Edward W. Redfield 1869-1965

Mrs. Gaines Gwathmery (sold: Sotheby Parke Bernet, New York, April 20, 1979, lot 103, illustrated)
Chapellier Galleries, New York (acquired at the above sale)
Acquired by the present owner from the above, 1979

New York, Schaus Gallery, 1910
Grand Rapids, Michigan, Grand Rapids Art Association, Forty-Second Exhibition of Paintings by Edward W. Redfield, October 1916
New Brunswick, New Jersey, Rutgers University Art Gallery, Edward Redfield, March-April 1981, illustrated on the back cover
New York, Grand Central Art Galleries, Tonalism: An American Experience, March-November 1982
Brooklyn, New York, Brooklyn Museum of Art, The Great East River Bridge 1883-1983, March-June 1983
Allentown, Pennsylvania, Allentown Art Museum; Youngstown, Ohio, The Butler Institute of American Art, Edward Redfield: The First Master of the Twentieth Century Landscape, September-April 1988, no. 7, illustrated p. 62
Rochester, New York, Memorial Art Gallery, The Impressionists' New York, November 1994-July 1995
White Plains, New York, Krasdale Foods, Beyond the Liberty Bell: Philadelphia Art from the CIGNA Museum, October 1995-January 1996
New York, Whitney Museum of American Art, The American Century: Art and Culture 1900-2000, April-August 1999
New Hope, Pennsylvania, James A. Michener Art Museum, Edward Redfield: Just Values and Fine Seeing, May 2004- January 2005, no. 30, p. 34,  illustrated in color p. 76

Thomas Folk, "Edward Redfield," Art & Antiques, March 1981
Martin Filler, Art in America, May 1983
Morris J. Vogel, Cultural Connections: Museums and Libraries of Philadelphia and the Delaware Valley, Philadelphia, Pennsylvania, 1991, p. 18
William H. Gerdts, Impressionist New York, New York, 1994, p. 172, illustrated in color pl. 135
J.M.W. Fletcher, Edward Willis Redfield: An American Impressionist, Lahaska, Pennsylvania, 1996, no. 111, p. 157
City Journal, vol. 8, Autumn 1998, illustrated p. 119 and on the cover (detail)

Constance Kimmerle writes of this picture, "Although Redfield portrays Brooklyn in Brooklyn Bridge at Night as an inviting peaceful environment, he also fills the scene with references to its bustling activity as boats stream along the river, headlights of cars imply movement across the bridge, and lights in the buildings suggest a vibrant environment.  What might have been portrayed by other artists as a seedy environment becomes for Redfield a romantic, dynamic scene as lines and shapes are softened under the glow of diminishing light.  The scene's enticing quality contrasts with some of the more harsh views of the city painted contemporaneously by members of The Eight, a group of progressive painters led unofficially by Robert Henri, who rejected the genteel style and subject matter promoted by the National Academy of Design" (Edward Redfield: Fine Values and Just Seeing, Philadelphia, Pennsylvania, 2004, p. 34).