Property from the Collection of Phyllis and C. Douglas Dillon
1917 - 2009
ABOVE THE TIDE
signed Andrew Wyeth (lower left)
watercolor, gouache and pencil on paper
21 ¾ by 29 ⅝ inches
(55.2 by 75.2 cm)
Executed in 1951.
This watercolor will be included in Betsy James Wyeth’s forthcoming catalogue raisonné of the artist’s work.
The sheet is laid down but loosely adhered on the right edge. There are a few minor losses on the edge, most likely inherent to the artist's process. There is a 1-inch tear upper left and some minor foxing concentrated in the sky.
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.
Private collection, Chadds Ford, Pennsylvania, circa 1952
Coe Kerr Gallery, New York
Private collection, circa 1977 (acquired from the above)
By descent to the present owner
Ivy W. Dodd, "Art Along the Shore," Courier-Gazette, Rockland, Maine, August 1977, clipped
Islesboro, Maine, Islesboro Inn; Northeast Harbor, Maine, Neighborhood House, Watercolors by Outstanding 19th and 20th Century American Artists, August 1977
Rockland, Maine, Farnsworth Art Museum, Hadcock Gallery - Teels Island, May-August 2000
In Above the Tide, Andrew Wyeth provides a view into the life of Henry Teel, a local fisherman whom he befriended in Maine. While Wyeth's portraits did not always include a sitter, he often utilized objects to represent people in his art. Wyeth explained, “sometimes, when I do a painting with people in it...I have ultimately eliminated them, much to the horror of those who pose for me, because I find really that it’s unimportant that they’re there. If I can get beyond the subject to the object, then it has a deeper meaning” (Andrew Wyeth: Memory & Magic, Atlanta, Georgia, 2005, p. 65).
In his description of this subject as portraiture, Wyeth remarked, “Henry Teel had a punt…and one day he hauled it up on the bank and went to the mainland and died. I was struck by the ephemeral nature of life when I saw the boat just quietly going to pieces” (Ibid., p. 69).