Back
Garden Party: The Collection of Renny Reynolds
|
- Sale 6338
Live
| Philadelphia
Sep 21 | 12:00 PM EDT
Live
| Philadelphia
Sale 6338
| Philadelphia
| Philadelphia
Estimate$25,000 – $40,000
Provenance:
Cincinnati Art Museum, Cincinnati, Ohio, 1907 (1907.192, deaccessioned 1945).
Coleman Galleries, New York, New York.
Babcock Galleries, New York, New York.
Literature:
"Art Notes," St. Ives Weekly Summary, November 16, 1907 (as January Day).
Lorinda Munson Bryant, American Pictures and Their Painters, New York and London, 1917, fig. 149 (as January Day).
Rilla Evelyn Jackman, American Arts, New York and Chicago, 1928, pl. 89.
William Valerio, et al., Schofield: International Impressionist, an exhibition catalogue, Philadelphia, 2014, pp. 36 (illustrated) and 133-134.
Exhibited:
Chicago, Art Institute of Chicago, "19th Annual Exhibition of Oil Paintings and Sculpture by American Artists," October 16 – November 29, 1906, no. 272 (as Cloud Shadows).
London, Royal Society of British Artists, "Winter Exhibition," 1907, no. 223.
Cincinnati, Cincinnati Art Museum, "14th Annual Exhibition," May 18 – July 17, 1907.
Philadelphia, Woodmere Art Museum, "Schofield: International Impressionist," September 18, 2014 – January 25, 2015.
Lot Note:
Like his well-known rival Edward Redfield, Walter Elmer Schofield was an exponent of an outstepping and hearty aesthetic, one that prioritized candor—he only painted what he saw—and energy. He had a particular flair for extracting the raw beauty of American landscapes in all kinds of weather, as if he relished a confrontation with the elements, and such bluster is now often understood as an attempt to equate virility with Americanism in art.
Winter was his season of choice to depict the wonders to be found out of doors. The more challenging a setting appeared, the more intense its rendition proved. Here, Schofield ventured to a snowy wooded exterior, and the act of capturing it on canvas amounted to stranding the viewer in its midst. With no path or recognizable landmarks in sight, we are enveloped in subtly gradated shades of blue, grey, brown and green, a multi-sensory moment allowing us to experience the frigid air and howling winds likely felt and heard by the painter himself.
The possibly lined canvas in good condition. Stretcher bar stress (i.e two parallel lines) visible across upper register of composition. A network of moderate, although stable, craquelure throughout, most noticeable in snow and sky. Limited, scattered areas of yellowing varnish. UV: small areas of inpainting in upper and lower left corners, and limited passages of possible old inpainting in middleground. Additional images available upon request.
The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.
The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.
Please email paulinearchambault@hindmanauctions.com for any additional information or questions you may have regarding this lot.
To request further details about this lot, please email paulinearchambault@hindmanauctions.com
Adam Veil
VP, Head of Department, American Art and Pennsylvania Impressionists
