- 47
Norman Rockwell 1894 - 1978
Estimate
1,500,000 - 2,500,000 USD
bidding is closed
Description
- Norman Rockwell
- Full Treatment
- signed Norman Rockwell (lower right)
- oil on canvas
- 43 1/4 by 35 inches
- (109.9 by 88.9 cm)
- Painted in 1940.
Provenance
American Illustrators Gallery, New York, by 1986
Acquired by the present owner from the above
Acquired by the present owner from the above
Literature
The Saturday Evening Post, May 18, 1940, illustrated in color on the cover, © SEPS. Licensed by Curtis Licensing. All Rights Reserved.
Christopher Finch, Norman Rockwell's America, New York, 1975, no. 285, illustrated in color p. 223
Dr. Donald Stoltz and Marshall L. Stoltz, Norman Rockwell and 'The Saturday Evening Post:' The Middle Years, 1928-1943, New York, 1976, p. 171, illustrated in color p. 172
Mary Moline, Norman Rockwell Encyclopedia: A Chronological Catalogue of the Artist's Work 1910-1978, Indianapolis, Indiana, 1979, illustrated fig. 1-303, p. 64
Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Stockbridge, Massachusetts, 1986, vol. I, no. C383, p. 145, illustrated p. 144
Jan Cohn, Covers of 'The Saturday Evening Post:' Seventy Years of Outstanding Illustration from America's Favorite Magazine, New York, 1995, illustrated in color p. 183
Judy Goffman Cutler and Laurence S. Cutler, Norman Rockwell's America in England, Newport, Rhode Island, 2010, illustrated p. 190
Christopher Finch, Norman Rockwell's America, New York, 1975, no. 285, illustrated in color p. 223
Dr. Donald Stoltz and Marshall L. Stoltz, Norman Rockwell and 'The Saturday Evening Post:' The Middle Years, 1928-1943, New York, 1976, p. 171, illustrated in color p. 172
Mary Moline, Norman Rockwell Encyclopedia: A Chronological Catalogue of the Artist's Work 1910-1978, Indianapolis, Indiana, 1979, illustrated fig. 1-303, p. 64
Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Stockbridge, Massachusetts, 1986, vol. I, no. C383, p. 145, illustrated p. 144
Jan Cohn, Covers of 'The Saturday Evening Post:' Seventy Years of Outstanding Illustration from America's Favorite Magazine, New York, 1995, illustrated in color p. 183
Judy Goffman Cutler and Laurence S. Cutler, Norman Rockwell's America in England, Newport, Rhode Island, 2010, illustrated p. 190
Condition
This work is in very good condition. The canvas is lined. There are some small areas of lifting with chips of loss in the upper left background, and one chip of loss in the upper right background. Under UV: There are some areas at the left, right and top edges that fluoresce unevenly, but they do not appear to be inpainting. There are minor spots and dots of inpainting in the background near the edges.
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
Executed for the cover of The Saturday Evening Post on May 18, 1940, Full Treatment is a lighthearted scene depicting a jolly businessman being pampered at the barber shop. The painting exemplifies Norman Rockwell’s transition away from the idealized images of his early career toward a more documentary approach of depicting real people in everyday situations, a pattern he would continue to employ throughout his later work. This change was inspired, at least in part, by his move to the small town of Arlington, Vermont in the late 1930s. Rockwell reveled in the more tranquil way of life away from New York City and immediately began to utilize the town’s buildings and residents as his subjects.
Whether found on Main Street or in the local train station, the barber shop played a central role in the community of small town America. Rather than stopping in for a typically quick shoeshine or shave on his way to the office, the gentleman in Full Treatment has decided to make his visit an event, happily settling in with his cigar as he is polished up, both literally and figuratively. The subject’s obvious delight at the experience is infectious, leading the viewer to grin along with him.
The present work reveals Rockwell’s continual experimentation with new techniques and ideas about color. Whereas white typically served as the background for his Post covers, here the artist sets his subjects against a strong blue-green, while areas of white form the primary elements of the scene. Pencil under drawing and the striations of the canvas appear through the deliberately thin lighter areas, creating a sense of texture and dimension, while Rockwell employs a more painterly technique in rendering the figures’ faces and clothing. As in so many of the artist’s Post covers, the thoughtfully placed touches of vibrant, orangey-red draw the viewer’s eye through the composition.
Whether found on Main Street or in the local train station, the barber shop played a central role in the community of small town America. Rather than stopping in for a typically quick shoeshine or shave on his way to the office, the gentleman in Full Treatment has decided to make his visit an event, happily settling in with his cigar as he is polished up, both literally and figuratively. The subject’s obvious delight at the experience is infectious, leading the viewer to grin along with him.
The present work reveals Rockwell’s continual experimentation with new techniques and ideas about color. Whereas white typically served as the background for his Post covers, here the artist sets his subjects against a strong blue-green, while areas of white form the primary elements of the scene. Pencil under drawing and the striations of the canvas appear through the deliberately thin lighter areas, creating a sense of texture and dimension, while Rockwell employs a more painterly technique in rendering the figures’ faces and clothing. As in so many of the artist’s Post covers, the thoughtfully placed touches of vibrant, orangey-red draw the viewer’s eye through the composition.