# Dictionary of National Biography, 1885-1900/O'Connor, John (1830-1889)

​O'CONNOR, JOHN (1830–1889), scene-painter and architectural painter, born in co. Londonderry, on 12 Aug. 1830, was third son of Francis O'Connor by his wife Rose Cunningham of Bath. O'Connor was educated at the Church Educational Society's school in Dublin, but, being left an orphan at the age of twelve, began to earn a livelihood for himself and his aged grandfather, Francis O'Connor. His father and family were connected with the stage, and his mother's brother was lessee of the Belfast and Liverpool theatres. O'Connor began by assisting in scene-painting and acting as call-boy in the Dublin theatre. At the age of fourteen he painted scenery for Sir E. Tierney, and at seventeen for the Earl of Bective. After his grandfather's death in 1845 he became attached to a travelling company of actors as scene-painter, but the tour was unprofitable, and in order to secure his return to Dublin he was reduced to making silhouettes with the pantograph. On 2 April 1848 he arrived in London with introductions to scene-painters, and first obtained work at Drury Lane Theatre. In October of that year he ​was employed for the first time as one of the scene-painters to the Haymarket Theatre. In the summer of 1849 he visited Ireland at the time of the queen's visit, and on his return to London he was engaged by Mr. Philip to paint a diorama of ‘The Queen's Visit to Ireland.’ This was exhibited in the Chinese gallery, in which O'Connor lived for more than a year, until the close of the exhibition. At the same time, O'Connor attained some repute as a painter of architectural subjects in oil and water-colour, and was soon a prolific contributor to the leading exhibitions. He made his first appearance as an exhibitor at the Suffolk Street exhibition in 1854, and exhibited his first picture at the Royal Academy in 1857. In 1855 he paid the first of many visits to the continent, whence he always returned with a great number of sketches, to form the subjects of future paintings. In 1855 he was appointed drawing-master to the London and South-Western Literary and Scientific Institution, a post which he held for three years. In addition to his theatrical duties, O'Connor supplied much scenery for private theatrical performances, whereby he was brought into contact and obtained great popularity with the higher ranks of society.
In 1863 he became principal scene-painter to the Haymarket Theatre, and in 1864 painted the scenery for the Shakespeare tercentenary performances at Stratford-on-Avon. In 1870, during the Franco-German war, O'Connor's love of adventure led him to visit Sedan (see ‘The Dark Blue’ for an article by him entitled ‘Three Days in Sedan’), and in 1871 he paid several visits to Paris during the Prussian occupation. In 1872 he took a studio, in company with Lord Ronald Gower, who had been one of his companions in Paris, at 47 Leicester Square, the former residence of Sir Joshua Reynolds, and their studio became the meeting-place of men of artistic or dramatic distinction. In 1878 he resigned his appointment at the Haymarket Theatre in order to devote himself to the more legitimate branches of art, but still painted occasionally for the stage, his latest work in that line including new act-drops for the new Sadler's Wells Theatre, the St. James's Theatre (this being a copy of Turner's ‘Crossing the Brook’), and the well-known ‘Minuet’ act-drop at the Haymarket Theatre (with figures by his pupil, D. T. White). He built himself a house and studio at 28 Abercorn Place, St. John's Wood, where he resided until his health began to fail in 1888. He then removed to Heathcroft, at Yateley in Hampshire; but, as his health did not improve, he made a voyage to India to visit his two youngest sons. Shortly after his return he died of paralysis at Heathcroft on 23 May 1889. He was buried in Finchley cemetery. O'Connor was twice married, and left two sons by each wife.
As a scene-painter, O'Connor combined genuine artistic taste with a complete knowledge of theatrical requirements. As a painter in oil and water-colour, he was a master of architectural detail; and in his later days, when he had greater leisure, he showed an insight into the more picturesque side of his art, and had he lived would have been a candidate for academical honours. He was extremely prolific, and had many patrons. His smaller architectural subjects were especially popular, and he decorated a whole room for the Duke of Westminster at Eaton Hall with large pictures in oil, and a second room with sets of drawings, many being views of the early homes of the duke's first wife. He was a favourite painter with the royal family, and obtained special facilities for making drawings of several court ceremonies, such as the marriage of Princess Louise and the Marquis of Lorne in 1871, the thanksgiving service in St. Paul's in 1872, the arrival of the Duke and Duchess of Edinburgh at Buckingham Palace in 1874, and the jubilee service in Westminster Abbey in 1887. He designed and directed many of the tableaux vivants held at Cromwell House and elsewhere, including ‘the Shakespearian scenes,’ 1874, and ‘The Tale of Troy,’ 1883; ‘The Dream of Fair Women,’ 1884; the ‘Masque of Painters,’ 1886 (in which he figured himself as Michelangelo); and the ‘Masque of Flowers,’ 1887. He had numerous friends at Cambridge University; he was a member of the Cambridge amateur dramatic club, painting scenes for the club for many years, and on the revival of the Greek drama there contributed by his beautiful scenery to the success of the ‘Ajax,’ 1882; ‘The Birds,’ 1883; ‘The Eumenides,’ 1886; and ‘Œdipus Tyrannus,’ 1887. O'Connor was one of the most genial and hospitable of friends, and one of the most popular men in his profession.
[Private information and personal knowledge.]
L. C.