 36 hi-res images, in jpeg format, that are all 300dpi and range in size from 1795 pixels wide\/tall to 3438 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe Natural History of British Shells was published in 5 parts by F.C. \u0026amp; J. Rivington of 62 St. Paul's Churchyard, London.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"\/collections\/donovan-edward\" title=\"Edward Donovan\"\u003eEdward Donovan\u003c\/a\u003e.\u003c\/p\u003e\n","brand":"Digital Download - 36 images","offers":[{"title":"Default Title","offer_id":49560862425418,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Donovan_E_1768-1837_-BritishShells1804v5.jpg?v=1747054986"},{"product_id":"alices-adventures-in-wonderland-1910-brinsley-le-fanu-1854-1929-10-images","title":"Alice's Adventures in Wonderland 1910 - Brinsley Le Fanu (1854-1929) - 10 images","description":"\u003cp\u003eLe Fanu's Alice features line drawings of the enduring children's story (none in colour).\u003c\/p\u003e\n\u003cp\u003eThis download features 10 hi-res images, in jpeg format, that are all 300dpi and range in size from 1950 pixels wide\/tall to 3000 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/fanu-brinsley-le\" title=\"Brinsley Le Fanu\"\u003eBrinsley Le Fanu\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 10 images","offers":[{"title":"Default Title","offer_id":50089332670794,"sku":"","price":1.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/LeFanu_Brinsley_1854-1929_-Alice1910-Dormouseputinteapot_main.jpg?v=1747054716"},{"product_id":"edward-donovan-1768-1837-bundle-of-8-collections","title":"Edward Donovan (1768-1837) Bundle of 8 Collections","description":"\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003eDiscover the remarkable work of Edward Donovan, a naturalist, illustrator, and author, whose contributions to the field of natural history continue to inspire.\u003c\/p\u003e\n\u003cp\u003eThis value bundle of digital downloads features the following collections by Edward Donovan (1768-1837):-\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" href=\"\/products\/insects-of-india-1800-edward-donovan-1768-1837-58-images\" title=\"Natural History of the Insects of India (1800)\" target=\"_blank\"\u003eNatural History of the Insects of India (1800)\u003c\/a\u003e - 58 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" title=\"The Natural History of British Fishes (1802-08)\" href=\"\/products\/natural-history-of-british-fishes-the-1802-08-edward-donovan-1768-1837-92-images\" target=\"_blank\"\u003eThe Natural History of British Fishes (1802-08)\u003c\/a\u003e - 92 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" title=\"The Natural History of the Insects of China (1842)\" href=\"\/products\/natural-history-of-the-insects-of-china-the-1842-edward-donovan-1768-1837-50-images\" target=\"_blank\"\u003eThe Natural History of the Insects of China (1842)\u003c\/a\u003e - 50 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" href=\"\/products\/natural-history-of-british-shells-the-v-1-1804-edward-donovan-1768-1837-36-images\" target=\"_blank\"\u003e\u003cimg\u003e\u003cimg\u003e\u003c\/a\u003e\u003ca rel=\"noopener\" title=\"The Natural History of British Shells v.1 (1804)\" href=\"\/products\/natural-history-of-british-shells-the-v-1-1804-edward-donovan-1768-1837-36-images\" target=\"_blank\"\u003eThe Natural History of British Shells v.1 (1804)\u003c\/a\u003e - 36 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" title=\"The Natural History of British Shells v.2 (1804)\" href=\"\/products\/natural-history-of-british-shells-the-v-2-1804-edward-donovan-1768-1837-35-images\" target=\"_blank\"\u003e\u003cimg\u003e\u003cimg\u003eThe Natural History of British Shells v.2 (1804)\u003c\/a\u003e - 35 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003cimg\u003e\u003cimg\u003e\u003ca rel=\"noopener\" title=\"The Natural History of British Shells v.3 (1804)\" href=\"\/products\/natural-history-of-british-shells-the-v-3-1804-edward-donovan-1768-1837-36-images\" target=\"_blank\"\u003eThe Natural History of British Shells v.3 (1804)\u003c\/a\u003e - 36 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003cimg\u003e\u003cimg\u003e\u003ca rel=\"noopener\" title=\"The Natural History of British Shells v.4 (1804)\" href=\"\/products\/natural-history-of-british-shells-the-v-4-1804-edward-donovan-1768-1837-36-images\" target=\"_blank\"\u003eThe Natural History of British Shells v.4 (1804)\u003c\/a\u003e - 36 images.\u003c\/li\u003e\n\u003cli\u003e\n\u003ca rel=\"noopener\" title=\"The Natural History of British Shells v.5 (1804)\" href=\"\/products\/natural-history-of-british-shells-the-v-5-1804-edward-donovan-1768-1837-36-images\" target=\"_blank\"\u003e\u003cimg\u003e\u003cimg\u003eThe Natural History of British Shells v.5 (1804)\u003c\/a\u003e - 36 images.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eClick on each item above for further information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eEdward Donovan (1768-1837)\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas an Anglo-Irish naturalist, illustrator and author who made significant contributions to the natural history field in the early 19th century.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBorn in 1768 in Cork, Ireland, Donovan was originally surnamed O'Donovan.\u003cspan\u003e  \u003c\/span\u003eAlthough little is known about his family background or early life, he is presumed to have had some independent wealth which allowed him to pursue his interests in natural history.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDonovan's work primarily involved the collection, description and illustration of various species, often based on the collections of other naturalists.\u003cspan\u003e  \u003c\/span\u003eHe did not travel extensively himself but relied on the specimens and information gathered by others.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHis many books, such as '\u003cstrong\u003eThe Natural History of British Insects\u003c\/strong\u003e' (1792-1813) and '\u003cstrong\u003eThe Natural History of British Fishes\u003c\/strong\u003e' (1802-1808), were well-received and contributed to the growing body of knowledge about British Wildlife.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDonovan was a Fellow of the Linnean Society and the Wernerian Natural History Society which provided him with access to a network of naturalists and collectors.\u003cspan\u003e  \u003c\/span\u003eHis illustrations were highly regarded for their accuracy and detail, making his works valuable resources for both scientists and the general public.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDespite his contributions to natural history, Donovan faced financial difficulties later in life. He passed away in February 1837, leaving behind a large family in destitution.\u003cspan\u003e  \u003c\/span\u003eHis legacy, however, endures through his extensive body of work which continues to be appreciated by naturalists and historians alike.\u003c\/p\u003e","brand":"Digital Download - 379 images","offers":[{"title":"Default Title","offer_id":50420667285834,"sku":"","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/EdwardDonovan_1768-1837_Bundleof8Collections.jpg?v=1747039191"},{"product_id":"fairy-tales-of-charles-perrault-1922-harry-clark-1889-1931-30-images","title":"Fairy Tales of Charles Perrault 1922 - Harry Clark (1889-1931) - 30 images","description":"\u003cp\u003eThis version of Charles Perrault's Fairy Tales contains 11 colour images and 19 black and white illustrations by Irish illustrator Harry Clarke.\u003c\/p\u003e\n\u003cp\u003eThis download features 30 images, in jpeg format, that are 300dpi and range from 1047 pixels wide\/tall by 2849 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/clarke-harry\" title=\"Harry Clarke\"\u003eHarry Clarke\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 30 images","offers":[{"title":"Default Title","offer_id":50550384460106,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Clarke_Harry_1889-1931_-TheFairyTalesofCharlesPerrault1922-Cinderella_main.jpg?v=1747057397"},{"product_id":"poes-tales-of-mystery-imagination-1923-harry-clark-1889-1931-31-images","title":"Poe's Tales of Mystery \u0026 Imagination 1923 - Harry Clark (1889-1931) - 31 images","description":"\u003cp\u003eEdgar Allan Poe's Tales of Mystery and Imagination, illustrated by Irish artist Harry Clarke in both colour and pen \u0026amp; ink. There are 7 colour illustrations and 24 black and white pictures included.\u003c\/p\u003e\n\u003cp\u003eThis download features 31 images, in jpeg format, that are 300dpi and range from 2315 pixels wide\/tall by 3365 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/clarke-harry\" title=\"Harry Clarke\"\u003eHarry Clarke\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 31 images","offers":[{"title":"Default Title","offer_id":50550393635146,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Clarke_Harry_1889-1931_-Poe_sTalesofMystery1923-Attainnewstrength_main.jpg?v=1747057396"},{"product_id":"years-at-the-spring-the-1920-harry-clark-1889-1931-25-images","title":"Year's at the Spring, The 1920 - Harry Clark (1889-1931) - 25 images","description":"\u003cp\u003eThe Year's at the Spring is an anthology of recent poetry, illustrated by Harry Clarke.  It contains 12 colour pictures and 13 pen \u0026amp; ink drawings.\u003c\/p\u003e\n\u003cp\u003eThis download features 25 images, in jpeg format, that are 300dpi and range from 1368 pixels wide\/tall by 2834 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca title=\"Harry Clarke\" href=\"https:\/\/publicdomainimagelibrary.com\/collections\/clarke-harry\"\u003eHarry Clarke\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 25 images","offers":[{"title":"Default Title","offer_id":50550396715338,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Clarke_Harry_1889-1931_-Year_sattheSpring1920-DyingPatriot_main.jpg?v=1747057395"},{"product_id":"hans-andersens-fairy-tales-harry-clarke-1889-1931-6-images","title":"Hans Andersen's Fairy Tales - Harry Clarke (1889-1931) - 6 images","description":"\u003cp\u003eThis edition of Hans Andersen's Fairy Tales features 6 colour images by Harry Clarke.\u003c\/p\u003e\n\u003cp\u003eThis download features 6 images, in jpeg format, that are 600dpi and range from 3520 pixels wide\/tall by 5390 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/clarke-harry\" title=\"Harry Clarke\"\u003eHarry Clarke\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 6 images","offers":[{"title":"Default Title","offer_id":50593967997258,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Clarke_Harry_1889-1931_-Andersen_sFairyTales1933-Theydancedwithshawls_main.jpg?v=1747057385"},{"product_id":"golden-age-the-1915-r-enraght-moony-1879-1946-19-images","title":"Golden Age, The 1915 - R. Enraght-Moony (1879-1946) - 19 images","description":"\u003cp\u003eThe Golden Age is a children's book written by Kenneth Grahame (Wind in the Willows) from 1915. It's illustrated by Irish artist, Robert James Enraght-Moony.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 19 images, in jpeg format, that are 600dpi and range from 3368 pixels wide\/tall by 5030 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/enraght-moony-robert-james\" title=\"Robert Enraght-Moony\"\u003eRobert Enraght-Moony\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 19 images","offers":[{"title":"Default Title","offer_id":51049448210762,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Enraght-Moony_R_1879-1946_-TheGoldenAge1915_main.jpg?v=1751629719"},{"product_id":"connaught-1912-alexander-williams-1846-1930-12-images","title":"Connaught 1912 - Alexander Williams (1846-1930) - 12 images","description":"\u003cp\u003eThere are some beautiful views of Ireland here, by Irish ornithologist, taxidermist, professional singer and painter, Alexander Williams.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 12 images, in jpeg format, that are 600dpi and range from 3178 pixels wide\/tall by 4424 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/williams-alexander\" title=\"Alexander Williams\"\u003eAlexander Williams\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 12 images","offers":[{"title":"Default Title","offer_id":51140950524234,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Williams_Alex_1846-1930_-Connaught1912_main.jpg?v=1750875880"},{"product_id":"leinster-1911-alexander-williams-1846-1930-12-images","title":"Leinster 1911 - Alexander Williams (1846-1930) - 12 images","description":"\u003cp\u003eThere are some beautiful views of Ireland here, by Irish ornithologist, taxidermist, professional singer and painter, Alexander Williams.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 12 images, in jpeg format, that are 600dpi and range from 3050 pixels wide\/tall by 4480 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/williams-alexander\" title=\"Alexander Williams\"\u003eAlexander Williams\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 12 images","offers":[{"title":"Default Title","offer_id":51141036474698,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Williams_Alex_1846-1930_-Leinster1911_main.jpg?v=1750875879"},{"product_id":"munster-1912-alexander-williams-1846-1930-12-images","title":"Munster 1912 - Alexander Williams (1846-1930) - 12 images","description":"\u003cp\u003eThere are some beautiful views of Ireland here, by Irish ornithologist, taxidermist, professional singer and painter, Alexander Williams.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 12 images, in jpeg format, that are 600dpi and range from 3096 pixels wide\/tall by 4536 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/williams-alexander\" title=\"Alexander Williams\"\u003eAlexander Williams\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 12 images","offers":[{"title":"Default Title","offer_id":51141113545034,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Williams_Alex_1846-1930_-Munster1912_main.jpg?v=1750875880"},{"product_id":"ulster-1911-alexander-williams-1846-1930-12-images","title":"Ulster 1911 - Alexander Williams (1846-1930) - 12 images","description":"\u003cp\u003eThere are some beautiful views of Ireland here, by Irish ornithologist, taxidermist, professional singer and painter, Alexander Williams.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 12 images, in jpeg format, that are 600dpi and range from 3100 pixels wide\/tall by 4500 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/williams-alexander\" title=\"Alexander Williams\"\u003eAlexander Williams\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 12 images","offers":[{"title":"Default Title","offer_id":51141156176202,"sku":null,"price":2.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Williams_Alex_1846-1930_-Ulster1911_main.jpg?v=1751016140"},{"product_id":"beautiful-ireland-bundle-of-4-collections","title":"Beautiful Ireland Bundle of 4 Collections","description":"\u003cp\u003eDiscover stunning scenes of Ireland captured by Alexander Williams, an accomplished Irish ornithologist, taxidermist, professional singer, and painter.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis value bundle of digital downloads features the following collections about Ireland by Alexander Williams (1846-1930):-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"\/products\/connaught-1912-alexander-williams-1846-1930-12-images\" target=\"_blank\" title=\"Connaught (1912) - 12 images\" rel=\"noopener\"\u003eConnaught (1912)\u003c\/a\u003e - 12 images\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"\/products\/leinster-1911-alexander-williams-1846-1930-12-images\" target=\"_blank\" title=\"Leinster (1911) - 12 images\" rel=\"noopener\"\u003eLeinster (1911)\u003c\/a\u003e - 12 images\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"\/products\/munster-1912-alexander-williams-1846-1930-12-images\" target=\"_blank\" title=\"Munster (1912) - 12 images\" rel=\"noopener\"\u003eMunster (1912)\u003c\/a\u003e - 12 images\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"\/products\/ulster-1911-alexander-williams-1846-1930-12-images\" target=\"_blank\" title=\"Ulster (1911) - 12 images\" rel=\"noopener\"\u003eUlster (1911)\u003c\/a\u003e - 12 images\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClick on each of the above for further information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlexander Williams RHA (1846-1930)\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas an Irish landscape and marine painter. He was also an ornithologist, taxidermist, and professional singer.\u003c\/p\u003e\n\u003cp\u003eAlexander Williams was born at the house of his aunt on The Diamond in Monaghan Town on 21 April 1846. His father was William Williams, a hatter. He attended Drogheda Grammar School. He was raised in Drogheda in County Louth, where the family lived over the family business, a hatter's shop. The Williams had been hatters for a number of generations, dating back to an ancestor who settled in Ireland in the 1600s from Glamorganshire who was a felter. In 1860 the family moved to Dublin. The Williams first Dublin hat shop was on Westmoreland Street.\u003c\/p\u003e\n\u003cp\u003eWilliams married Kitty Gray on 4 April 1881 in St Peter's, Aungier Street. She was the daughter of George Gray, vicar choral of Westminster Abbey, Armagh Cathedral, and St Patrick's Cathedral, Dublin. The couple had one daughter and one son, George (1882-1904).\u003c\/p\u003e\n\u003cp\u003eWith the decline in his father's hatting business, Alexander and his brother Edward (1848-1905) started a sideline in taxidermy, founding Williams \u0026amp; Son, Dublin. Their father had learnt basic taxidermy from a Mr. Evatt of Mount Louise, County Monaghan, and he taught his sons.\u003c\/p\u003e\n\u003cp\u003eBoth the hatters and the taxidermy shops co-existed at 1 Dame Street for a time and began what the ornithologist Richard M. Barrington described in the Irish Naturalist magazine as \"the battle of the hats and birds\", remarking that:\u003c\/p\u003e\n\u003cp\u003e\"...one could readily perceive that Mr Williams senior, while proud of his sons' achievements, was most reluctant to permit his own occupation to be interfered with, for Edward was anxious to banish the hats and fill the window with birds. The struggle between the hats and birds was renewed with the result that there were two windows one for hats, another for birds. Gradually however (fortunately for Irish naturalists) the birds, assisted by the beasts and fishes, swept their enemies the hats away altogether, and when another change of residence was made to the adjoining premises No 2 Dame Street, the entire front was filled with interesting and attractive specimens so lifelike and natural that their novelty in Dublin attracted the attention of many foot passengers, and a group was always collected on the pavement outside the window. It is unusual for a competition such as I have described to terminate so conclusively in favour of natural science.\"\u003c\/p\u003e\n\u003cp\u003eIn 1866, a fire broke out in the taxidermy workshop which destroyed the family business and killed six residents of the adjoining house. Operating from 2 Dame Street, the business became a success from the 1870s, with private individuals and institutions such as the Natural History Museum, Dublin, among their clients.\u003c\/p\u003e\n\u003cp\u003eWhile he served his apprenticeship as a hatter and then pursued a career in taxidermy, Williams also pursued painting. William Brocas, an established artist of the period, visited the hat shop and Williams' father suggested that he show the artist some of his work.\u003c\/p\u003e\n\u003cp\u003eWilliams turned to a photographer and artist, Forster in Westmoreland Street, for advice. \"His reply was concise and to the point and I never forgot it. Sit down in the first ditch you come to and try and paint what you see!\" He remained largely self-taught, attending only the Royal Dublin Society night school for some lessons. He exhibited Hard Times, a winter scene with birds painted from nature, at the Royal Hibernian Academy annual exhibition of 1870, and had his first sales at the RHA the following year. He continued to exhibit at the academy every year until his death, exhibiting over 450 paintings with the RHA.\u003c\/p\u003e\n\u003cp\u003eWilliams left the taxidermy business when he was appointed as an alto at Her Majesty's Chapel Royal, Dublin Castle, having also sung with the Dublin Glee and Madrigal Union quintet.\u003c\/p\u003e\n\u003cp\u003eThe following year he was one of the founder members and first secretary of the Dublin Sketching Club. He also exhibited regularly with the Water Colour Society of Ireland, and contributed pictures to various other societies.\u003c\/p\u003e\n\u003cp\u003eFollowing his election to the RHA as an associate member in 1884, he held his first solo exhibition at the Leinster Hall, Molesworth Street. He maintained his solo exhibitions in Dublin, missing few years, until 1926. Outside Ireland, Williams travelled to a number of English towns, including Manchester and Birmingham and he exhibited for a number of years in Bond Street, London. His work was shown in Switzerland and Canada and in America. At the World Fair in Chicago in 1893 he was represented by Sweet Dublin Bay, while at the St Louis World Fair of 1904, in association with the Congested District Board, he showed an extensive collection.\u003c\/p\u003e\n\u003cp\u003eIn 1899, Williams took a lease on a ruined cottage and three acres of land on the edge of Bleanaskill Bay, Achill Island. Over a period of years, he built a house and laid out a garden. Among his surviving papers is a diary that Williams kept between 1906 and 1913 of his time on Achill island.\u003c\/p\u003e\n\u003cp\u003eHe was commissioned by Blackie \u0026amp; Son in 1911 to produce paintings used to illustrate a set of four books entitled Beautiful Ireland.\u003c\/p\u003e\n\u003cp\u003eWhile the majority of his work was of natural landscapes, a smaller part of his work consisted of Dublin. He actively painted buildings and streets which were about to be demolished. Following his solo exhibition in Dublin in 1901, the Irish Times had this to say:\u003c\/p\u003e\n\u003cp\u003eMr Williams has devoted his life to depicting the beauties of Irish scenery of every phase, from the rugged coasts of the West to the quiet rural scenes nearer home. In this he has done the nation service. He has helped stimulate public taste in the appreciation of native scenery. Many who knew nothing of the enchantments of Achill Island have been led to find them from first seeing the Cliffs of Meenaun or the Valley Strand upon the walls of the Leinster Hall. His devotion to Ireland in his art is worthy of all praise.\u003c\/p\u003e\n\u003cp\u003eWilliams died on 15 November 1930. He left 35 volumes of papers, including several volumes of memoirs, diaries, exhibition and guest books, financial accounts, and innumerable letters. Two further ornithological diaries are in the possession of the Ulster Museum.\u003c\/p\u003e\n\u003cp\u003eThe National Gallery of Ireland, the Hugh Lane Gallery, and Monaghan County Museum each own a work. The National Library of Ireland and the Crawford Gallery both have a number of his sketches. The Lake Hotel in Killarney hold a number of works by him.\u003c\/p\u003e","brand":"Digital Download - 48 images","offers":[{"title":"Default Title","offer_id":51141647663434,"sku":null,"price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Beautiful_Ireland_Bundle_of_4_collections_48_images.jpg?v=1751069921"},{"product_id":"clarke-harry-1889-1931-the-little-mermaid-1916","title":"Clarke, Harry (1889-1931) - The Little Mermaid 1916","description":"\u003cp\u003eThis pen and ink drawing by Irish artist Harry Clarke is from The Little Mermaid 1916.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image, in jpeg format, that is 600dpi and 5556 pixels wide by 8004 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/clarke-harry\" title=\"Harry Clarke\"\u003eHarry Clarke\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51246667497802,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Clarke_Harry_1889-1931_-TheLittleMermaid1916_main.jpg?v=1754660390"},{"product_id":"forbes-stanhope-1857-1947-through-the-marshes-1927","title":"Forbes, Stanhope (1857-1947) - Through the Marshes 1927","description":"\u003cp\u003e\u003cspan\u003eThis painting by Stanhope Forbes shows a train cutting through a landscape, with navvies working on the line behind after it has passed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image in JPEG format that is 600dpi and 6153 pixels wide by 4970 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca title=\"Stanhope Forbes\" href=\"https:\/\/publicdomainimagelibrary.com\/collections\/forbes-stanhope\"\u003eStanhope Forbes\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51358723965258,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Forbes_Stanhope_1857-1947_-ThroughtheMarshes1927_main.jpg?v=1754660362"},{"product_id":"forbes-stanhope-1857-1947-the-terminus-penzance-station-1925","title":"Forbes, Stanhope (1857-1947) - The Terminus, Penzance Station 1925","description":"\u003cp\u003e\u003cspan\u003eThis painting by Stanhope Forbes shows the hustle and bustle at Penzance Railway Station in 1925.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image, in jpeg format, that is 600dpi and 6146 pixels wide by 4977 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/forbes-stanhope\" title=\"Stanhope Forbes\"\u003eStanhope Forbes\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51358767546698,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Forbes_Stanhope_1857-1947_-TheTerminus_PenzanceStation1925_main.jpg?v=1754660362"},{"product_id":"orpen-william-1878-1931-the-mirror-1900","title":"Orpen, William (1878-1931) - The Mirror 1900","description":"\u003cp\u003eThe Mirror by Irish artist William Orpen references both Jan van Eyck's Arnolfini Portrait of 1434 and also elements of seventeenth-century Dutch interiors, such as muted tones and deep shadows. Orpen depicted the 'Arnolfini' convex glass in several other paintings, including A Mere Fracture in 1901, during this period. \u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image, in jpeg format, that is 600dpi and 4302 pixels wide by 5373 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca title=\"William Orpen\" href=\"https:\/\/publicdomainimagelibrary.com\/collections\/orpen-william\"\u003eWilliam Orpen\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51556519313738,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Orpen_William_1878-1931_-TheMirror1900_main.jpg?v=1755271278"},{"product_id":"orpen-william-1878-1931-sunlight-1925","title":"Orpen, William (1878-1931) - Sunlight 1925","description":"\u003cp\u003eSunlight by Irish artist William Orpen, a brilliant depiction, in dappled sunlight, of a nude woman on a bed, behind whom hangs The Seine at Marly, the 1874 painting by Monet that Orpen owned.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image, in jpeg format, that is 600dpi and 4578 pixels wide by 3762 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca title=\"William Orpen\" href=\"https:\/\/publicdomainimagelibrary.com\/collections\/orpen-william\"\u003eWilliam Orpen\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51557901861194,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Orpen_William_1878-1931_-Sunlight1925_main.jpg?v=1755357941"},{"product_id":"orpen-william-1878-1931-a-grenadier-guardsman-1917","title":"Orpen, William (1878-1931) - A Grenadier Guardsman 1917","description":"\u003cp\u003ePainting by Irish war artist, William Orpen.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image, in jpeg format, that is 600dpi and 3556 pixels wide by 4228 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca title=\"William Orpen\" href=\"https:\/\/publicdomainimagelibrary.com\/collections\/orpen-william\"\u003eWilliam Orpen\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 1 image","offers":[{"title":"Default Title","offer_id":51558650741066,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Orpen_William_1878-1931_-AGrenadierGuardsman1917_main.jpg?v=1755357942"},{"product_id":"orpen-william-1878-1931-to-the-unknown-british-soldier-in-france-1922-28","title":"Orpen, William (1878-1931) - To the Unknown British Soldier in France 1922-28","description":"\u003cp\u003eThis painting was the subject of some controversy after WWI, when the Imperial War Museum commissioned Orpen to paint three large group portraits of the delegates to the Paris Peace Conference. Two were completed but Orpen considered the conference was being conducted with a lack of respect or regard for the suffering of the soldiers who fought in the war, and he attempted to address this in the third painting. This picture was to show the delegates and military leaders in the Hall of Mirrors signing the Treaty of Versailles. After working on a composition for nine months, Orpen painted over all the figures and replaced them with a coffin covered by the Union Jack and flanked by a pair of ghostly and wretched soldiers clothed in rags, with two cherubs above them supporting garlands of flowers.\u003c\/p\u003e\n\u003cp\u003eThis painting, now known as To the Unknown British Soldier in France, was first exhibited in 1923 at the Royal Academy. The public voted it picture of the year, but almost all of the critics who reviewed the picture condemned it. It was not the group portrait the Imperial War Museum had commissioned, and the Museum refused to accept it. The picture remained in Orpen's studio until 1928, when he offered to paint out the cherubs and the soldiers, and the painting was accepted by the Museum in 1928.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 2 images, in jpeg format, that are 600dpi and 4672 pixels wide by 5600, and 5368 wide by 6446 pixels tall. There is both a full-size and a detail picture in the download.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/orpen-william\" title=\"William Orpen\"\u003eWilliam Orpen\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 2 images","offers":[{"title":"Default Title","offer_id":51558836339018,"sku":null,"price":0.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/Orpen_William_1878-1931_-TotheUnknownBritishSoldierinFrance1922-28_main.jpg?v=1755357941"},{"product_id":"william-orpen-artist-56-high-resolution-images","title":"William Orpen, Artist - 56 High Resolution Images","description":"\u003cp\u003e\u003cspan\u003eWilliam Orpen was an Irish artist who mainly worked in London. He produced a vast amount of work, as both a portrait painter and a war artist, with this collection of images featuring some of his non-war work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis download features 56 hi-res images, in jpeg format, by the Irish artist, William Orpen.\u003c\/p\u003e\n\u003cp\u003eThe images are all 600dpi and range in size from 2926 pixels wide\/tall to 6468 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClick on the link above to see a full list of the images included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSir William Newenham Montague Orpen (1878-1931)\u003c\/strong\u003e was an Irish artist who mainly worked in London. Orpen was a fine draughtsman and a popular, commercially successful painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.\u003c\/p\u003e\n\u003cp\u003eDuring World War I, he was the most prolific of the official war artists sent by Britain to the Western Front. There he produced drawings and paintings of ordinary soldiers, dead men, and German prisoners of war, as well as portraits of generals and politicians. Most of these works, 138 in all, he donated to the British government; they are now in the collection of the Imperial War Museum. His connections to the senior ranks of the British Army allowed him to stay in France longer than any of the other official war artists, and although he was made a Knight Commander of the Order of the British Empire in the 1918 Birthday Honours, and also elected a member of the Royal Academy of Arts, his determination to serve as a war artist cost him both his health and his social standing in Britain.\u003c\/p\u003e\n\u003cp\u003eAfter his early death, several critics, including other artists, were loudly dismissive of Orpen's work, and for many years his paintings were rarely exhibited, a situation that only began to change in the 1980s.\u003c\/p\u003e\n\u003cp\u003eBorn in Stillorgan, County Dublin, William Orpen was the fourth and youngest son of Arthur Herbert Orpen (1830-1926), a solicitor, and his wife, Anne Caulfield (1834-1912). Both his parents were amateur painters, and his eldest brother, Richard Caulfield Orpen, became a notable architect. The family lived at 'Oriel', a large house with extensive grounds containing stables and a tennis court. Orpen appears to have had a happy childhood there.\u003c\/p\u003e\n\u003cp\u003eOrpen was a naturally talented painter, and six weeks before his thirteenth birthday was enrolled at the Dublin Metropolitan School of Art. During his six years at the college, he won every major prize there, plus the British Isles gold medal for life drawing, before leaving to study at the Slade School of Art between 1897 and 1899. At the Slade he mastered oil painting and began to experiment with different painting techniques and effects. Orpen would include mirrors in his pictures to create images within images, add false frames and collages around his subjects, and often make pictorial references to works by other artists in his own paintings. His two-metre-wide painting The Play Scene from Hamlet won the Slade composition prize in 1899. His teachers at the Slade included Henry Tonks, Philip Wilson Steer and Frederick Brown, all of whom were members of the New English Art Club; they ensured he exhibited there in 1899, and that he became a member in 1900. \u003c\/p\u003e\n\u003cp\u003eWhilst at the Slade, he became engaged to Emily Scobel, a model and the subject of \u003cstrong\u003eThe Mirror\u003c\/strong\u003e. She ended their relationship in 1901, and Orpen married Grace Knewstub, the sister-in-law of Sir William Rothenstein. Orpen and Knewstub had three daughters together, but the marriage was not a happy one; by 1908, Orpen had begun a long-running affair with Mrs Evelyn Saint-George, a well-connected American millionairess based in London, with whom he also had a child.\u003c\/p\u003e\n\u003cp\u003eAfter he left the Slade, from 1903 to 1907, Orpen ran a private teaching studio, the Chelsea Art School, at Rossetti Mansions near the King's Road with his fellow Slade graduate Augustus John. Between 1902 and 1915, Orpen divided his time between London and Dublin. He taught at the Dublin Metropolitan School of Art, and his teaching influenced a generation of young Irish artists. His pupils included Seán Keating, Grace Gifford, Patrick Tuohy, Leo Whelan and Margaret Clarke. This was the period of the Celtic revival in Ireland. \u003c\/p\u003e\n\u003cp\u003eA key figure in the Celtic Revival was Hugh Lane, who was a friend and mentor to Orpen, and who begin collecting impressionist artworks with Orpen's guidance. In the summer of 1904 Orpen and Lane visited Paris and Madrid together, and some years later Lane commissioned a series of portraits of contemporary Irish figures from Orpen for the Municipal Gallery of Modern Art in Dublin. From 1908 onwards, Orpen exhibited works in the Royal Academy regularly. Between 1908 and 1912, Orpen and his family spent the summer on the coast at Howth, north of Dublin, where he began painting in the open air and developed a distinctive plein-air style that featured figures composed of touches of colour without a drawn outline. The most notable of these works was Midday on the Beach, shown at the NEAC in 1910.\u003c\/p\u003e\n\u003cp\u003eBetween 1911 and 1913, in London, Orpen painted a series of portraits, mostly three-quarter-length, of Vera Brewster, the wife of the writer Joe Horne. These included the paintings The Roscommon Dragoon, The Irish Volunteer and The Angler. John Singer Sargent promoted Orpen's work and he soon built a lucrative reputation, in both London and Dublin, for painting society portraits. Mrs St. George, (1912), and Lady Rocksavage (1913), both demonstrate Orpen's ability to produce the swagger portraits that Edwardian high society greatly valued. Group portraits of a type known as conversation pieces were also hugely popular and Orpen painted several, most notably The Cafe Royal in London (1912), and Homage to Manet (1909), which showed Walter Sickert and several other artists and critics seated in front of Édouard Manet's Portrait of Eva Gonzales. Orpen had worked on Homage to Manet since 1906 at his studio in South Bolton Gardens in Chelsea, where Lane also had rooms. By the start of World War I, Orpen was the most famous and most commercially successful artist working in Britain.\u003c\/p\u003e\n\u003cp\u003eAt the start of World War One, a number of Irish people living in England returned to Ireland to avoid conscription. Among them was Orpen's studio assistant and former pupil, Seán Keating. Keating encouraged Orpen to do likewise, but he refused and committed himself to supporting the British war effort. \u003c\/p\u003e\n\u003cp\u003eIn April 1917, Orpen travelled to the Somme and based himself in Amiens. Orpen had arrived on the Somme three weeks after the German forces had pulled back to the Hindenburg Line. Each day Orpen would be driven to locations such as Thiepval, Beaumont-Hamel or Ovillers-la-Boisselle to sketch Allied troops or German prisoners and record the devastation left by the Battle of the Somme amid the frozen and desolate landscape. However, he did not submit any work to the Department of Information nor to the military censor. When he was reprimanded for that, he had Haig's office move the officer who had issued the reprimand to other duties. In May 1917, he painted portraits of both Haig and Sir Hugh Trenchard, the commander of the Royal Flying Corps, and both of these images were widely reproduced in British newspapers and magazines. In June Orpen moved to the Ypres Salient and stayed at Cassel in the Hotel Sauvage, where he painted the self-portrait known as Ready to Start.\u003c\/p\u003e\n\u003cp\u003eIn May 1918, 125 of Orpen's war paintings and drawings were displayed at Agnew's Gallery in Old Bond Street in London. The exhibition was a great success with 9000 paying visitors in its four weeks. Highlights of the exhibition included nine of Orpen's 'khaki portraits' and several of his works from the Somme such as Highlander Passing a Grave and Thinker on the Butte de Warlencourt. There was much press discussion as to why the censor had passed Orpen's Dead Germans in a Trench as suitable for display, after his refusal to allow Christopher Nevinson's Paths of Glory to be displayed two months previously. In fact, Lee had refused to pass nearly all of the paintings shown at Agnew's but Orpen appealed to the Director of Military Intelligence, General George Macdonogh, and had him overruled. After Agnew's, several museums and galleries wanted to host the exhibition and it was taken to the Manchester City Art Gallery and then the United States. Whilst the exhibition was in London, it was announced that Orpen was donating all the works on display to the British government on the understanding that they should remain in their white frames and be kept together as a single body of work. They are now in the collection of the Imperial War Museum in London. In the King's 1918 Birthday Honours list that summer he was made a Knight Commander of the Order of the British Empire.\u003c\/p\u003e\n\u003cp\u003eOrpen returned to France in July and spent a second summer painting on the old Somme battlefield and making frequent trips to Paris to complete a series of portraits of Canadian commanders. Later he painted the immediate aftermath of the fighting at Zonnebeke that had taken place during the Fifth Battle of Ypres. Orpen made it clear he wished to remain in France and was keen to work in the newly liberated towns. By the end of the summer of 1918, Orpen was mentally exhausted and his works became increasingly theatrical, less realistic and more allegorical. In Harvest (1918), which shows women tending a grave covered in barbed wire, he used a garish palette of colours to emphasise the unreal nature of the scene. While Bombing: Night and Adam and Eve at Peronne seem somewhat flawed compositions, other paintings were far more successful. Most notably, The Mad Woman of Douai is a harrowing depiction of the aftermath of a rape. When Orpen met the woman some time afterwards she was 'silent and motionless, except for one thumb which constantly twitched'. The two soldiers in the picture are both figures borrowed from other paintings of his, as is the grave in the foreground. Orpen had been shocked to see a number of such burial mounds with, as he wrote, \"arms and feet showing in lots of cases\".\u003c\/p\u003e\n\u003cp\u003eAs the war entered its final stages Orpen witnessed scenes which he found increasingly macabre. One day, even the broad-minded Orpen was shocked to encounter three young French prostitutes offering their services next to a burial party at a gravesite. Towards the end of the war, he painted a handful of 'parable paintings', such as Armistice Night, Amiens and The Official Entry of the Kaiser, that used black humour to re-imagine the coming victory. Most of these paintings were never displayed in public after the war. In November 1918, Orpen collapsed and became seriously ill. Yvonne Aubicq spent two months nursing him before he moved to Paris in January 1919 to begin work on his next commission.\u003c\/p\u003e\n\u003cp\u003eWhen the war ended, the Imperial War Museum commissioned Orpen to stay in France and paint three large group portraits of the delegates to Paris Peace Conference. Throughout 1919 he painted individual portraits of the delegates to the Conference and these formed the basis of his two large paintings, A Peace Conference at the Quai d'Orsay and The Signing of Peace in the Hall of Mirrors. The third picture, To the Unknown British Soldier in France, was the subject of some controversy.\u003c\/p\u003e\n\u003cp\u003eAfter the war, Orpen returned to painting society portraits and enjoyed great commercial success. He was never short of portrait commissions to work on and throughout the 1920s often earned £35,000 per year and could easily charge 2,000 guineas for a picture. Throughout the 1920s he exhibited at the Royal Academy each year and maintained homes and studios in both London and Paris, where he lived with Aubicq.\u003c\/p\u003e\n\u003cp\u003eOrpen continued to drink heavily and although he was separated from his wife, they never divorced. Eventually, he and Aubicq separated and she later married William Grover-Williams, Orpen's former chauffeur. His 1921 Royal Academy submission was a portrait of the head chef at the Hotel Chatham in Paris. The Tate Gallery were keen to acquire the painting using funds from the Chantrey Bequest. After Orpen assured the Tate that the picture met the conditions required by the Bequest and that he had painted the picture entirely in Britain, the Tate announced the purchase. Several people then came forward to say that they had seen Orpen paint the picture in Paris. Orpen withdrew from the purchase and gave the Tate a portrait of Sir William Symington McCormick instead. Orpen subsequently submitted Le Chef de l'Hotel Chatham, Paris to the Royal Academy as his diploma painting.\u003c\/p\u003e\n\u003cp\u003eOrpen's wartime memoir, An Onlooker in France, 1917-1919, was published in 1921 and all the proceeds donated to war charities. In 1925, Orpen painted \u003cstrong\u003eSunlight\u003c\/strong\u003e, a brilliant depiction, in dappled sunlight, of a nude woman on a bed, behind whom hangs The Seine at Marly, the 1874 painting by Monet which Orpen owned. In 1922, Orpen was reported to be receiving treatment in London for 'tobacco poisoning'. In 1923, Lee introduced Orpen to the Prince of Wales, and secured Orpen a commission to paint the Prince for the Royal and Ancient Golf Club of St Andrews. A long series of disagreements followed between the Prince's advisors, who wanted a formal portrait, and Orpen, who wanted to paint Edward in his golf clothes. Orpen got his way but it was not until 1928 that the R\u0026amp;A put the painting on display. In 1927, Orpen accepted a commission to paint a portrait of David Lloyd George but the completed work was rejected as being too informal for such a senior politician. The painting remained with Orpen and was only purchased by the National Portrait Gallery after his death. In 1928 Orpen stood for election as President of the Royal Academy but lost to Sir William Llewellyn. His work was also part of the painting event in the art competition at the 1928 Summer Olympics.\u003c\/p\u003e\n\u003cp\u003eOrpen became seriously ill in May 1931, and died aged 52 in London, on 29 September 1931, and was buried at Putney Vale Cemetery. A stone tablet in the Island of Ireland Peace Park Memorial at Messines, Belgium, commemorates him.\u003c\/p\u003e","brand":"Digital Download - 56 images","offers":[{"title":"Default Title","offer_id":51566880588106,"sku":null,"price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/William_Orpen_Artist_-_56_High_Resolution_Images.jpg?v=1755531535"},{"product_id":"william-orpen-war-artist-61-high-resolution-images","title":"William Orpen, War Artist - 61 High Resolution Images","description":"\u003cp\u003e\u003cspan\u003eWilliam Orpen was an Irish artist who mainly worked in London. He produced a vast amount of work, as both a portrait painter and a war artist, with this collection of images featuring some of his work from World War I.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis download features 61 hi-res images, in jpeg format, by the Irish artist, William Orpen.\u003c\/p\u003e\n\u003cp\u003eThe images are all 600dpi and range in size from 3010 pixels wide\/tall to 6610 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClick on the link above to see a full list of the images included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSir William Newenham Montague Orpen (1878-1931)\u003c\/strong\u003e was an Irish artist who mainly worked in London. Orpen was a fine draughtsman and a popular, commercially successful painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.\u003c\/p\u003e\n\u003cp\u003eDuring World War I, he was the most prolific of the official war artists sent by Britain to the Western Front. There he produced drawings and paintings of ordinary soldiers, dead men, and German prisoners of war, as well as portraits of generals and politicians. Most of these works, 138 in all, he donated to the British government; they are now in the collection of the Imperial War Museum. His connections to the senior ranks of the British Army allowed him to stay in France longer than any of the other official war artists, and although he was made a Knight Commander of the Order of the British Empire in the 1918 Birthday Honours, and also elected a member of the Royal Academy of Arts, his determination to serve as a war artist cost him both his health and his social standing in Britain.\u003c\/p\u003e\n\u003cp\u003eAfter his early death, several critics, including other artists, were loudly dismissive of Orpen's work, and for many years his paintings were rarely exhibited, a situation that only began to change in the 1980s.\u003c\/p\u003e\n\u003cp\u003eBorn in Stillorgan, County Dublin, William Orpen was the fourth and youngest son of Arthur Herbert Orpen (1830-1926), a solicitor, and his wife, Anne Caulfield (1834-1912). Both his parents were amateur painters, and his eldest brother, Richard Caulfield Orpen, became a notable architect. The family lived at 'Oriel', a large house with extensive grounds containing stables and a tennis court. Orpen appears to have had a happy childhood there.\u003c\/p\u003e\n\u003cp\u003eOrpen was a naturally talented painter, and six weeks before his thirteenth birthday was enrolled at the Dublin Metropolitan School of Art. During his six years at the college, he won every major prize there, plus the British Isles gold medal for life drawing, before leaving to study at the Slade School of Art between 1897 and 1899. At the Slade he mastered oil painting and began to experiment with different painting techniques and effects. Orpen would include mirrors in his pictures to create images within images, add false frames and collages around his subjects, and often make pictorial references to works by other artists in his own paintings. His two-metre-wide painting The Play Scene from Hamlet won the Slade composition prize in 1899. His teachers at the Slade included Henry Tonks, Philip Wilson Steer and Frederick Brown, all of whom were members of the New English Art Club; they ensured he exhibited there in 1899, and that he became a member in 1900. \u003c\/p\u003e\n\u003cp\u003eWhilst at the Slade, he became engaged to Emily Scobel, a model and the subject of \u003cstrong\u003eThe Mirror\u003c\/strong\u003e. She ended their relationship in 1901, and Orpen married Grace Knewstub, the sister-in-law of Sir William Rothenstein. Orpen and Knewstub had three daughters together, but the marriage was not a happy one; by 1908, Orpen had begun a long-running affair with Mrs Evelyn Saint-George, a well-connected American millionairess based in London, with whom he also had a child.\u003c\/p\u003e\n\u003cp\u003eAfter he left the Slade, from 1903 to 1907, Orpen ran a private teaching studio, the Chelsea Art School, at Rossetti Mansions near the King's Road with his fellow Slade graduate Augustus John. Between 1902 and 1915, Orpen divided his time between London and Dublin. He taught at the Dublin Metropolitan School of Art, and his teaching influenced a generation of young Irish artists. His pupils included Seán Keating, Grace Gifford, Patrick Tuohy, Leo Whelan and Margaret Clarke. This was the period of the Celtic revival in Ireland. \u003c\/p\u003e\n\u003cp\u003eA key figure in the Celtic Revival was Hugh Lane, who was a friend and mentor to Orpen, and who begin collecting impressionist artworks with Orpen's guidance. In the summer of 1904 Orpen and Lane visited Paris and Madrid together, and some years later Lane commissioned a series of portraits of contemporary Irish figures from Orpen for the Municipal Gallery of Modern Art in Dublin. From 1908 onwards, Orpen exhibited works in the Royal Academy regularly. Between 1908 and 1912, Orpen and his family spent the summer on the coast at Howth, north of Dublin, where he began painting in the open air and developed a distinctive plein-air style that featured figures composed of touches of colour without a drawn outline. The most notable of these works was Midday on the Beach, shown at the NEAC in 1910.\u003c\/p\u003e\n\u003cp\u003eBetween 1911 and 1913, in London, Orpen painted a series of portraits, mostly three-quarter-length, of Vera Brewster, the wife of the writer Joe Horne. These included the paintings The Roscommon Dragoon, The Irish Volunteer and The Angler. John Singer Sargent promoted Orpen's work and he soon built a lucrative reputation, in both London and Dublin, for painting society portraits. Mrs St. George, (1912), and Lady Rocksavage (1913), both demonstrate Orpen's ability to produce the swagger portraits that Edwardian high society greatly valued. Group portraits of a type known as conversation pieces were also hugely popular and Orpen painted several, most notably The Cafe Royal in London (1912), and Homage to Manet (1909), which showed Walter Sickert and several other artists and critics seated in front of Édouard Manet's Portrait of Eva Gonzales. Orpen had worked on Homage to Manet since 1906 at his studio in South Bolton Gardens in Chelsea, where Lane also had rooms. By the start of World War I, Orpen was the most famous and most commercially successful artist working in Britain.\u003c\/p\u003e\n\u003cp\u003eAt the start of World War One, a number of Irish people living in England returned to Ireland to avoid conscription. Among them was Orpen's studio assistant and former pupil, Seán Keating. Keating encouraged Orpen to do likewise, but he refused and committed himself to supporting the British war effort. \u003c\/p\u003e\n\u003cp\u003eIn April 1917, Orpen travelled to the Somme and based himself in Amiens. Orpen had arrived on the Somme three weeks after the German forces had pulled back to the Hindenburg Line. Each day Orpen would be driven to locations such as Thiepval, Beaumont-Hamel or Ovillers-la-Boisselle to sketch Allied troops or German prisoners and record the devastation left by the Battle of the Somme amid the frozen and desolate landscape. However, he did not submit any work to the Department of Information nor to the military censor. When he was reprimanded for that, he had Haig's office move the officer who had issued the reprimand to other duties. In May 1917, he painted portraits of both Haig and Sir Hugh Trenchard, the commander of the Royal Flying Corps, and both of these images were widely reproduced in British newspapers and magazines. In June Orpen moved to the Ypres Salient and stayed at Cassel in the Hotel Sauvage, where he painted the self-portrait known as Ready to Start.\u003c\/p\u003e\n\u003cp\u003eIn May 1918, 125 of Orpen's war paintings and drawings were displayed at Agnew's Gallery in Old Bond Street in London. The exhibition was a great success with 9000 paying visitors in its four weeks. Highlights of the exhibition included nine of Orpen's 'khaki portraits' and several of his works from the Somme such as Highlander Passing a Grave and Thinker on the Butte de Warlencourt. There was much press discussion as to why the censor had passed Orpen's Dead Germans in a Trench as suitable for display, after his refusal to allow Christopher Nevinson's Paths of Glory to be displayed two months previously. In fact, Lee had refused to pass nearly all of the paintings shown at Agnew's but Orpen appealed to the Director of Military Intelligence, General George Macdonogh, and had him overruled. After Agnew's, several museums and galleries wanted to host the exhibition and it was taken to the Manchester City Art Gallery and then the United States. Whilst the exhibition was in London, it was announced that Orpen was donating all the works on display to the British government on the understanding that they should remain in their white frames and be kept together as a single body of work. They are now in the collection of the Imperial War Museum in London. In the King's 1918 Birthday Honours list that summer he was made a Knight Commander of the Order of the British Empire.\u003c\/p\u003e\n\u003cp\u003eOrpen returned to France in July and spent a second summer painting on the old Somme battlefield and making frequent trips to Paris to complete a series of portraits of Canadian commanders. Later he painted the immediate aftermath of the fighting at Zonnebeke that had taken place during the Fifth Battle of Ypres. Orpen made it clear he wished to remain in France and was keen to work in the newly liberated towns. By the end of the summer of 1918, Orpen was mentally exhausted and his works became increasingly theatrical, less realistic and more allegorical. In Harvest (1918), which shows women tending a grave covered in barbed wire, he used a garish palette of colours to emphasise the unreal nature of the scene. While Bombing: Night and Adam and Eve at Peronne seem somewhat flawed compositions, other paintings were far more successful. Most notably, The Mad Woman of Douai is a harrowing depiction of the aftermath of a rape. When Orpen met the woman some time afterwards she was 'silent and motionless, except for one thumb which constantly twitched'. The two soldiers in the picture are both figures borrowed from other paintings of his, as is the grave in the foreground. Orpen had been shocked to see a number of such burial mounds with, as he wrote, \"arms and feet showing in lots of cases\".\u003c\/p\u003e\n\u003cp\u003eAs the war entered its final stages Orpen witnessed scenes which he found increasingly macabre. One day, even the broad-minded Orpen was shocked to encounter three young French prostitutes offering their services next to a burial party at a gravesite. Towards the end of the war, he painted a handful of 'parable paintings', such as Armistice Night, Amiens and The Official Entry of the Kaiser, that used black humour to re-imagine the coming victory. Most of these paintings were never displayed in public after the war. In November 1918, Orpen collapsed and became seriously ill. Yvonne Aubicq spent two months nursing him before he moved to Paris in January 1919 to begin work on his next commission.\u003c\/p\u003e\n\u003cp\u003eWhen the war ended, the Imperial War Museum commissioned Orpen to stay in France and paint three large group portraits of the delegates to Paris Peace Conference. Throughout 1919 he painted individual portraits of the delegates to the Conference and these formed the basis of his two large paintings, A Peace Conference at the Quai d'Orsay and The Signing of Peace in the Hall of Mirrors. The third picture, To the Unknown British Soldier in France, was the subject of some controversy.\u003c\/p\u003e\n\u003cp\u003eAfter the war, Orpen returned to painting society portraits and enjoyed great commercial success. He was never short of portrait commissions to work on and throughout the 1920s often earned £35,000 per year and could easily charge 2,000 guineas for a picture. Throughout the 1920s he exhibited at the Royal Academy each year and maintained homes and studios in both London and Paris, where he lived with Aubicq.\u003c\/p\u003e\n\u003cp\u003eOrpen continued to drink heavily and although he was separated from his wife, they never divorced. Eventually, he and Aubicq separated and she later married William Grover-Williams, Orpen's former chauffeur. His 1921 Royal Academy submission was a portrait of the head chef at the Hotel Chatham in Paris. The Tate Gallery were keen to acquire the painting using funds from the Chantrey Bequest. After Orpen assured the Tate that the picture met the conditions required by the Bequest and that he had painted the picture entirely in Britain, the Tate announced the purchase. Several people then came forward to say that they had seen Orpen paint the picture in Paris. Orpen withdrew from the purchase and gave the Tate a portrait of Sir William Symington McCormick instead. Orpen subsequently submitted Le Chef de l'Hotel Chatham, Paris to the Royal Academy as his diploma painting.\u003c\/p\u003e\n\u003cp\u003eOrpen's wartime memoir, An Onlooker in France, 1917-1919, was published in 1921 and all the proceeds donated to war charities. In 1925, Orpen painted \u003cstrong\u003eSunlight\u003c\/strong\u003e, a brilliant depiction, in dappled sunlight, of a nude woman on a bed, behind whom hangs The Seine at Marly, the 1874 painting by Monet which Orpen owned. In 1922, Orpen was reported to be receiving treatment in London for 'tobacco poisoning'. In 1923, Lee introduced Orpen to the Prince of Wales, and secured Orpen a commission to paint the Prince for the Royal and Ancient Golf Club of St Andrews. A long series of disagreements followed between the Prince's advisors, who wanted a formal portrait, and Orpen, who wanted to paint Edward in his golf clothes. Orpen got his way but it was not until 1928 that the R\u0026amp;A put the painting on display. In 1927, Orpen accepted a commission to paint a portrait of David Lloyd George but the completed work was rejected as being too informal for such a senior politician. The painting remained with Orpen and was only purchased by the National Portrait Gallery after his death. In 1928 Orpen stood for election as President of the Royal Academy but lost to Sir William Llewellyn. His work was also part of the painting event in the art competition at the 1928 Summer Olympics.\u003c\/p\u003e\n\u003cp\u003eOrpen became seriously ill in May 1931, and died aged 52 in London, on 29 September 1931, and was buried at Putney Vale Cemetery. A stone tablet in the Island of Ireland Peace Park Memorial at Messines, Belgium, commemorates him.\u003c\/p\u003e","brand":"Digital Download - 61 images","offers":[{"title":"Default Title","offer_id":51567012577610,"sku":null,"price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/7965\/7290\/files\/William_Orpen_War_Artist_-_61_High_Resolution_Images.jpg?v=1755531546"},{"product_id":"lavery-john-1856-1941-a-rally-tennis-match-1885","title":"Lavery, John (1856-1941) - A Rally, Tennis Match 1885","description":"\u003cp\u003eArtwork by Irish artist Sir John Lavery.\u003c\/p\u003e\n\u003cp\u003eThis download consists of 1 image in JPEG format that is 600dpi and 4728 pixels wide by 4920 pixels tall.\u003c\/p\u003e\n\u003cp\u003eThe picture is out of copyright and in the public domain, so you are free to use it in whatever way you'd like, including commercial use.\u003c\/p\u003e\n\u003cp\u003eRead more about \u003ca href=\"https:\/\/publicdomainimagelibrary.com\/collections\/lavery-sir-john\" title=\"Sir John Lavery\"\u003eJohn Lavery\u003c\/a\u003e.\u003c\/p\u003e","brand":"Digital Download - 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His works blend impressionistic light with sensitive observation, offering a window into late 19th and early 20th-century life.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eThis download features 41 hi-res images in JPEG format by the Irish artist Sir John Lavery. \u003c\/p\u003e\n\u003cp\u003eThe images are all 600dpi and range in size from 2758 pixels wide\/tall to 7630 pixels wide\/tall.\u003c\/p\u003e\n\u003cp\u003eThe pictures are out of copyright and in the public domain, so you are free to use them in whatever way you’d like, including commercial use.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSir John Lavery RA RSA RHA (1856-1941)\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas an Irish painter best known for his portraits and wartime depictions.\u003c\/p\u003e\n\u003cp\u003eJohn Lavery was born in inner North Belfast, on 20 March 1856 and baptised at St Patrick's Church, Belfast. While still a child, he moved to Scotland, where he attended Haldane Academy in Glasgow in the 1870s. In 1878, he set up his own studio, which was razed in a fire in the following year. With a £300 insurance payout, he spent a year studying at Heatherley's School in London. Lavery continued his studies at the Académie Julian in Paris in the early 1880s. He returned to Glasgow and was associated with the Glasgow School. William Burrell, a wealthy shipowner, was a faithful patron of Scottish artists, including Joseph Crawhall II, with whom Lavery studied. In 1888, he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after. In 1896, William Burrell commissioned Lavery to paint a portrait of his sister Mary Burrell. This portrait was exhibited widely and is considered one of Lavery's finest works. 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