Sotheby's /Oct 3, 2013
€29,531.19 - €44,296.79
Artworks in Arcadja169
Some works of George InnessExtracted between 169 works in the catalog of Arcadja
Auction: Christie's -Dec 5, 2013 - New YorkLot number: 160
Other WORKS AT AUCTION
Lot Description George Inness (1825-1894) A Snowy Haystack signed and dated 'G. Inness 1889' (lower right) oil on canvas 24 x 38 in. (61 x 96.5 cm.) Provenance The artist. Estate of the above. Fifth Avenue Art Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., 12-14 February 1895, lot 199. Mr. and Mrs. Kalman Haas, New York, acquired from the above. Parke-Bernet, New York, 15-16 May 1946, lot 98. John Nicholson Galleries, New York, acquired from the above. [With]Findlay Gallery, Chicago, Illinois. Private collection, Illinois. Parke-Bernet, New York, 18 November 1965, lot 72. [With]Eleanor Gordon, Pennsylvania. Daniel W. Ditrick, Villanova, Pennsylvania. [With]Jordan-Volpe Gallery, Inc., New York, 1981. [With]Berry-Hill Galleries, Inc., New York, 1983. Acquired by the present owner from the above, 1983. Pre-Lot Text PROPERTY FROM THE WESTERVELT COMPANY Literature American Fine Arts Society, Exhibition of the Paintings left by the Late George Inness, exhibition catalogue, New York, 1894, p. 33, no. 58. M. Knoedler & Co., Eighth Annual Summer Exhibition of Paintings by American Artists, exhibition checklist, New York, 1915, no. 28 (as Haystacks in Winter). L. Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, Texas, 1965, p. 332, no. 1311, illustrated. D.P. Curry, E.L. O'Leary, S.J. Rawles, American Dreams: Paintings and Decorative Arts from the Warner Collection, exhibition catalogue, Richmond, Virginia, 1997, p. 43, pl. 28, illustrated (as Haystack, Montclair). M. Quick, George Inness: A Catalogue Raisonné, New Brunswick, New Jersey, 2007, vol. I, p. 25, vol. II, pp. 26, 252-53, no. 963, pl. 199, illustrated. Exhibited New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 58. New York, M. Knoedler & Co., Eighth Annual Summer Exhibition of Paintings by American Artists, 1915, no. 28 (as Haystacks in Winter). Jacksonville, Florida, Cummer Gallery of Art, American Favorites from the Warner Collection of Gulf States Paper Corporation and the David Warner Foundation, September 16-November 11, 1984 (as Haystack, Montclair). Birmingham, Alabama, The Birmingham Museum of Art, American Masterpieces from the Warner Collection, January 30-March 29, 1987 (as Haystack, Montclair). South Bend, Indiana, South Bend Art Center, American Masterpieces from the Warner Collection, December 9, 1989-February 4, 1990. Waco, Texas, Sixth Annual Brazos Forum, 1990 (as Haystack, Montclair). Richmond, Virginia, Virginia Museum of Fine Arts, American Dreams: Paintings and Decorative Arts from the Warner Collection, September 20, 1997-January 5, 1998.
Auction: Sotheby's -Dec 4, 2013 - New YorkLot number: 12
Other WORKS AT AUCTION
We are grateful to Dr. Michael Quick for his assistance in researching and cataloguing this lot. This work will be included in the supplement to Dr. Quick’’s catalogue raisonné of the artist’’s work. Provenance Esther H. Byers, 1900 Abbot Academy, John-Esther Gallery, Andover, Massachusetts (gift from the above; sold: Sotheby Parke-Bernet, April 19, 1972, lot 63, illustrated) Hirschl & Adler Galleries, New York, 1972 Mr. and Mrs. Norman Cahners, Brookline, Massachusetts, 1973 (acquired from the above) By descent to the present owners Exhibited New York, Hirschl & Adler Galleries, Faces and Places: Changing Images of 19th Century America, December 1972-January 1973, no. 47, illustrated in color 12 PROPERTY FROM THE COLLECTION OF THE FAMILY OF HELENE RAAB CAHNERS George Inness 1825-1894 A JUNE DAY signed G. Inness and dated 1881 (lower left); also inscribed Study from Nature on the stretcher oil on canvas 24 by 30 inches (61 by 76.2 cm) Estimate 250,000 - 350,000 USD Print This work is in good condition. The canvas is lined. Under UV: there are a few scattered spots of inpainting in center left and upper left corner, and one spot in the upper center sky. There is some inpainting along the extreme bottom edge to address frame abrasion.
Other WORKS AT AUCTION
Lot 76 George Inness American, 1825-1894 The Shepherd and Flock at Sunset, Italy , 187(2) Remnants of a signature and dated 187(2) (lr) Oil on canvas 16 1/8 x 24 inches Provenance: Reichard & Co., New York This work will be included in the supplement to Michael Quick's catalogue raisonne of the artist's work. We thank Dr. Quick for his kind assistance in confirming this to be an Italian subject. C Estimate $20,000-30,000 Old glue lining; flattened craquelure. Selectively cleaned; vertical strokes of older inpaint at right center and more recent inpaint, most notably in the upper left quadrant and at center. Not examined out of frame. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
Auction: Sotheby's -Oct 3, 2013 - New YorkLot number: 53
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Mr. Walker, New York (purchased directly from the artist) Mr. and Mrs. John J. Albright, Buffalo, New York M. Knoedler and & Co., Inc., New York, 1916 (as Sunrise in the Apple Orchard) John Levy Galleries, New York, 1916 C. Bai Lihme, 1921-1926 M. Knoedler & Co., Inc., New York, 1926 Ira Copley, New York (purchased from the above) By descent in the family of the above to the present owner 53 PROPERTY FROM THE COLLECTION OF DAVID C. COPLEY, LA JOLLA, CALIFORNIA George Inness 1825-1894 SUNRISE IN THE APPLE ORCHARD signed G. Inness (lower left) oil on canvas 30 1/4 by 45 1/4 in. 76.8 by 114.9 cm. Painted circa 1892 Estimate 40,000 - 60,000 USD Print Canvas is lined. SURFACE: some compression and thinning to surface from relining--good color and detail retention UNDER ULTRA VIOLET: hard to see through dark pigments and old varnish
Auction: Freeman -Jun 9, 2013 - PhiladelphiaLot number: 73
Other WORKS AT AUCTION
GEORGE INNESS (american 1825-1894) "MILTON ON THE HUDSON" Signed 'G. Inness' bottom left, oil on board 23 11/16 x 20 1/8 in. (60.2 x 51.1cm) Elizabeth Hart Inness, widow of the artist. Fifth Avenue Art Galleries, New York, New York. 'Mrs. George Inness executor's sale' February 11-13, 1904, no. 78. Collection of Emerson McMillin, New York, New York. A.A.A. January 20, 1913, cat no. 97 (McMillin Sale). Holland Galleries, New York, New York. The Mark Family, Lake Forest, Illinois. Collection of Alvin Ehret, Gladwyne, PA. To the present owner's uncle, 1990. Descent to the present owner. Private Collection, Connecticut. Holland Art Galleries, New York, New York. "Inness Estate Pictures." The New York Times. February 12, 1904, p. 8. Nicolai Cikovsky Jr. The Life and Work of George Inness ( 1977). p. 257, 356, n. 64; fig. 87. Leroy Ireland. The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, 1965, no. 1004, p. 247 [reproduced]. Michael Quick. George Inness: A Catalogue Raisonné , New Jersey, 2007, vol II. no 768. p. 102-103 [reproduced]. We would like to thank Dr. Michael Quick for his assistance in cataloguing this painting. Generally fair to good condition. The original painting was executed on panel. That panel is now quite thin and has been mounted on to a cardboard substrate. The original wood panel is only slightly less than 1/8th inch thick so either it was later thinned and mounted to the cardboard or the panel/cardboard composite is original. The canvas appears to be glued to the verso of the cardboard panel. All layers remain well adhered to one another. This appears to have been done fairly recently as there are no signs of age or wear on the strainer and canvas. The edges of the painting suffer abrasion from the frame rabbet. In normal, visible light the painting is quite complex in its execution. There is extensive brushmarking that was done with fairly thin paint exposing the light colored ground below between the bristles. Other areas are more heavily and opaquely painted. The light color of the adult figure's blouse is more heavily painted and the portion of her hat that is not in shadow has heavy impasto that shows some slight signs of having been flattened under pressure. Pentimenti is seen in several places, most obviously along the back and shoulder of the main figure and in the pencil marks delineating the children The painting does not have an overall crackelure, however drying crackle is seen in the foliage adjacent to the adult figure's skirt. Accretions on the surface, possibly glue or old varnish, are found scattered in the sky above the sitter's head. Much of the painting is of intermixed fluorescent and non-fluorescent areas without clear boundaries. What appears dark in UV looks less like wholesale retouching than areas that were able to be cleaned more safely than other areas. It is likely that the painting could be cleaned, though the owner should be very careful in selecting a qualified conservator.