Property of a Boston Collector
EDWARD WILLIS REDFIELD
1869 - 1965
signed E W. REDFIELD and dated 1948. (lower left); also signed again and titled Linnikin [sic] Bay (on the stretcher)
oil on canvas
38 by 50 inches
(96.5 by 127 cm)
This painting will be included in the forthcoming catalogue raisonné of Edward Redfield's work being compiled by Dr. Thomas Folk.
The following condition report has been provided by Simon Parkes, Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, firstname.lastname@example.org, an independent restorer who is not an employee of Sotheby's.
This work is in very good condition. It is stretched on an old stretcher. It shows no reinforcements on the reverse. There is no cracking to the paint layer that would indicate any instability. The painting seems to be clean. It has been varnished and retouched.
The retouches are well applied and can be seen clearly under ultraviolet light. In the upper center sky, there is a restoration about half an inch square, possibly addressing a paint loss, with no sign of any corresponding damage on the reverse. In the upper right corner, there is restoration of about an inch square, which again does not visibly address any structural damage but may correspond to paint loss. There are a couple of other small spots of retouching in the upper right corner. There are three dark spots that may be retouching in the water beneath the red hut on the far shore of the lake on the right. There are four small spots in the upper left corner, four or five tiny spots beneath the birch tree in the lower left corner, a spot beneath the "R" of "Redfield", and one spot in the thin tree trunk to the left of the birch tree on the left. Although much of the artist's original pigment reads strongly under ultraviolet light, there do not appear to be any other retouches.
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.
Estate of the above
Newman Galleries, Philadelphia, Pennsylvania
Private collection (sold: Sotheby's, New York, December 4, 1986, lot 221)
Private collection (acquired at the above sale)
Sold: Christie's, New York, November 30, 1999, lot 76
Acquired by the present owner at the above sale
New York, National Academy of Design, 123rd Annual Exhibition, March-April 1949, no. 67 (as Linnekin Bay)
Philadelphia, Pennsylvania, Newman Galleries, Edward W. Redfield, A Retrospective Exhibition of His Work, October-November 1968
Henry C. Pitz, "Edward Redfield, Painter of Place and Time," American Artist, April 1959, p. 28, illustrated
J.M.W. Fletcher, Edward Willis Redfield, 1869-1965 An American Impressionist: His Paintings and the Man Behind the Palette, Lahaska, Pennsylvania, 1996, no. 107, p. 141 (as Limekin Bay); p. 149 (as Linniken Bay); no. 372, p. 168 [as Linikin Bay, Maine (Dancing Boats)]
J.M.W. Fletcher, Edward Willis Redfield, 1869-1965 An American Impressionist: The Redfield Letters, vol. 2, Lahaska, Pennsylvania, 2002, pp. 457, 484, illustrated no. 198, p. 395 (as Linikin Bay, Maine)
Constance Kimmerle, Edward W. Redfield: Just Values and Fine Seeing, Philadelphia, Pennsylvania, 2004, pp. 44, 45, 51, 113, illustrated fig. 40, p. 44
Pennsylvania Impressionist Edward Redfield is widely regarded as one of the pioneering members of the New Hope School of artists. After studying at the Pennsylvania Academy of the Fine Arts in Philadelphia, Redfield moved to Center Bridge, Pennsylvania, a few miles north of New Hope in Bucks County. There, Redfield developed an interest in depicting his natural environs with a painterly immediacy that gave him an aesthetic kinship with fellow artists Daniel Garber, Walter Schofield and other painters of the New Hope School. In Linekin Bay, Redfield employs his characteristic impressionist style to capture the choppy sea of the eponymous inlet east of his residence near Boothbay Harbor, Maine, where he had summered since 1903.
Famed for his vigorous and energetic renderings of the natural scenery which surrounded him, Redfield’s plein air works have become synonymous with the unsentimental individualism characteristic of early twentieth century American landscape painting. "As a close observer of nature," explains Constance Kimmerle, "Redfield learned to disclose the unique essence of a scene as it emerged from single moments and combined aspects of phenomena. He judged his art as successful to the extent that it provided an authentic intense experience for its viewers and revealed at a glance what it was meant to be" (Edward W. Redfield, Just Values and Fine Seeing, Philadelphia, Pennsylvania, 2004, p. 45).
The present work is the artist's last plein air painting. On the reverse of a photograph of Linekin Bay, now in the possession of a member of the Redfield family, the artist inscribed: "The last painting I made from nature" (as quoted in Ibid., p. 51n122).