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Thomas Moran

United States (1837 -  1926 ) Wikipedia® : Thomas Moran
MORAN Thomas View At Dusk Of The Church Of San Juan Bautista, Maravatio, Mexico

Jackson's /Nov 29, 2016
18,910.74 - 28,366.11
26,001.25

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Variants on Artist's name :

Thomas Moran

 

Artworks in Arcadja
299

Some works of Thomas Moran

Extracted between 299 works in the catalog of Arcadja
Thomas Moran - Twilight In Arizona

Thomas Moran - Twilight In Arizona

Original 1880
Estimate:

Price: Not disclosed
Lot number: 753
Other WORKS AT AUCTION
Description:
THOMAS MORAN (1836-1925) TWILIGHT IN ARIZONA, 1880 etching on wove with full margins, signed in the plate with the artist's large monogram and further signed by the artist in pencil, 14.5 x 22cm, unframed ++In fine condition, not laid down, minor peripheral browning and small tear and corner loss lower left, all at the margin and well clear of the image, a particularly attractive rich impression
Thomas Moran - A Hillside Village At Sunset

Thomas Moran - A Hillside Village At Sunset

Original
Estimate:
Starting price:

Price:

Gross Price
Lot number: 1198
Other WORKS AT AUCTION
Description:
Lot 1198: THOMAS MORAN (American, 1837-1926) A HILLSIDE VILLAGE AT SUNSET. Oil on canvas. Housed in a modern gold tone wood frame with linen liner. Signed and dated lower left "T. Moran. 1918" SIZE: 12" x 15-1/2". Overall 18-1/2" x 22" CONDITION: Good with thumb print lower right, stretcher marks, craquelure, and old restoration upper center 51246-4
Thomas Moran - Autumn Woods, Alternately Titled Yosemite Landscape

Thomas Moran - Autumn Woods, Alternately Titled Yosemite Landscape

Original
Estimate:

Price:

Lot number: 276
Other WORKS AT AUCTION
Description:
Description: Thomas Moran (American, 1837-1926) Autumn Woods, alternately titled Yosemite Landscape Monogrammed "TM" l.r., titled in pencil on a fragmentary label on the reverse, identified on a label from Spanierman Gallery, New York, on the frame backing, and with an alternate title on a label from Fenn Galleries Ltd., Santa Fe, on the reverse. Oil on panel, 14 x 12 1/4 in. (35.3 x 31.0 cm), framed. Condition: Fine stable craquelure, subtle frame abrasion. Provenance: Sloan and Roman Gallery, New York, New York, Art Market, Fenn Galleries Ltd., Santa Fe, New Mexico, to a corporate collection, Tulsa, Oklahoma, by gift to a private collection; Christie's New York, Rockefeller Center, American Impressionist Paintings, Drawings and Sculpture, November 28, 2000, Lot 35, through to the current private Massachusetts collection. N.B. This painting will be included in the forthcoming catalogue raisonné of the work of Thomas Moran by Stephen Good and Phyllis Branff. Thomas Moran is considered to be one of the most important late 19th century American landscape painters. Born in England, Moran's family settled in Philadelphia in 1844. The young man grew up without formal art training, although he was apprenticed to a wood engraver as a teenager, and this experience informed his understanding of light and dark contrasts, used with such stunning effect in his mature oils. Philadelphia offered a rich artistic milieu, and the Moran family actually produced three artists: Thomas, his older brother Edward who was a noted marine painter, and younger brother Peter. As a young artist, Thomas Moran was greatly influenced by the atmospheric landscapes and seascapes of Joseph Mallord William Turner. He was first introduced to these works by Philadelphia artist and mentor James Hamilton. Later Moran studied Turner first hand on several trips to Europe. A significant chapter for Moran began with his travels to the American West, the area for which he is best known today. In the early 1870s, he was named the official artist of the expedition of Dr. Ferdinand Hayden to the Yellowstone region. There Moran made sketches and watercolors of the topography to accompany the expedition's report and which served as inspiration for his dramatic oil landscapes of the region that followed. One such oil painting, The Grand Canyon of the Yellowstone, was purchased by Congress in 1872, and it is widely acknowledged that Moran's works were critical to the decision of Congress to create Yellowstone National Park. Magnificent paintings of the American West would become Moran's hallmark, conveying the grandeur, mystique, and power of the mountains with luminous color effects and strong contrasts of light and shadow. Moran lived on the east coast for much of his career, including time in New York City and also in East Hampton, Long Island. However, he was an avid traveler, making four trips to Europe, including time in Venice, between 1880 and 1910, as well as frequent painting trips to the west and California. Moran painted in the Yosemite Valley, in the Sierra Nevada and Lake Tahoe areas, and in the Teton Mountains of Wyoming, where Mount Moran was named in his honor. The draw to California was strong, and Moran began spending summers there by 1916, moving permanently to Santa Barbara in 1922
Thomas Moran - View At Dusk Of The Church Of San Juan Bautista, Maravatio, Mexico

Thomas Moran - View At Dusk Of The Church Of San Juan Bautista, Maravatio, Mexico

Original 1907
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Gross Price
Lot number: 53
Other WORKS AT AUCTION
Description:
THOMAS MORAN (American 1837-1926) View at Dusk of the Church of San Juan Bautista, Maravatio, Mexico - 1907 Oil on canvas Signed and dated lower right and inscribed on verso with location: "Maravation, Mexico" and further inscribed "For J.G. Moulton" and dated 1907 12 inches x 9 inches, contained likely it's original press molded gilt frame
Thomas Moran - Yellowstone Lake

Thomas Moran - Yellowstone Lake

Original c.1874
Estimate:

Price:

Lot number: 54
Other WORKS AT AUCTION
Description:
Thomas Moran 1837 - 1926 YELLOWSTONE LAKE inscribed to Lieut. F.C. Grugan/with the regards of/T. Moran (lower right) watercolor and gouache on paper 9 3/4 by 19 inches (24.8 by 48.3 cm) Executed circa 1874. Provenance Lieutenant F.C. Grugan, Philadelphia, Pennsylvania (acquired from the artist) Mrs. George B. Agnew, New York (his daughter) Mrs. David P. Agnew (sold: Sotheby Parke Bernet, New York, April 23, 1981, lot 118, illustrated) Hirschl & Adler Galleries, New York (acquired at the above sale) Private Collection, Devon, Pennsylvania, circa 1985 (acquired from the above; sold: Sotheby's, New York, May 22, 1996, lot 97, illustrated) Acquired by the present owner at the above sale Exhibited New York, Hirschl & Adler Galleries, American Masterworks on Paper, November 1985-January 1986, no. 10, p. 5, illustrated p. 16 Catalogue Note Thomas Moran first traveled to the American West in 1871, accompanying Dr. Ferdinand V. Hayden’’’’’’’’s United States Geological and Geographical Survey of the Territories. The Secretary of the Interior had instructed Hayden to “secure as full material as possible for the illustration of your final report, such as sketches, photographs, etc.” and Moran’’’’’’’’s role, along with photographer William Henry Jackson, was to visually augment the expedition leader’’’’’’’’s account of the trip (quoted in Joni Louise Kinsey, Thomas Moran and the Surveying of the American West, Washington, D.C., 1992, p. 49). Moran believed that “the business of a great painter should be the representation of great scenes in nature” and he was riveted by the rugged and varied topography of the West (quoted in Mary Panzer, “Great Pictures of the 1817 Expedition: Thomas Moran, William Henry Jackson, and The Grand Canyon of the Yellowstone,” Splendors of the American West: Thomas Moran’’’’’’’’s Art of the Grand Canyon and Yellowstone, Birmingham, Alabama, 1990, p. 43). In addition to a number of brilliant onsite watercolor studies, this first trip resulted in Grand Canyon of the Yellowstone (1872, Smithsonian American Art Museum lent by the Department of the Interior Museum, Washington, D.C.), which Congress purchased for $10,000 in 1872, cementing Moran’’’’’’’’s reputation as the great painter of the American West. Jackson wrote of the monumental mountainscape, “It captured, more than any other painting I know, the color and the atmosphere of spectacular nature” (Ibid., p. 43). This, along with Moran’’’’’’’’s watercolor studies, were instrumental in Congress’’’’’’’’ decision to establish Yellowstone as the first national park. Moran’’’’’’’’s new found fame resulted in a number of watercolor commissions including Louis Prang’’’’’’’’s 1873 request for a series of Yellowstone watercolors to be reproduced as chromolithographs in a deluxe folio, The Yellowstone Park, and the Mountain Region of Portions of Idaho, Nevada, Colorado, and Utah published in 1876, and English industrialist William Blackmore’’’’’’’’s order for 16 works. In addition to these multi-work commissions, Moran received a number of smaller entreats most likely including the present work, which is inscribed “to Lieut. F.C. Grugan/with the regards of/T. Moran.” The drama and sense of discovery manifested in Moran’’’’’’’’s western depictions held particular interest to adventure-minded military men. Executed circa 1874, Yellowstone Lake is exemplary of the robust color and composition of Moran’’’’’’’’s best western watercolors. Although the scale is intimate, he adeptly conveys the largess of the landscape utilizing brilliant blues, pinks and yellows and browns. Detail in the distant mountains is achieved through more subtle modulations of washes over pencil. While the influence of British artist J.M.W. Turner is evident, the execution is singularly Moran’’’’’’’’s and his depictions of Yellowstone were a catalyst for altering the public’’’’’’’’s perception of the place, “Moran’’’’’’’’s art was responsible not only for introducing the appearance of Yellowstone to Americans, but also for contributing to the way that these places were understood. What had been perceived as distant, sinister, and hellish places before 1870 became, through his portrayals, places of magnificence and wonder that could stand as important symbols of America’’’’’’’’s uniqueness” (Ibid., p. 34) Moran returned to the West several times, exploring many parts of the vast region and taking its various aspects as subjects throughout his career. The importance of this body of work was both seminal and timely. “Thomas Moran’’’’’’’’s experiences with Yellowstone and the Grand Canyon were part of a much larger process at the end of the nineteenth century to explore and map the American West, make it accessible for development, and perhaps most importantly, bring what previously had been considered alien territory into the psychological consciousness of the people of the United States” (Ibid., p. 29).
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