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15

Property from the Thyssen-Bornemisza Collection SAMUEL COLMAN (1832-1920) View on the Hudson...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:75,000.00 - 125,000.00 USD
Property from the Thyssen-Bornemisza Collection SAMUEL COLMAN (1832-1920) View on the Hudson...
Property from the Thyssen-Bornemisza Collection
SAMUEL COLMAN
(1832-1920)
View on the Hudson
signed "Sam Colman" (lower left)
oil on canvas
15 x 30 1/8 in. (38.1 x 76.2 cm)
painted circa 1865-1869 <p> Estimate: $75,000-125,000 <p> Provenance
Margaret Chapman, Rhinebeck, New York Private Collection, Rhinebeck, New York Alexander Gallery, New York Thomas Colville, New Haven, 1980 Adam Davidson Galleries, Washington, D.C., 1980 Andrew Crispo Gallery, New York, 1980 Thyssen-Bornemisza Collection, Lugano, Switzerland, 1980 <p> Exhibited
Roslyn, New York, Nassau County Museum of Fine Art, William Cullen Bryant and The Hudson River School of Painting, 1981, no. 35 (illustrated) Houston, The Museum of Fine Arts; Oklahoma City, Oklahoma Art Center; Omaha, Joslyn Museum of Art, Nineteenth-Century American Landscape Painting: Selections from the Thyssen-Bornemisza Collection, October 29, 1982-June 19, 1984, no. 14 (illustrated) Rome, Musei Vaticani; Lugano, Villa Malpensata, Maestri Americani della Collezione Thyssen-Bornemisza, 1983-1984, no. 22 and 21 respectively (illustrated) Baltimore, The Baltimore Museum of Art; Detroit, The Detroit Institute of Arts; Denver, The Denver Art Museum; San Antonio, Marion Koogler McNay Art Institute; New York, IBM Gallery of Arts and Sciences; San Diego, San Diego Museum of Art; Palm Beach, The Society of the Four Arts, American Masters: The Thyssen-Bornemisza Collection, October 28, 1984-April 13, 1986, no. 23 (illustrated) Charlottenburg, Museen Preußischer Kulturbesitz, Nationalgalerie and Orangerie des Schlosses; Zürich, Kunsthaus, Bilder aus der Neuen Welt, Amerikanische Malerei des 18 und 19 Jahrhunderts, Meisterwerke aus der Sammlung Thyssen-Bornemisza und Museen der Vereingten Staaten, November 22, 1988-May 1989, no. 34 (illustrated) <p> Literature
Barbara Novak, The Thyssen-Bornemisza Collection: Nineteenth-Century American Painting, New York,1986, p. 138, no. 35 (illustrated, p. 139) Elizabeth Storm Nagy, Europa e America Dipinti e acquerelli Dell'Ottocento e del Novecento dalla Collezione Thyssen-Bornemisza, Milan, 1993, p. 30, no. 9 (illustrated) <p> Samuel Colman was a friend and frequent sketching companion of such second-generation Hudson River painters as Worthington Whittredge, Sanford Gifford, and Jervis McEntee. Early in his career, Samuel Colman had shared a studio, and may even have studied, with Asher B. Durand and thereby gained the precise descriptive powers that underlie his finest works. <p> A two-year sojourn in Europe, between 1860 and 1862, which included study with the Parisian painter Thomas Couture and a lasting personal friendship with George Inness, confirmed a tendency towards softer contours and filtered light. When he returned from Europe in 1862, Colman moved away from the particularities of the prevailing Hudson River aesthetic and towards a looser brushwork and more atmospheric handling of illumination. These tendencies culminated in two of his masterworks, Storm King on the Hudson, 1866 (Smithsonian American Art Museum) and View on the Hudson. <p> We are grateful to Dr. Bruce Chambers for cataloguing this lot.
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