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Newell Convers Wyeth

United States (1882 -  1945 ) Wikipedia® : Newell Convers Wyeth
WYETH Newell Convers Wallace Draws The King's Sword

Skinner
Jan 26, 2018
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Artworks in Arcadja
239

Some works of Newell Convers Wyeth

Extracted between 239 works in the catalog of Arcadja
Newell Convers Wyeth - Wallace Draws The King's Sword

Newell Convers Wyeth - Wallace Draws The King's Sword

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Lot number: 375
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Description: Newell Convers Wyeth (American, 1882-1945) Wallace Draws the King's Sword Signed "NCWyeth" u.r., identified in a presentation plaque and on a label from Scribner's Magazine, New York, affixed to the reverse. Oil on canvas, 40 x 32 in. (101.5 x 81.0 cm), in a Foster Brothers frame. Condition: Minor canvas rippling to upper corners, scattered small abrasions, surface grime. Provenance: Collection of Charles Scribner's Sons; by descent within the family of the publisher to the current owner. N.B. N.C. Wyeth is one of America's greatest and best-loved illustrators, as well as an accomplished easel painter. With Massachusetts roots, Wyeth first studied art at the Massachusetts Normal Art School (today's Mass College of Art) and with Eric Pape and Charles W. Reed. However his most impactful mentor was Howard Pyle, with whom he studied during 1902-1904 in Chadds Ford, Pennsylvania. Pyle urged his students to "jump into" their illustrations, enlivening their compositions with a vigorous style and sense of drama, while always adhering to the highest craftsmanship. Wyeth embodied this advice throughout his remarkable career. He sold his first illustration to the Saturday Evening Post in 1903 at 21 years of age and went on to create nearly 2,500 illustrations for the magazine. In 1911 he accepted his first book commission from Charles Scribner, to illustrate Treasure Island, a tremendous success leading to work on a whole range of adventure books including Kidnapped, Robin Hood, Robinson Crusoe and The Last of the Mohicans, which came to be known as Scribner's Classics, many still in print today. These illustrations defined the image of the brave and adventurous hero for generations of young readers, and it has been suggested that the illustrations became the inspiration for many of the current cinematic heroes such as Indiana Jones. Wyeth's illustrations for The Scottish Chiefs were created c. 1921, for the first edition of Jane Porter's book. The painting being offered at Skinner has been in private hands since that time, and descended in the Scribner family. The scene depicts a pivotal moment in the life of Sir William Wallace, a Scottish knight and leader during the Wars of Scottish Independence, who defeated an English army at the Battle of Stirling Bridge in September 1297. The dramatic scene shows Wallace, faced with the splintering alliance and betrayal of fellow Scottish chieftains who mean to take him prisoner, drawing the sword he had captured from Edward I at Stirling and shouting, "He that first makes a stroke at me shall find his death on this Southron steel! This sword I made the arm of the usurper yield to me; and this sword shall defend the regent of Scotland." In addition to Jane Porter's narrative, Wallace's life was retold in Blind Harry's 15th-century epic poem The Wallace, in works by Sir Walter Scott, and more recently in the Academy Award-winning film Braveheart (1995). The lot is accompanied by a copy of The Scottish Chiefs written by Jane Porter and illustrated by N.C. Wyeth, in which the painting is reproduced on page 318. As mentioned above, the original copyright date for the book was 1921; this edition bears the date 1933 on the title page.
Newell Convers Wyeth - Buy War Bonds

Newell Convers Wyeth - Buy War Bonds

Original 1942
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Lot number: 272
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NEWELL CONVERS WYETH (1882-1945) BUY WAR BONDS. 1942. 39 3/4x30 inches, 101x76 1/4 cm. U.S. Government Printing Office, [Washington, D.C.] Condition A-: minor creases along vertical and horizontal folds; minor creases in image; skinning in lower image. Paper. This is the medium size of three formats. Pollack cover and p. 88.
Newell Convers Wyeth - Untitled (couple And Wagon)

Newell Convers Wyeth - Untitled (couple And Wagon)

Original 1914
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Lot number: 92
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N. C. Wyeth UNTITLED (COUPLE AND WAGON) 1882 - 1945 signed N.C. Wyeth twice (lower right) oil on canvas 44 by 32 inches (111.8 by 81.3 cm) Painted in 1914.  Provenance (probably) Street & Smith, New York Private collection, New York American Illustrators Gallery, New York Acquired by the present owner from the above, 1987 Literature The Popular Magazine, September 1914, vol. 33, illustrated on the cover Douglas Allen and Douglas Allen, Jr., N.C. Wyeth: The Collected Paintings, Illustrations and Murals, New York, 1972, p. 267 Christine B. Podmaniczky, N.C. Wyeth: Catalogue Raisonné of Paintings, Chadds Ford, Pennsylvania, 2008, vol. I, no. I556, p. 302, illustrated  Catalogue Note N.C. Wyeth painted this work for the cover of The Popular Magazine in 1914. The publication often featured exciting and dramatic short stories set in the frontier, west of the Mississippi River. As a result, Wyeth typically created scenes of rural life and adventure for the magazine, a job for which he was especially well-suited due to his upbringing in bucolic Needham, Massachusetts. \\\“My brothers and I were brought up on a farm,\\\” the artist later explained of his propensity for this type of imagery, \\\“and from the time I could walk I was conscripted into doing every conceivable chore that there was to do about the place. This early training gave me a vivid appreciation of the part the body played in action. Now, when I paint a figure on horseback, a man plowing, or a woman buffeted by the wind, I have an acute bodily sense of the muscle-strain, the feeling of the hickory handle, or the protective bend of the head or squint of eye that each pose involves\\\” (quoted in in Douglas Allen and Douglas Allen, Jr., N.C. Wyeth: The Collected Paintings, Illustrations and Murals, New York, 1972, p. 68).   92 N. C. Wyeth signed N.C. Wyeth twice (lower right) oil on canvas 44 by 32 inches (111.8 by 81.3 cm) Painted in 1914. 
Newell Convers Wyeth - As He Sat In The Doorway…

Newell Convers Wyeth - As He Sat In The Doorway…

Original
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Price: Not disclosed
Lot number: 163
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Property from the Estate of Dr. Gerald F. Ross Newell Convers Wyeth (1882-1945) "As He Sat in the Doorway Looking at the Storm He Realized that He was Shaken by a Wild, Crude Lyric of Passion" signed 'Wyeth' (lower right) oil on canvas 25 ¼ x 25 in. (64.1 x 63.5 cm.) Painted in 1908. Lot Notes The present work by N.C. Wyeth depicts the tragic romantic hero of Hamlin Garland\\\’s serialized short story \\\“The Outlaw and the Girl\\\” published in The Ladies\\\’ Home Journal in 1908. With the subtitle \\\“A Singular Romance of a Girl in the Rocky Mountains,\\\” the dramatic narrative was advertised as: \\\“Here a girl faces a unique situation: a perplexing and thrilling problem. When brought face to face with a young train-robber in a Rocky Mountain cabin she suddenly finds herself the central figure in a romance that is about as heart-holding as a girl might well wish to experience. With the thrilling dash of the great West, the story fairly sweeps the reader with it until an unexpected climax ends an episode that is truly breath-catching in its nature.\\\” (The Ladies\\\’ Home Journal, vol. 25, no. 5, April 1908, p. 1) Accompanying the fourth chapter in the June 1908 issue, \\\“As He Sat in the Doorway…\\\” captures the outlaw in a moment of introspection as he balances his new passionate romantic interest with a life on the run from the law, and stands as a striking example of Wyeth\\\’s ability to capture the drama of the Old West and its people through his acclaimed illustrations. In Garland\\\’s tale \\\“The Outlaw and the Girl,\\\” New Yorker Alice Mansfield accompanies a survey expedition of Frémont Peak in California. While navigating through the northern slope\\\’s rough country, known to be the retreat of cattle-thieves and criminals, Alice\\\’s horse trips and her foot is painfully injured, preventing her from continuing on to the summit. Left behind in a cabin in the nearby woods with only the botanist's wife for company, Alice is awoken in the middle of the night by a bright light revealing \\\“a man\\\’s face, young, smooth, with dark eyes gleaming beneath a broad hat.\\\” Alice soon realizes, \\\“She had seen on the wall of the station at \\\‘the road\\\’ the description of a train-robber which tallied closely with this man\\\’s general appearance, and the conviction that she was living in the hidden hut of an outlaw grew into a certainty.\\\” (The Ladies\\\’ Home Journal, vol. 25, no. 6, May 1908, p. 8) Despite the $2,000 bounty on his head, the outlaw, revealed to be ex-Rough Rider Hall Mc Cord, soon proves himself a competent protector as the party is snowed in for days, and the pair quickly form an emotional attachment. Although the men of the expedition return and the sheriff comes to investigate, Mc Cord cannot bring himself to fully leave Alice behind in time to escape. The tragic tale ends when Alice hears a shot outside the cabin; the sheriff\\\’s men kill the outlaw, even as he was peacefully surrendering. The present painting illustrates the night the couple spend snowed in at the cabin together: \\\“To the outlaw in the Rocky Mountain cabin in that stormy night it was in every respect the climax of his life. As he sat in the doorway looking at the fire and over into the storm beyond, he realized that he was shaken by a wild, crude lyric of passion. Here was, to him, the pure emotion of love. All the beautiful things he had ever heard or read of girlhood, of women, of marriage rose in his mind to make this night an almost intolerable blending of joy and sorrow, hope and despair.\\\” (The Ladies\\\’ Home Journal, vol. 25, no. 7, June 1908, p. 17) Here, Wyeth transforms Garland\\\’s ill-fated character of Hall Mc Cord into the embodiment of the archetypal American cowboy, a handsome fellow gallantly keeping watch during a cold night, wearing his hat and boots with weapon at the ready around his waist. Through a moody environment and nuanced lighting, Wyeth captures the introspection conveyed in the lines of the story and adds a characteristic sense of mystery to the darkly attractive train-robber. Executed during a period in which Scribner's declared that Wyeth's Western pictures had \\\“no equal in his field,\\\” \\\“As He Sat in the Doorway…\\\” conveys the mystique and drama of the Old West and, more particularly, the romance of the characters who inhabited it. Provenance: Schwarz Gallery, Philadelphia, Pennsylvania, circa 1974-75. Judy Goffman Fine Arts, Blue Bell, Pennsylvania. Steven Straw, Newburyport, Massachusetts. Phillips, Boston, Massachusetts, The Steven Straw Collection of American Paintings and Furniture, 2 May 1980, lot 98. Acquired by the late owner from the above. Literature: H. Garland, "The Outlaw and the Girl," The Ladies' Home Journal, vol. 25, no. 7, June 1908, p. 17, illustrated. D. Allen, D. Allen, Jr., N.C. Wyeth: The Collected Paintings, Illustrations and Murals, New York, 1972, p. 261. C.B. Podmaniczky, N.C. Wyeth: Catalogue Raisonné of Paintings, vol. 1, Chadds Ford, Pennsylvania, 2008, pp. 176-77, no. I.215, illustrated.
Newell Convers Wyeth - The Departure Of The Rose

Newell Convers Wyeth - The Departure Of The Rose

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Lot number: 44
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NEWELL CONVERS WYETH (american 1882-1945) "THE DEPARTURE OF THE ROSE" (THE MOTHER OF THE HERO) Signed ''N.C. Wyeth'' bottom right; also with artist and title on label verso, oil on canvas 40 1/2 x 30 in. (102.9 x 76.2cm) provenance: The Artist. Acquired from the above by Mrs. N.C. Wyeth, 1962. Acquired from the above as a gift. The Hickman (Friends Boarding Home), West Chester, Pennsylvania.
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