Our 2 October auction of American Paintings, Drawings & Sculptures achieved 3,009,689 USD. Highlighting the sale was Leon Gaspard's Spring in Siberia, which sold for more than double the high estimate for 317,000 USD. Also performing strongly was Jasper Francis Cropsey'sThe Greenwood Lake, selling above estimate for 215,000 USD.
On 2 October Sotheby’s will offer a rich array of American Paintings, Drawings & Sculpture from the 19th and 20th centuries, including strong examples by Thomas Waterman Wood and Alfred Thompson Bricher. American Impressionism is well represented by Frederick Carl Frieseke, Leon Gaspard, and Louis Ritman and complemented by Harriett Frishmuth’s bronze Joy of the Waters. In addition we will offer 14 lots by Fairfield Porter from the Estate of Anne E. C. Porter, the artist's wife. For these and others, we look forward to welcoming you to our exhibition starting on 26 September.
This work is part of Marin's "Weehawken Sequence", a series of oil sketches the artist painted between 1910-1916, just after his return from five years in Paris. He added dates to these works sometime after they were painted and often assigned incorrect earlier dates to them, as is the case here.
Please note this work is illustrated in Nannette V. Maciejunes and Michael Hall's book The Paintings of Charles Burchfield: North by Midwest.
Woodstock Town Hall, New York, "Emil Bisttram and Rolph Scarlett", n.d.
Exhibition history for this work should be omitted.
Please note the correct medium is bronze, black patina.
new condition report (9/18/14):
The canvas is lined. SURFACE: in good, overall condition (excellent retention of pigment and texture); mild stretcher marks; a small area of repaired tears (about 1 in diam) along upper edge, left, show clearly to naked eye (roughly in the shape of an "H") UNDER ULTRA VIOLET: repairs to the aforementioned tears along upper edge, left, AND 1 more small repaired tear, just to the right (vertical, also approx. 1 in. long); scattered small repaints in shrubbery at foreground (under sheep) and in a few bushes in midground
Please note, the correct medium of this work is oil on panel laid down on Masonite.
Please note the correct title of this work is The Sands of New Jersey and it is dedicated, titled, signed and dated: To Mrs. Crane / Souvenir of the Sands of NJ / H.O. Tanner / 1896 (verso).
Condition Report from Simon Parkes, Simon Parkes Art Conservation, Inc., an independent conservator (9/23/2014): This fine canvas has been lined using wax as an adhesive. The lining is supporting the canvas well. However, there does not appear to be any real reason for the lining, as the work seems to be undamaged and shows no cracking or distortions. The painting has also been varnished. The combination of the wax lining and the varnish has probably darkened some of the unpainted areas of canvas, for instance the original canvas visible in the lace curtains. This would not have originally received varnish. Removing the varnish may be appropriate, but the work can also certainly be hung as is. While no retouches are visible under ultraviolet light or to the naked eye, it is possible that a few spots may have been added. However, this is unlikely, and the condition is very good.
Canvas is lined (the original tacking edge overlap has been retained and affixed over the current tacking edge) The following condition report from Simon Parkes, Simon Parkes, Inc., an independent conservator (9/23/2014): This work is in beautiful condition. The canvas is unlined. The heavy paint layer is stable and not unsightly in any way. It seems that the painting is slightly dirty and will respond to a careful cleaning. No retouches are easily visible under ultraviolet light. The work could be hung as is, but lightly cleaning would make a difference.
Please note a copy of a letter from the artist discussing the painting, dated January 14, 1943, will accompany this lot.
Condition Report as per Simon Parkes of Simon Parkes, Inc., an independent conservator (9/24/2014): This work is still on its original stretcher. The canvas has relaxed, causing a stretcher mark to develop across the sky. There are a few other cracks here and there.
The painting has been restored. Retouches have been applied along the stretcher mark in the sky, across the top edge to address some frame abrasion, in a few dots in the mountains beyond and in the lower center sky. The darker colors of the mountain on the right have also developed some thinness which has been retouched. Retouches of the same kind are also visible on the roof and walls of the barn and in the foreground. This thinness is seen in other Nichols works. While this painting may be slightly abraded, the retouches are very loosely applied and there are many areas (such as the horse, plough, signature and date) that are un-abraded, which could imply that these retouches may not be necessary. It is recommended that some effort be made to reduce the cracking in the sky.
Please note the correct title of this work Catches For Nothing Woman, it was executed in 1931, and it is titled in another hand Catch For Nothing Woman (on the reverse).
Please note this work was executed in 1931 and is titled in another hand Calf Tail (on the reverse).
Condition Report as per Simon Parkes of Simon Parkes, Inc., an independent conservator (9/23/2014): This work needs some conservation. It originally was a cover for Collier's magazine. After its use for publication, it was returned to the artist, who reworked the painting in order to present it for sale. This reworking includes painting the white background, and conceivably even repairing the break in the canvas which runs from the left of the carafe of wine through the figure's right arm and candelabra into the white background in the upper left. This break has become visible and may have received a few additional retouches since it was originally repaired. There are areas of unevenness in the varnish that can also usually be seen in illustrator's works from this period. The condition is generally good, but the picture does require restoration. It may be that the work needs to be mounted or lined at this point.
Please note this lot is sold without reserve.
Please note that the correct medium is tempera on paper laid down on paper. Please also note that the work is additionally signed "Graves" and dated "'77" (lower left) and titled '"Winter Bouquet", Flowering Quince, Rosehaws, Narcissus + Winter Rose" and numbered "4" (on the mount)