Lot 20
  • 20

Alfred H. Maurer 1868-1932

Estimate
40,000 - 60,000 USD
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Description

  • Alfred Henry Maurer
  • Landscape
  • signed A.H. Maurer, l.r.
  • oil on paper
  • 21 3/4 by 18 in.
  • 55.2 by 45.7 cm.
  • Painted circa 1915-1920.

Provenance

Mr. and Mrs. David M. Vogel, New York

Exhibited

Washington, DC, National Collection of Fine Arts, Smithsonian Institution; Minneapolis, University Gallery, University of Minnesota, Alfred H. Maurer, 1868-1932, 1973, cat. no. 24, illustrated (full page), fig. 45 (p. 57)

Condition

in generally good condition; work is painted on sheet of heavy paper which has faded to beige with time--colors are still quite vibrant; sheet is wavy along center; sheet is hinged to backing with pieces of linen tape along the upper edge, verso
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The present work was painted soon after Maurer's return from Paris, where he had lived and studied for 17 years (from 1897 to 1914).  During this time his painterly style changed dramatically.  His early embrace of the more traditional and darker American aesthetic of Whistler, Chase and Sargent gave way to the broken brushstrokes and intersecting planes of the Cubists and the vibrant colors of the Fauves.  He was deeply influenced by Cezanne, Matisse and even Picasso and became a friend of Leo and Gertrude Stein.  In this work, the trees, foliage and bridge are clearly discernible, but the entire composition is flattened, so that near and far, positive and negative are all on the surface.