- 6
Marvin Cone 1891-1965
Estimate
80,000 - 120,000 USD
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Description
- Marvin Cone
- Hills and River
- signed MARVIN CONE (lower right); also signed Marvin Cone, titled "Hills & River" and dated 1939 on the reverse of the frame
- oil on canvas laid down on panel
- 12 by 18 3/4 inches
- (30.5 by 47.6 cm)
Provenance
Dr. and Mrs. Wayne J. Foster, 1939-40 (acquired directly from the artist)
David H. Foster, 1984 (their son)
Kathleen Foster Goodwin, 1990
Sold: Jackson's, Cedar Falls, Iowa, June 14, 2003, lot 1, illustrated in color
William A. Karges Fine Art, Carmel, California
Acquired by the present owner from the above, 2004
David H. Foster, 1984 (their son)
Kathleen Foster Goodwin, 1990
Sold: Jackson's, Cedar Falls, Iowa, June 14, 2003, lot 1, illustrated in color
William A. Karges Fine Art, Carmel, California
Acquired by the present owner from the above, 2004
Exhibited
Cedar Rapids, Iowa, Coe College, Stewart Memorial Art Library, Coe College Commencement, June 1939, no. 9
Iowa City, Iowa, Fine Arts Festival, University of Iowa, Iowa Union League, Exhibition of Paintings by Grant Wood and Marvin Cone, July 1939, no. 12
Cedar Rapids, Iowa, Cedar Rapids Art Association, An Exhibition of Paintings by Marvin Cone, October 1939, no. 7
Davenport, Iowa, Figge Art Museum (on loan)
Iowa City, Iowa, Fine Arts Festival, University of Iowa, Iowa Union League, Exhibition of Paintings by Grant Wood and Marvin Cone, July 1939, no. 12
Cedar Rapids, Iowa, Cedar Rapids Art Association, An Exhibition of Paintings by Marvin Cone, October 1939, no. 7
Davenport, Iowa, Figge Art Museum (on loan)
Literature
Joseph S. Czestochowski, Marvin Cone: Art as Self-Portrait, Cedar Rapids, Iowa, 1990, no. 359, pp. 187, 200
Condition
This painting is in excellent, original condition. Under UV: there is 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.
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
Born in 1891, Marvin Cone spent the majority of his life living and working in his hometown of Cedar Rapids, Iowa. It was here that he established his lifelong friendship with Grant Wood (1891-1942), a fellow painter with whom he shared a trip abroad and a similar interest in depicting the simple beauty of their local landscape. Wood, who would become recognized as an iconic American painter and the chief proponent of the aesthetic movement known as Regionalism, profoundly respected his friend's work, once observing: "[Cone is] still keeping his strong use of pattern and design, this past season of working so long and so directly from nature has given a certain depth and connection to his work. Happily, this added realism has in no way diminished the poetry that has always been so characteristic of Marvin Cone's painting" (quoted in Joseph S. Czestochowski, Marvin D. Cone: An American Tradition, New York, 1985, p. 3).