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Thomas Moran

United States (1837 -  1926 ) Wikipedia® : Thomas Moran
MORAN Thomas Grand Cañon After A Storm (grand Canyon Of Arizona At Sunrise)

Christie's
May 22, 2018
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Variants on Artist's name :

Thomas Moran

 

Artworks in Arcadja
350

Some works of Thomas Moran

Extracted between 350 works in the catalog of Arcadja
Thomas Moran - A Showery Day, Grand Canyon

Thomas Moran - A Showery Day, Grand Canyon

Original 1919
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Lot number: 50
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Description:
A SHOWERY DAY, GRAND CANYON Thomas Moran 1837 - 1926 signedT.MORAN.with the artist's thumbprint and dated1919./©(lower right); also titled, signed and datedA Showery day/Grand Canyon/Ariz./T.Moran/1919(on the stretcher) oil on canvas 25 by 20 inches (63.5 by 50.8 cm) This painting will be included in Stephen L. Good's and Phyllis Braff's forthcomingcatalogue raisonnéof the artist's work. Provenance Dr. and Mrs. Louis A. Dreyfus, New York The Rev. Dr. Carl and Mrs. Eleanor Koehler Sutter, Staten Island, New York, 1943 Estate of the above (sold: Sotheby's, New York, May 27, 1999, lot 45) Acquired by the present owner at the above sale Catalogue Note Thomas Moran first visited the Grand Canyon in 1873 and discovered a landscape ideally suited to his romantic vision of the American West. He returned there repeatedly throughout his career and painted the canyon\’s fascinating vistas until the end of his life (Fig. 1). His daughter Ruth wrote: \“To him it was all grandeur, beauty, color and light–nothing of man at all but nature, virgin, unspoiled and lovely\” (as quoted in Carol Clark,Thomas Moran: Watercolors of the American West, Fort Worth, Texas, 1989, p. 21). Painted in 1919,A Showery Day, Grand Canyonis a mature example of Moran\’s most celebrated subject. His virtuosity as a landscape painter reveals itself in the natural forms of the mist shrouded canyon and the atmospheric turbulence that animates the sky. The fir trees and boulders in the foreground give a sense of scale to the composition, while the view beyond encompasses a seemingly limitless landscape. Through his subtle blending of color, Moran creates a maze of canyon walls pierced by low lying mist and deep ravines. His exploration of changing weather conditions allowed him to indulge his romantic sense of color. Alternating between light and shadow, the peach, purple and beige canyon walls in the present work reveal their extraordinary contours. By 1919, the Grand Canyon had become a popular tourist attraction, however,A Showery Day, Grand CanyonMoran presents the landscape in its untouched state, thereby allowing it to serve as an eloquent expression of romantic idealism. The artist made his first trip to the American West in 1871 when he accepted an invitation to join geologist Dr. Ferdinand Hayden and his exploration party to record their travels. This trip resulted in Moran's first large-scale painting of the West,The Grand Canyon of Yellowstone of 1872, which he painted in his studio from the sketches and color notes he made on site. In 1873, Moran accompanied Major John Wesley Powell to Utah and the north rim of the Grand Canyon in Colorado. From this expedition he paintedTheChasm of the Colorado, a companion piece to the 1872 Yellowstone view. By 1874, the United States Congress had purchased both pictures. Moran\’s interest in theWest extended beyond his desire to depict it and hewas a staunch supporterof the creation of the National Park Service.In fact,sketches from his original 1871 expedition were presented to Congress as part of an 1872 bill to designate the Yellowstone area as the first United States national park. Like his contemporary Albert Bierstadt, who also presented an idealized interpretation of the American landscape in his work, Moran was fiercely nationalistic and regarded the West as a sublimeenvironment that should be recognized and preserved (Fig. 2). He wrote in 1909 that his, \“chief desire is to call the attention of American landscape painters to the unlimited field for the exercise of their talents to be found in this enchanting southwestern country; a country flooded with color and picturesqueness, offering everything to inspire the artist and stimulate him to the production of works oflasting interest and value. This Grand Canyon of Arizona and all the country surrounding it, offers a new and comparatively untrodden field for pictorial interpretation, and only awaits the men of original thoughts and ideas to prove to their countrymen that we possess a land of beauty and grandeur with which no other can compare\” (The Grand Canyon of Arizona, Santa Fe, New Mexico, 1909, p. 87). Fig. 1 Thomas Moran at the Grand Canyon, 1919. Collection of the East Hampton Library.
Thomas Moran - Beach Scene In Fort George Island, Florida

Thomas Moran - Beach Scene In Fort George Island, Florida

Original 1878
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Gross Price
Lot number: 42
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Thomas Moran (1837-1926) Beach Scene in Fort George Island, Florida signed with conjoined initials 'T Moran' (lower left) oil on panel 9 x 12in Painted circa 1878. Footnotes Provenance Maxwell Galleries, San Francisco, California. (probably) Acquired by the present owner from the above. Exhibited San Francisco, California, Maxwell Galleries, American Art Since 1850, August 2-31, 1968, p. 81, no. 235. This painting will be included in Stephen L. Good and Phyllis Braff's forthcoming catalogue raisonné of the artist's work. Thomas Moran executed approximately eight works depicting the Fort George Island shoreline in Florida at the end of the nineteenth century. Two notable works which illustrate the same scene, both dated 1878, are in the Smithsonian American Art Museum, Washington, D.C., and the Cleveland Museum of Art, Cleveland, Ohio.
Thomas Moran - Grand Cañon After A Storm (grand Canyon Of Arizona At Sunrise)

Thomas Moran - Grand Cañon After A Storm (grand Canyon Of Arizona At Sunrise)

Original 1910
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Gross Price
Lot number: 47
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Description:
Thomas Moran (1837-1926) Grand Cañon after a Storm (Grand Canyon of Arizona at Sunrise) signed with initials in monogram and dated \‘TMoran. 1910.\’ (lower right) oil on canvas 16 x 20 1/8 in. (40.6 x 51.1 cm.) Painted in 1910. Provenance The artist. (Probably) Moulton & Ricketts, Chicago, Illinois, acquired from the above. John Levy, New York, circa 1918. Carlton Palmer, Atlanta, Georgia. F.E. Rice, Bartlesville, Oklahoma, acquired from the above, 1940. By descent to the present owner.
Thomas Moran -  Passing Shower

Thomas Moran - Passing Shower

Original
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Gross Price
Lot number: 190
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Description:
Thomas Moran (1837-1926) Passing Shower signed with initials in monogram 'TM' (lower left) oil on panel 8⅞ x 11⅞ in. (22.5 x 30.2 cm.) Painted circa 1880s. Provenance Private collection, Flushing, New York. Christie's, New York, 4 December 1987, lot 55, sold by the above. Samuel B. and Marion W. Lawrence, Winter Park, Florida, acquired from the above. Christie's, New York, 29 November 2007, lot 156, sold by the above. Acquired by the present owner from the above. Exhibited St. Petersburg, Florida, Museum of Fine Arts, In the American Spirit: Realism and Impressionism from the Lawrence Collection, March 21-June 13, 1999, pp. 44, 84, no. 28, illustrated. Please note this lot is the property of a private individual.
Thomas Moran - A Cloudy Day, East Hampton

Thomas Moran - A Cloudy Day, East Hampton

Original 1903
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Net Price
Lot number: 406
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Description:
Lot 406 THOMAS MORAN (1837-1926): A CLOUDY DAY, EAST HAMPTON Oil on canvas, 1903, signed 'T. Moran' and dated twice lower right, lined, with label from Spanierman Gallery, NY. 20 x 30 in., 27 x 37 in. (frame). Provenance: The artist. Literature: Albert Gallatin, The Pursuit of Happiness, 1950, p. 203, illus. plate 15. Exhibited: East Hampton Guild Hall Museum, The Moran Family Legacy, 1997-98, no. 84. Note: The Gallatin family lived near Moran's East Hampton studio and had a close relationship with the artist. This work was acquired from the artist the year it was painted. Our thanks to Phyllis Braff who provided this information and confirmed that this painting will be included in her forthcoming catalogue raisonné. Collection of Mrs. James Gallatin, NY
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