American Oil Painting "Nature Morte: Fallen Doves" (1865) by Alfred Wall

Details

Description

ALFRED S. WALL
United States, 1825-1896

Nature Morte: Fallen Doves (1865)

Oil on canvas | signed and dated lower left … Read more ALFRED S. WALL
United States, 1825-1896

Nature Morte: Fallen Doves (1865)

Oil on canvas | signed and dated lower left "Alfred Wall 1865"

ref. 412APH13E

26 1/2" H x 32 1/2" W x 2 1/2" D [frame]
20 1/8" H x 26" W [canvas]

Essay
This finely executed still life painting captures a group of three doves laid upon a forest floor, rendered with meticulous attention to texture and natural detail. The composition follows the tradition of nature morte, a genre that captures the stillness of life through carefully arranged subjects. The artist employs a rich, earthy palette, contrasting the softness of the birds’ feathers with the dense foliage and scattered undergrowth, the colors in the foliage and fallen leaves suggesting an early fall setting for the scene. An almost ecclesiastical light falls on the doves, lighting them and showcasing the realism, drawing attention to the delicate gradations of color in the plumage and the subtle sheen of the wings.

While the subject matter suggests themes of the hunt or the passage of life, the restrained execution avoids overt dramatization. Instead, the scene invites quiet contemplation, emphasizing form, texture, and atmosphere. Works of this nature were historically popular in European and American art, particularly in the 19th century, serving both as studies in naturalism and as reflections on mortality and transience. It is housed in what is almost certainly its first frame, a finely worked gilded composition that complements the painting beautifully with still-life emblems in the corners.

Provenance: Private Collection, Senoia, Georgia

Condition:
Original stretchers in good condition, these only allowing for four keys instead of eight; linen is taut and unlined, in good condition. Ground layer is overall stable with fine age related craquelure throughout. Several losses under the frame rabbet that have associated inpainting. Areas of old overpaint on the dove chests removed during the conservation process. Our conservator removed the old varnish, inpainted the minor losses and applied a traditional Dammar varnish. Frame is likely the original frame and presents with minor losses, chips and overall discoloration to the gilding. A very fine presentation, ready to place.

Biography
Alfred S. Wall (1825–1896) was a central figure in the development of Pittsburgh’s artistic community during the 19th century. Born in Mount Pleasant, Pennsylvania, he was the son of English immigrants William and Lucy Wall. His father, a sculptor specializing in tombstones, instilled in him an appreciation for the arts, a legacy shared with his older brother, William Coventry Wall. Alfred and William eventually relocated to Pittsburgh, where they shared a studio in the Burke Building on Fourth Avenue. Although self-taught, Alfred’s career as a painter began in 1846, the same year he married Sarah Carr. He supported his family primarily through portrait commissions, but his true artistic passion lay in landscape painting, which became the foundation of his enduring legacy.

Wall became closely associated with the Scalp Level School, an informal group of artists led by George Hetzel. Inspired by the unspoiled natural beauty of western Pennsylvania, these painters worked en plein air, capturing the region’s lush forests, flowing streams, and pastoral landscapes. Wall excelled in this style, producing numerous studies in the field that later informed his finished works in the studio. Despite his dedication to landscape painting, he continued to paint portraits for financial stability, demonstrating a versatility that helped sustain his career.

Beyond his role as an artist, Wall was an influential figure in Pittsburgh’s art market. In 1868, he joined J.J. Gillespie & Co., one of the city’s leading art dealerships, where his refined aesthetic judgment made him a sought-after consultant for collectors. His expertise helped establish Gillespie’s as a primary source for fine art acquisitions among Pittsburgh’s industrial elite. His influence extended beyond sales, as he played a crucial role in shaping private and institutional collections, ensuring that the city’s cultural patrons invested in high-quality works.

Wall was also instrumental in Pittsburgh’s early art institutions. In 1874, he became the first secretary of the Pittsburgh Art Society, advocating for greater public access to art. His efforts culminated in the highly successful Loan Art Exhibition, which showcased privately owned works and demonstrated the city’s need for a permanent public collection. His advocacy contributed to Andrew Carnegie’s decision to establish the Carnegie Art Museum, where Wall later served as a trustee and member of the Fine Arts Committee. Among his notable works was a life-size portrait of Carnegie, which hung in the Carnegie Free Library.

Throughout his career, Wall exhibited widely and remained an active participant in the artistic life of Pittsburgh. He showcased his work at the Pittsburgh Associated Artists and the Pennsylvania Academy of the Fine Arts, among other venues. His contributions as a painter, dealer, and institution builder cemented his legacy as a key figure in the city’s artistic history. Today, his landscapes and portraits continue to be valued for their technical skill and historical significance, reflecting both the artistic trends of his era and the evolving cultural identity of Pittsburgh.

References:

E. Benezit Dictionary of Artists, Gründ, 2006
Alfred S. Wall, George Hetzel and the Scalp Level Tradition, Paul Chew, Westmoreland Museum of American Art, 1994, p. 90-91 See less