Thomas Worthington Whittredge
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( 1820 - 1910 ) - Artworks
Freeman / Dec 2, 2012
€1,928.42 - €3,085.47
€3,063.60
Find artworks, auction results, sale prices and pictures of Thomas Worthington Whittredge at auctions worldwide.
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Along with Thomas Worthington Whittredge, our clients also searched for the following authors:
George E. Forster, William Mason Brown, John William Hill, Sanford Robinson Gifford, James Edward Buttersworth, William Michael Harnett, Albert Bierstadt
George E. Forster, William Mason Brown, John William Hill, Sanford Robinson Gifford, James Edward Buttersworth, William Michael Harnett, Albert Bierstadt
Artworks in Arcadja
87
Some works of Thomas Worthington Whittredge
Extracted between 87 works in the catalog of Arcadja
Thomas Worthington Whittredge - Bust Size Self Portrait
Original
Auction:
Freeman -
Jun 9, 2013- Philadelphia
Lot number:
94
Other WORKS AT AUCTIONDescription:
WORTHINGTON WHITTREDGE
(american 1820-1910)
BUST SIZE SELF PORTRAIT
Signed 'copied after picture by E. Leutze by W. Whittredge' bottom right, oil on board
26 3/4 x 22 1/2 in. (68 x 57.2cm)
Mr. & Mrs. Julian Foss, Verona, New Jersey.
Sotheby Parke Bernet, New York, Fine Americana, January 31-February 3, 1979, lot 523.
Private Collection, Texas.
'Worthington Whittredge Retrospective' Munson-Williams-Proctor Institute, Utica, New York. October 12 - November 16, 1969; loaned by Mr. & Mrs. Julian Foss. [Catalogue illustration #12]. The Albany Institute of History and Art, Albany, New York. December 2, 1969 - January 18, 1970. The Cincinnati Museum, Cincinnati, Ohio, February 6 - March 8, 1970.
This painting is Whittredge's copy of a portrait done by his friend, Emanuel Leutze. That life-size portrait is in the collection of the Metropolitan Museum of Art. Whittredge painted this for his friend J.W. Pinchot.
This lot will be accompanied by the exhibition catalogue:
Worthington Whittredge: A Retrospective Exhibition of an American Artist.
Munson-Williams-Proctor Institute, Utica, New York. October 12 - November 16, 1969.
Thomas Worthington Whittredge - Summer In Millburn, New Jersey
Original 1880
Other WORKS AT AUCTIONDescription:
Lot 8
Thomas Worthington Whittredge
American, 1820-1910
Summer in Millburn, New Jersey
,
circa
1880
Signed
WWhittredge
with conjoined first initials (ll)
Oil on canvas
13 x 16 1/2 inches
Provenance:
Deedee Wigmore, Inc., New York
A leading member of the Hudson River School, known for his verdant views of forest and stream, Worthington Whittredge also painted throughout New England, and in his later life, in New Jersey. Building a home in Summit (not far from Millburn) in 1880, Whittredge resided in the area until his death in 1910. The region inspired a number of compositions, including the present work as well as
Millburn, New Jersey
(1885, Collection The Newark Museum), in which the artist melds the meticulous observation of the Hudson River School with a more Barbizon-inflected aesthetic.
C
Estimate $20,000-30,000
Wax relined. Frame rubbing, with corresponding inpaint. There are some scattered touches of inpaint in the sky at the center and a couple touches in the branches of the tree at the center right. There is no further restoration visible under UV light.
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.
Thomas Worthington Whittredge - Pine Trees, Minerva
Original 1868
Other WORKS AT AUCTIONDescription:
Sale 75 Lot 1551
WORTHINGTON THOMAS WHITTREDGE, N.A. (New Jersey/New York, 1820-1919).
PINE TREES, MINERVA,
circa 1866-1868. Oil on canvas
Click here to view supplemental information for this lot.
- Framed, 36 in. x 14 in.
Estimate $20,000-80,000
Note: Minerva is a resort village in Essex County, N.Y. in the Adirondack Mountains.
Provenance: Kennedy Galleries, New York, N.Y.
Literature: Janson, Anthony F. Worthington Whittredge. A catalogue raisonn� of the artist's work, 1989. The painting is listed and illustrated on p. 104, fig. 75 and is discussed at pp. 101-105.
Thomas Worthington Whittredge - On The Wawayanda River, Nj
Original 1891
Auction:
Freeman -
Dec 2, 2012- Philadelphia
Lot number:
80
Other WORKS AT AUCTIONDescription:
Lot 80
WORTHINGTON WHITTREDGE
(american 1820-1910)
"ON THE WAWAYANDA RIVER, NJ"
Inscribed with title, signed and dated 'W Whittredge 1891' bottom left, watercolor
Sight size: 7 1/2 x 13 3/4 in. (19.1 x 34.9cm)
provenance:
Private Collection, Pennsylvania.
Estimate $2,500-4,000
In generally very fine overall condition with only an approx. 1/4 x 1/8 inch area of surface abrasion at outer lower left edge. Otherwise, we see no evidence of any damage, restoration of losses.
Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.
Thomas Worthington Whittredge - Autumn On The Delaware
Original 1875
Auction:
Christie's -
May 18, 2011- New York
Lot number:
32
Other WORKS AT AUCTIONDescription:
Lot Description
Thomas Worthington Whittredge (1820-1910) Autumn on the Delaware signed 'W. Whittredge' (lower right) oil on canvas 18 x 28 in. (45.7 x 71.1 cm.) Painted circa 1875.
Provenance
Private collection, Pittsburgh, Pennsylvania. [With]Hirschl & Adler Galleries, Inc., New York, Acquired by the present owner from the above, 1990.
Pre-Lot Text
Property from The Westervelt Company, formerly The Gulf StatesPaper Corporation
Exhibited
Waco, Texas, Sixth Annual Brazos Forum, America Comes of Age:Emerging Arts and Culture, August 17-October 4, 1990. Montgomery, Alabama, Montgomery Museum of Fine Arts, Impressions ofAmerica: The Warner Collection of Gulf States Paper Corporation,June 18-July 28, 1991. Memphis, Tennessee, The Dixon Gallery & Gardens, Impressions ofAmerica, November 15, 1992-January 24, 1993.
View Lot Notes ›
Worthington Whittredge's masterfully refined and exquisiterenditions of nineteenth century American landscapes areexceptionally articulate visions of nature. These compositions,complemented by the artist's use of light to convey emotion andromanticism, are among the best conceived of the nineteenthcentury. "His paintings of the primitive woods of the Catskills,the vast, seemingly endless stretches of the western plains and thecoast of Newport are among the finest productions of any of theHudson River School." (C.A. Cibulka, Quiet Places: The AmericanLandscape of Worthington Whittredge, exhibition catalogue,Washington, D.C., 1982, p. 13)
Upon Whittredge's return to New York City in August 1859 afterstudying in Europe, he took a space at the Tenth Street Studiobuilding along with artists Frederic Church, John Casilear andJervis McEntee. Whittredge formed a close relationship with theseartists as well as with Asher B. Durand and Sanford RobinsonGifford who were the two greatest influences on him and becamelifelong friends. Whittredge preferred quiet scenes, such as theforest in Autumn on the Delaware, to the majestic vistas of hiscontemporaries. He wrote in his autobiography, "There is no denyingthe fact that the early landscape painters of America were toostrongly affected by the prevailing idea that we had the greatestcountry in the world for scenery. Everybody talked of our wonderfulmountains, rivers, lakes and forests, and the artists thought theonly way to get along was to paint scenery. This led to muchwandering of our artists. Simplicity was not in demand. It must besome display on a big canvas to suit the taste of the times. Greatrailroads were opened through the most magnificent scenery theworld ever saw, and the brush of the landscape painter was neededimmediately. Bierstadt and Church answered the need. For morehomely scenery, this need was answered by a group of artists knownas the Hudson River School--all of whom I knew and one of whom Iwas." (as quoted in Quiet Places: The American Landscape ofWorthington Whittredge, p. 21)
Whittredge painted with many of the Tenth Street Studio artistsnearer to home along the New England coast, Lake George and alongthe Hudson River. His favorite place to paint, however, was theCatskills. Whittredge wrote in his autobiography, "Short distancesin our Catskill country often bring us to changed landscapes whichdisplay peculiar characteristics not always easy to engraft uponthe scenery of another neighborhood..." Now roaming the denseforests of the Catskills, Whittredge had the dilemma of beingaccustomed to the cultivated landscape of Europe. "I hid myself formonths in the recesses of the Catskills. But how different was thescene before me from anything I had been looking at for many years!The forest was a mass of decaying logs and tangled brush wood, nopeasants to pick up every vestige of fallen sticks to burn in theirmiserable huts, no well-ordered forests, nothing but the primitivewoods with their solemn silence reigning everywhere." (as quoted inE.H. Dwight, Worthington Whittredge, exhibition catalogue, Utica,New York, 1969, pp. 14-15)
Autumn on the Delaware
depicts several deer at a clearing bythe river. Whittredge paints the deer diminutive to the large treesand majestic mountains and with less care than the surroundinglandscape, conveying the magnificence and power of nature. In thistranquil scene, Whittredge is able to make the viewer "aware of hisown depth of feeling in the presence of nature and reveals itsinherent lyricism, what art historian Lisa F. Andrus has termed the'inevitable, self-evident, and ever-present'
poetry ofnature." (
Quiet Places: The American Landscape of WorthingtonWhittredge, p. 20)
The palette and light in Autumn on the Delaware imbues the scenewith a poetic beauty. The warm autumnal coloring of the blazingyellows, reds and oranges are contrasted with the dark shading ofthe trees. Whittredge's rich depiction of Luminist light transformsthe landscape into a dramatic rendition of nature. Most recenthistorians have acknowledged Whittredge's brilliant light as thecentral aspect of his oeuvre, and the one that unifies his workwith the other artists of his time. John Baur wrote about theAmerican Luminists such as Whittredge and Gifford, "Technically,[the Luminists] were extreme realists, relying on infinitely subtlevariations of tone and color to capture magical effects.Spiritually they were the lyrical poets of the American countrysideand the most sensitive and feeling and in the profoundidentification of the artist with what he portrayed." (as quoted inA.F. Janson, Worthington Whittredge, New York, 1989, p. 96)