Arthur Frank Mathews

United States (18601945 ) - Artworks Wikipedia® - Arthur Frank Mathews
MATHEWS Arthur Frank Carmel Sand Dunes

Bonhams /Aug 9, 2011
7,012.62 - 10,518.93
9,111.70

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Artworks in Arcadja
14

Some works of Arthur Frank Mathews

Extracted between 14 works in the catalog of Arcadja
Arthur Frank Mathews - The Arts

Arthur Frank Mathews - The Arts

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Lot number: 43
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Lot 43: Arthur F. Mathews (1860-1945 San Francisco, CA) Study for ''The Arts'', Palace of Fine Arts with Allegorical Figures, signed and inscribed on an original paper label now mounted to a backing board: Study for Decoration / Arthur F. Mathews, gouache and graphite on paper under Plexiglas, domed rectangle: 26.75'' H x 16.5'' W, est: $50,000/70,000. Exhibited: Art Department, Oakland Museum of Art, Oakland, CA, ''A Century of California Painting 1870 - 1970'', sponsored by Crocker-Citizens National Bank, December 1970 - January 1971, no. 51, traveling exhibition, illustrated on posters for the exhibition; Oakland Museum of Art, Oakland, CA, ''Mathews: Masterpieces of the California Style'', 1972, no. 65. Literature: H.J. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, 2006, pp. 69-71, ''The Arts'' mural in oil illustrated. Note: An unfinished graphite sketch of hands holding an object verso. Together with Harvey Jones' hardbound book ''The Art of Arthur & Lucia Mathews'' and a Crocker-Citizens National Bank-sponsored framed exhibition poster. Although the present work is technically the preparatory study for Arthur F. Mathews' 1917 mural painted for the entrance hall of the Mechanics' Institute Library in San Francisco, the exquisite detail and near-finished composition reveal the artist's rigorous and thorough process of creation. Mathews was originally commissioned by his private client Rudolph J. Taussig to create a public mural for the Mechanics? Institute Library on Post Street in San Francisco during a 1904 renovation. That original mural shared elements and symbolism with the later composition including an allegorical figural group of women and mechanics at work constructing an elaborate columned building; but was horizontal in composition and incorporated a eucalyptus landscape in the background. ''Deemed to be the finest of its kind in the city, [the 1904 mural] was expected to establish a precedent for the beautification of public buildings'' (H.L. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, p. 69). Unfortunately, the library, along with its mural, was destroyed in the earthquake and fire of 1906. In 1917 after more than a decade of reconstruction on the Institute, Mathews presented a replacement mural in a 14 feet by 8 feet format fitted for a narrower entrance hall of the rebuilt library. This second mural, as well as the present preparatory painting, adheres to the artist's ''original theme''. ''Titled 'The Arts', the work confers special dignity in acknowledgement of the patron institution by integrating the mechanical arts and architecture with nature and a spiritual component, and incorporating the expected allusions to the fine arts'' (H.L. Jones, p. 69). Harvey L. Jones writes of the monumental mural, ''According to one writer's contemporary account of Mathews' new version of the allegorical content of the mural, the artist introduced four symbolic figures 'signifying the spiritual light of knowledge, and the strength and power attained through knowledge'. In the left foreground, as the spiritual component, Mathews positioned a young Franciscan friar clutching a Bible to his chest and standing among three female figures wearing artfully decorated Grecian gowns. The leading figure of the group holds a small statue of the winged figure that signifies the ideal. Another carries a blossoming branch that alludes to nature, and the third, a blond woman on the far left wearing the most colorful attire, seems to represent beauty and the arts. It was suggested by another writer that the four allegorical figures symbolize such abstract concepts as music, thought, philosophy, and the ideal. The figural group's attention is directed toward the efforts of the laborers, stonecutters, and the carpenters seen in the background, where smoke rises from the chimney of an ironworker's forge as the toil on the unfinished structure'' (H.L. Jones, p. 71). Much of Jones' description for the mural can also be applied to Mathews' preliminary painting with a few minor composition changes, most notably a white bearded old man in the study becomes a much younger Bible-holding Franciscan friar. The freshness and immediacy of the present work gives it a lively, painterly quality that the artist subdued in the finished mural. The pastel-dominant palette of the sketch lightens the composition in contrast to the muted tones of the mural. The artist's carefully drafted graphite structure and decoration lines are visible, particularly in the architectural elements, and provide the viewer with a glimpse into the artist's careful and exacting method. Layered over these controlled arrangements is spontaneous and confident brushwork that fleshes out both the elaborately dressed symbolic figures and the vignettes of mechanics at work constructing the buildings . Visual: Generally good condition. The paper toned and with soiling, particularly in the margins. Burn along all four margin edges. Tiny nibbles in the lower center and lower right margin edges. Hinged with archival linen hinge tape in the upper corners and upper center to the back mat. Artist's pinholes in the upper corners and lower right corner. An unfinished graphite sketch of hands holding an object verso. Together with Harvey Jones' hardbound book ''The Art of Arthur & Lucia Mathews'' and a Crocker-Citizens National Bank-sponsored framed exhibition poster. Although the present work is technically the preparatory study for Arthur F. Mathews' 1917 mural painted for the entrance hall of the Mechanics' Institute Library in San Francisco, the exquisite detail and near-finished composition reveal the artist's rigorous and thorough process of creation. athews was originally commissioned by his private client Rudolph J. Taussig to create a public mural for the Mechanics? Institute Library on Post Street in San Francisco during a 1904 renovation. That original mural shared elements and symbolism with the later composition including an allegorical figural group of women and mechanics at work constructing an elaborate columned building; but was horizontal in composition and incorporated a eucalyptus landscape in the background. ''Deemed to be the finest of its kind in the city, [the 1904 mural] was expected to establish a precedent for the beautification of public buildings'' (H.L. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, p. 69). Unfortunately, the library, along with its mural, was destroyed in the earthquake and fire of 1906. In 1917 after more than a decade of reconstruction on the Institute, Mathews presented a replacement mural in a 14 feet by 8 feet format fitted for a narrower entrance hall of the rebuilt library. This second mural, as well as the present preparatory painting, adheres to the artist's ''original theme''. ''Titled 'The Arts', the work confers special dignity in acknowledgement of the patron institution by integrating the mechanical arts and architecture with nature and a spiritual component, and incorporating the expected allusions to the fine arts'' (H.L. Jones, p. 69). Harvey L. Jones writes of the monumental mural, ''According to one writer's contemporary account of Mathews' new version of the allegorical content of the mural, the artist introduced four symbolic figures 'signifying the spiritual light of knowledge, and the strength and power attained through knowledge'. In the left foreground, as the spiritual component, Mathews positioned a young Franciscan friar clutching a Bible to his chest and standing among three female figures wearing artfully decorated Grecian gowns. The leading figure of the group holds a small statue of the winged figure that signifies the ideal. Another carries a blossoming branch that alludes to nature, and the third, a blond woman on the far left wearing the most colorful attire, seems to represent beauty and the arts. It was suggested by another writer that the four allegorical figures symbolize such abstract concepts as music, thought, philosophy, and the ideal. The figural group's attention is directed toward the efforts of the laborers, stonecutters, and the carpenters seen in the background, where smoke rises from the chimney of an ironworker's forge as the toil on the unfinished structure'' (H.L. Jones, p. 71). uch of Jones' description for the mural can also be applied to Mathews' preliminary painting with a few minor composition changes, most notably a white bearded old man in the study becomes a much younger Bible-holding Franciscan friar. The freshness and immediacy of the present work gives it a lively, painterly quality that the artist subdued in the finished mural. The pastel-dominant palette of the sketch lightens the composition in contrast to the muted tones of the mural. The artist's carefully drafted graphite structure and decoration lines are visible, particularly in the architectural elements, and provide the viewer with a glimpse into the artist's careful and exacting method. Layered over these controlled arrangements is spontaneous and confident brushwork that fleshes out both the elaborately dressed symbolic figures and the vignettes of mechanics at work constructing the buildings Mr. and Mrs. Anthony R. White, Hillsborough, CA; John H. Garzoli, San Francisco, CA, acquired from the above, Estate of Gordon and Joan Spencer, Nordland, WA domed rectangle: 26.75'' H x 16.5'' W Arthur F. Mathews (1860-1945 San Francisco, CA) Art Department, Oakland Museum of Art, Oakland, CA, ''A Century of California Painting 1870 - 1970'', sponsored by Crocker-Citizens National Bank, December 1970 - January 1971, no. 51, traveling exhibition, illustrated on posters for the exhibition; Oakland Museum of Art, Oakland, CA, ''Mathews: Masterpieces of the California Style'', 1972, no. 65 H.J. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, 2006, pp. 69-71, ''The Arts'' mural in oil illustrated gouache and graphite on paper under Plexiglas
Arthur Frank Mathews - Trees Along A River (landscape)

Arthur Frank Mathews - Trees Along A River (landscape)

Original -
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Lot number: 43
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Arthur Frank Mathews (American, 1860-1945) Trees along a river (Landscape) signed 'Arthur F. Mathews' (lower right) watercolor and gouache on paper affixed to paperboard 9 x 14in overall: 15 3/4 x 20 1/2in Footnotes PROVENANCE: Collection of Alexandra and Sidney Sheldon EXHIBITED: Palm Springs, Palm Springs Desert Museum, American Arts and Crafts from the Collection of Alexandra and Sidney Sheldon , February 16 - June 6, 1993, no. 189 (as Landscape ) LITERATURE: Katherine Plake Hough, American Arts and Crafts from the Collection of Alexandra and Sidney Sheldon , Palm Springs, 1993, p. 75, no. 189 (as Landscape ).
Arthur Frank Mathews - Summertime

Arthur Frank Mathews - Summertime

Original 1915
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Lot number: 82
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Arthur Frank Mathews (1860-1945) Description: ''Summertime'', circa 1915, bears signature lower right: Arthur Mathews, oil on canvas laid to canvas in a modern hand-carved gilt and polychromed reproduction Furniture Shop frame, 23.5'' H x 26'' W, est: $50,000/70,000. Note: Restrained and elegant, Arthur Mathews' ''Summertime'' depicts a sweeping Arcadian seaside landscape. Harvey Jones writes of Mathews' treatment of the California landscape subject, ''Mathews' landscapes were neither symbolic nor allegorical in the manner of his murals and many other figurative works. The scenes with figures usually included a California landscape in the background, which was seldom site specific, yet certainly altogether typical. The paintings represent generalized panoramic views of then relatively undeveloped areas on the outskirts of the city...'' (H. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, 2006, p. 144). The signature on the painting was likely posthumously added by Lucia Mathews. Condition Report: Visual: Very minor frame abrasion and some scattered, stable craquelure. New support stretchers. Blacklight: Scattered crack-fill throughout concentrated mainly in the sky. Some minor scattered spots of touch-up along the lower edge. The signature added. Notes: Restrained and elegant, Arthur Mathew's ''Summertime'' depicts a sweeping Arcadian seaside landscape. Harvey Jones writes of Mathews' treatment of the California landscape subject, ''Mathews' landscapes were neither symbolic nor allegorical in the manner of his murals and many other figurative works. The scenes with figures usually included a California landscape in the background, which was seldom site specific, yet certainly altogether typical. The paintings represent generalized panoramic views of then relatively undeveloped areas on the outskirts of the city...'' (H. Jones, ''The Art of Arthur & Lucia Mathews'', San Francisco, CA, 2006, p. 144). The signature on the painting was likely posthumously added by Lucia Mathews Provenance: Private Collection, Danville, CA 23.5'' H x 26'' W Arthur F. Mathews (1860-1945 San Francisco, CA) oil on canvas laid to canvas in a modern hand-carved gilt and polychromed reproduction Furniture Shop frame circa 1915
Arthur Frank Mathews - Carmel Sand Dunes

Arthur Frank Mathews - Carmel Sand Dunes

Original -
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Lot number: 44
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Back to catalogue Place Bid or Track Lot Lot No: 44 Arthur Frank Mathews (American, 1860-1945) Carmel sand dunes signed 'A. F. Mathews' (lower right) oil on board 12 1/2 x 18in overall: 19 1/2 x 25in Estimate: US$10,000 - 15,000 View Condition Report Footnote: PROVENANCE: Collection of Edward Charles and Doris Bassett, Mill Valley, California Contact the Specialist to discuss this lot or selling in a future sale Email: Erin Cabral Tel: +1 415 503 3345 To subscribe to or order a Printed Catalogue quote ref: 19247 Tel: +1 800 223 2854 ext 3550
Arthur Frank Mathews - Carmel Sand Dunes

Arthur Frank Mathews - Carmel Sand Dunes

Original
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Lot number: 55
Other WORKS AT AUCTION
Description:
Arthur Frank Mathews (American,1860-1945) Carmel sand dunes signed 'A. F. Mathews' (lower right) oil on board 12 1/2 x 18in overall: 19 1/2 x 25in PROVENANCE: Butterfield and Butterfields, San Francisco, California, 1969 Collection of Edward Charles and Doris Bassett, Mill Valley,California
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