.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
SANFORD ROBINSON GIFFORD (1823-1880)
Highlands on the Hudson
细节
SANFORD ROBINSON GIFFORD (1823-1880)
Highlands on the Hudson
signed and dated 'SR Gifford/1880' (lower left)
oil on board
5 ¾ x 8 ¼ in. (14.6 x 21 cm.)
Painted in 1880.
Highlands on the Hudson
signed and dated 'SR Gifford/1880' (lower left)
oil on board
5 ¾ x 8 ¼ in. (14.6 x 21 cm.)
Painted in 1880.
来源
(Possibly) Mary McVicker, New York.
Sotheby's, New York 24 May 1990, lot 13.
Acquired by the present owner from the above.
Sotheby's, New York 24 May 1990, lot 13.
Acquired by the present owner from the above.
出版
The present work may have been finished and revisited in 1880 to be presented as a gift to the artist's friend Mary McVicker, who left that year for an extended stay in Europe with her husband, actor Edwin Booth. According to Ila Weiss, the artist may have begun the present work in 1860, when he and fellow artist Jervis McEntee embarked upon sketching trips in the Hudson Highlands, then later revisited the composition and signed it in 1880. "Stylistic elements [in the present work] speak of Gifford’s work of the mid-1850s to mid-1860s...The narrow peninsula projecting onto and reflected in the water is clarified. It is answered by a favorite effect of the artist, pinpoints of light on distant sails and their reflections strung along the distant shore, piercing the haze, with hilly forms beyond, masterfully sculpted in air with adjacent tones of warmer and cooler colors, hints of salmon, green-yellow, purple-gray. Also characteristic of the earlier style is the scumbling of paint in the sky, exploiting tiny dots of the white of the canvas to effect light glowing through haze, its gray-blue tinged toward the horizon with yellow and pink. Two figures standing at the brink of the road, conjured with just a few brushstrokes, recollect figures on roads in paintings of the earlier period, but may have been a later addition, now prominently positioned as a color feature, their eye-catching marks of red, yellow, white, and blue, with pale orange for skin, in conversation with the multi-hued foliage. The predominance throughout of salmon-tan, with cooler shadings mixing grays and dark brown, certainly exemplifies Gifford’s palette of c. 1860." (unpublished letter, August 2025)
更多详情
A letter from the recognized expert on the artist, Dr. Ila Weiss, accompanies this lot.
荣誉呈献
Quincie Dixon
Associate Specialist, Head of Sale