Monhegan Fishing Boats
PROPERTY FROM AN IMPORTANT MIDWEST COLLECTION
EDWARD WILLIS REDFIELD (1869-1965)
Monhegan Fishing Boats
signed 'EW Redfield.' (lower right)--signed again and inscribed with title (on a label affixed to the stretcher)
oil on canvas
26 x 31 ¾ in. (66 x 80.6 cm.)
Painted in 1928.
Estate of the above.
Lee Hume, grandson of the artist.
Grand Central Art Galleries, Inc., New York.
Lillian Koch, Bernardsville, New Jersey.
Christie's, New York, 23 May 1990, lot 199, sold by the above.
Acquired by the present owner from the above.
Philadelphia, Pennsylvania, Newman Galleries, Edward Willis Redfield: A Retrospective of His Work, October 23-November 30, 1968.
Allentown, Pennsylvania, Allentown Art Museum; Youngstown, Ohio, Butler Institute of American Art, Edward Redfield: First Master of the Twentieth Century Landscape, September 20, 1987-April 2, 1988, p. 87, no. 32, illustrated.
J. Curtis, W. Curtis, F. Lieberman, Monhegan: The Artist’s Island, Camden, Maine, 1995, p. 163, illustrated.
J.M.W. Fletcher, Edward Willis Redfield (1869-1965), An American Impressionist: His Paintings and The Man Behind the Palette, Lahaska, Pennsylvania, 1996, pp. 48, 139, 149, 170, no. 438, fig. 11, illustrated.
J.M.W. Fletcher, Edward Willis Redfield, An American Impressionist (1869-1965): The Redfield Letters, Seven Decades of Correspondence Plus 426 Photographs of His Paintings in Two Volumes, vol. 1, Lahaska, Pennsylvania, 2002, p. 200, no. 92, illustrated.
This painting is included in the forthcoming catalogue raisonné on Redfield by Tom Folk Ph.D., AAA.
Edward Redfield’s Monhegan Fishing Boats exudes the peaceful, quiet warmth of a summer afternoon spent along Maine’s rugged shoreline. With a characteristic flourish of brushwork and vibrant colors, the artist depicts bright white sailboats amidst the sparkling water, rocky beaches and breezy atmosphere of the New England coast in his unique American Impressionist style.
The artist colony on Monhegan Island, Maine, founded in the mid-1800s, was fully established by the turn of the century, drawing artists such as Robert Henri, George Bellows and Edward Hopper. As early as 1903 Redfield and his wife Elise began spending summers there, joining Henri and his wife for the season. Henri noted the impression made by Redfield on the Monhegan Islanders, "slinging the paint over big canvases, astounding the natives and astounding the local artists with his rapidity as well as his results..." (as quoted in B. Perlman, ed., Revolutionary Realism: The Letters of John Sloan and Robert Henri, Princeton, New Jersey, 1996, p. 74)
Redfield was so taken with the beauty of Monhegan Island and its surroundings that he eventually bought a home in nearby Boothbay and spent almost every vacation in and around the area. The salt air, clear skies and brilliant hues of the terrain inspired the artist to produce magnificent jewel-toned paintings, such as the present work. In the Maine landscape Redfield particularly found inspiration in "the power of the sea and the work of people in relation to it." (C. Kimmerle, "Edward W. Redfield," American Art Review, vol. XVI, no. 4, August 2004, p. 105)
As such, Monhegan Fishing Boats features an impressive view of not only the craggy landforms and kaleidoscopic cool water of the island, but also the sailors and fishermen who work and play on the ocean and call Maine home. All is depicted with rich impasto and patterned hatches of brushwork, adding liveliness and effervescence to the scene. Through this dashing, individual Impressionist technique, Redfield conjures a specific season and time of day, “glorifying American landscape painting with a veracity and force that is astonishing the eyes of the Old World." (as quoted in J.N. Lauvrik, Edward Redfield: Landscape Painter, New York, 1910, p. 29)
Please note this lot is the property of a private collector.
The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
This report was prepared by Simon Parkes Art Conservation, Inc.:
This work is in original condition. The canvas is still unlined on its original stretcher. The paint layer is clean and lightly varnished. Under ultraviolet light, one can see a couple of tiny retouches in the upper left and a spot or two in the center right, but there do not appear to be any other retouches. The work is obviously in beautiful condition.
The condition of lots sold can vary widely due to factors such as age, previous damage, restoration, repair, and wear and tear. The nature of the lots sold means that they will rarely be in perfect condition. Lots are sold in the condition they are in at the time of sale.
Please note this lot is sold and shipped framed
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