William Henry Johnson 1901-1970

The Harmon Foundation, New York
Mr. and Mrs. Douglas Younger, New York (acquired from the above)
Mr. and Mrs. William H. Doggett, Dedham, Massachusetts (acquired from the above in 1957)
By descent to the present owner

Canvas is not lined. SURFACE: in original condition; craquelure throughout (work is painted with thick impasto); surface is dirty UNDER ULTRA VIOLET: no apparent inpainting
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.

Johnson and his Danish wife Holcha Krake, a successful textile artist, lived in the picturesque fishing village of Kerteminde, Denmark for several years starting in 1930 just after their marriage took place there.  He enjoyed these years.  He developed a strong camaraderie with the locals, particularly the fishermen, who referred to him as "Willie".  During this period, he was asked by a Danish newspaper reporter if it was possible for a foreigner and a man of his race to paint Danish landscapes and Danish portraits.  His answer,"Why not?  On the contrary, I say that I have never worked as well in any place as in Kerteminde.  In no place have I had greater peace in which to work,nor better motifs than right here in Denmark"
Johnson is known to have experimented with an apparatus called a "fish lens", which allows an artist to view an area wider than is possible by the human eye.  It works somewhat like a wide-angle lens and the view tends to bend and curve in order to fit into the lens' concave form.   The artist had almost certainly used the device in creating the present picture with its slightly distorted perspective,  undulating forms and gestural strokes.  (Richard J. Powell, Homecoming:  The Art and Life of William H. Johnson, New York, 1991, pp.61-2)