ABOUT THE ARTIST:
PHILIP OSMENT  1861 – 1947

Philip Osment was a painter of marine, coastal and landscape scenes in watercolour. He lived in Liverpool for some of his life when he was actively painting and does not appear to have exhibited so most of his paintings are still found in that area. His scenes are often of Welsh views as in the example above – this shows Llyn Idwal and the Devil’s Kitchen which is at the head of the Ogwen pass in Snowdonia. A more detailed biography supplied by Barrie Lees is as follows:

Philip Osment was born into a family of Exeter silversmiths in 1861.

His grandfather John Osment was active as a silversmith in Mint Street from about 1818 to 1845. And the youngest of John’s eight children – Philip Daniel Osment – was the artist’s father. Things were looking good for Philip Daniel by the time of the census in 1861. He had married Sarah Wills the year before, and was now a 21-year-old master silversmith in Exeter employing two youngsters. His first son – Philip junior – was born the same year, and a brother John Wills Osment arrived two years later.

Then tragedy struck. He became bankrupt in 1864, and died the following year, leaving Sarah a widow with two toddlers. She was rescued by an Exeter artist, Reuben Tremlett, who must have had a decisive influence on his young stepson.

The Tremletts also came from a creative family. Reuben’s grandfather had been a smith, and at the time of the 1841 census Reuben’s father James was working as an artist while lodging at a house in Shoreditch. Meanwhile his wife was looking after their children back in Exeter.

In the 1871 we find widower Reuben and widow Sarah living together in Liverpool. There is no evidence of a wedding in England or Wales, so perhaps they married elsewhere – or even risked flouting convention after moving so far from their native Devon. There were four children: Emily, aged 8, from Reuben’s first marriage; Philip and John, aged 9 and 7, from Sarah’s first marriage; and their shared child, two-year-old Marion. Their home was in Phoebe Anne Street, Everton, and Reuben’s parents were living close by in Sykes Street, which formed a T-junction with it.

Reuben had begun his working life as a jeweller’s apprentice, but in 1861 we find him listed as an artist and photographer. In 1871 he calls himself a “portrait and landscape painter”, and in 1881 just “artist, painter”. By 1891 he has crossed the Mersey to Birkenhead and is working as a photographer. He died there aged 56 the following year.

Philip Osment is described as an “artistic student” at the age of 17 while living with Reuben and his mother in the 1881 census. But it seems he may have been a bit wild – in 1884 an advert appeared in the Liverpool Mercury saying: “If Philip Osment, artist, does not call at 46 Lavan-street [a continuation of Phoebe Anne St], within seven days, the articles belonging to him will be sold to pay expenses.” It looks as though he may have moved to a boarding house, and then left without paying the rent.

By 1891 he had moved to Wales to work as a landscape artist, living alone near the River Conway. Ten years later he is still working on his landscapes, but living as a boarder in the house of fellow landscapist Peter Glent [?] and his large family in Llanrhos, between Llandudno and Conway.

Philip’s surviving pictures show that he visited Anglesey, Deganwy (only a mile from Llanrhos), Snowdonia and the Dee Estuary. And it may have been around this time that he visited Ellesmere Port and painted the Manchester Ship Canal.

Aquaintances in Bethesda met during the 1990’s remember Philip Osment working in the area during the early 1900’s. They said he lived at Betws y Coed at that time and produced works featuring Llyn Idwal, The Devil’s Kitchen, Llyn Ogwen and The Ogwen Valley and the Carneddau Mountains.

He probably had little success, because during the 1900s he switched from painting to photography – like his step-father. In the 1911 census – at the age of 49 – he is back living with his widowed mother in Liverpool and working as an “artist (photographic)”. His half sister Marion Tremlett, aged 42, is no doubt helping because she is described as a “photographic retoucher”.

There is no further information on Philip’s movements for the next quarter of a century, but we assume from his paintings – which are mainly watercolours with a few oils – that he travelled quite widely. He probably worked in the Scottish Highlands and the Lake District, and certainly spent much time in Cornwall. He also painted in Hampshire – in Old and New Alresford, and in Romsey.

Experts believe that the quality of his work declined during his later years, and it has been suggested that this was caused by alcohol. There is no evidence that he ever married.

Philip surfaces again in a trade directory of 1938, which shows he was still working as an artist at the age of 77. He was living at 4 Pennsylvania Road, Old Swan, about 3 miles north east of Liverpool city centre. Presumably he paid for an entry in the hopes of drumming up more business. In 1945 he is again living with his half-sister Marion, this time in Hampshire.

Marion, perhaps thanks to skills taught her by her father and by Philip, had married a photographer in 1915. He was Alfred William Holliday, a widower with six children, whose shop was on Jewry Street, Winchester. The couple were in their mid-40s and there were no more children. But by 1945 Alfred had died, and Marion was living at a house called Conway in Haig Road, New Alresford. This was to be Philip’s last home, before he became terminally ill. He was taken to the former workhouse infirmary at Fareham, where he died of cancer of the little toe of his right foot on May 24 1947 at the age of 84.

Philip was buried in the churchyard at New Alresford. Marion put a death notice in two local papers – but there is no memorial stone.

Philip Osment – Original 19th Century Watercolour. On paper, laid down on card. Signed. Condition is typical for a picture of this age including some discolouration.

Philip Osment was a painter of marine, coastal and landscape scenes in watercolour. He was born into a family of Exeter silversmiths in 1861. By 1891 he had moved to Wales to work as a landscape artist, living alone near the River Conway. During the 1900s he switched from painting to photography. His surviving pictures – which are mainly watercolours with a few oils – show that he visited Anglesey, Deganwy, Snowdonia and the Dee Estuary, as well as further afield in the Scottish Highlands, Lake District, Hampshire and Cornwall.

Works featuring North Wales have been noted:

North Wales:
Conwy (Conway)
Deganwy
Betws y Coed
Llyn Ogwen and Ogwen Valley
Lavan Sands, Bangor
Menai Straits
Snowdon
Nant Ffrancon
Puffin Island, Anglesey
South Stack
 

IMAGE:

20170314 PHIL OSMENT - FIFES OFF ANGLESEY 004

TITLE: MSOD and Fife OD Yachts Racing off Biwmaris
(Beaumaris)

PRICE: £280.00

SPECIFICATION:

MEDIUM: Watercolour on paper

APPROXIMATE SIZE:

Painting: 246 mm x 421 mm     9 11/16 x 16 9/16

Frame / Mount: Mounted behind a double mount and framed in a guilt frame
444mm x 612mm     17 9/16 x 24 5/16

ANNOTATIONS: Signed ‘Phil Osment’ lower right – None others noted

THE STORY:
Every good painting should have a story to go with it, something to stimulate the imagination.

This picture seems to typify the racing heritage of the Royal Anglesey Yacht Club (Clwb Hwylio Brenhinol Môn) which is based at Beaumaris (Biwmaris) opposite The Lavan Sands and the largest mussel fishery in Europe.

Menai Strait One Design (MSOD)  http://www.msod.org.uk/

Was introduced in in 1937. A total of 16 were built between 1938 and 1952. 20ft long and built of mahogany on oak frames the design has a deep cockpit, removeable internal ballast and a lifting centre plate. The design was and still is popular for racing and doubled as a family boat offering the possibility to mount a small outboard. The Royal Anglesey Yacht Club still has a racing programme with events on Saturday afternoons and Wednesday evenings.

The MSOD in the foreground has a dark hull but the sail number is not visible.

There are four Fife One designs in the background looking very elegant and nostalgic with their counter sterns.

Fife One Design http://sailboatdata.com/viewrecord.asp?class_id=7128

Designer:                    William Fife III

Length on deck:          24′

Beam:                         6’6″

Draft:                           3’6″

Wiliiam Fife III of Fairlie was asked to design a new class of yacht which would be suitable for the Conwy estuary and the Menai Strait with a maximum waterline length of 16 ft and draft of 3 ft 3 ins. The result in 1933 was the Fife One Design with a length overall of 24 ft 4 ins and beam 6 ft 6 ins with a, 18 cwt lead keel. All but one of the 16 wood yachts were built by AM Dickie and Sons at Bangor. As I understand it, all but one are still in existence today. The original cost was £275 which included a £5 royalty payable to William Fife. Since then, 22 GRP Fifes have been built.

I am now in some confusion because I have just read that the first one was built in 1926.

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Best wishes,

Dai.
email address: DaiOakley@hotmail.com

E&OE

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