| 中文版 English

具体要求

其它要求

-
关闭
Jane Peterson (American, 1876-1965). Gloucester Harbor, Circa 1915-16. Oil on canvas. 30 x 40 inches...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
拍品描述 翻译
Jane Peterson (American, 1876-1965)
Gloucester Harbor, Circa 1915-16
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower right: Jane Peterson
PROVENANCE:
Private collection, circa 1950;
By descent to the present owner.
EXHIBITED:
(Possibly) Newark Museum Association, Newark, New Jersey, "6th Annual Exhibition of 1916," 1916;
(Possibly) Corcoran Gallery of Art, Washington, D.C., "Sixth Exhibition of Contemporary American Artists of 1916-1917," 1916-17, no. 288 (as The Harbor, Gloucester).
During the first half of the twentieth century, one of the most socially acceptable venues for women to express their creativity was through participation in the male-dominated world of the fine arts. Jane Peterson, a fixture on the American art scene, had an unwavering devotion to her sense of self as an artist. She subsequently developed an Impressionist-Fauvist style that is uniquely her own. Executed in what is arguably her best period, Gloucester Harbor depicts one of the artist's most celebrated subjects with her signature brilliant palette and dynamic brushwork.
Peterson's determination to be an artist began at a young age. When she was eighteen, she moved from Elgin, Illinois to New York and in 1896, she began her formal training at the Pratt Institute under the instruction of Arthur Wesley Dow. In 1901, Peterson studied with Frank DuMond at the Art Students League. Over the next decade Peterson held various teaching positions that brought her to Boston and Maryland. During this time, she continued her studies at the Art Students League as well as with the leading European artists of the period such as Frank Brangwyn, Jacques-Emile Blance and Joaquin Sorolla y Bastida in Paris, Venice and Madrid. She also traveled extensively throughout North Africa visiting exotic locales such as Biskra, Algiers and Cairo.
Upon her return to the United States, Peterson continued her travels. After visiting the pacific Northwest with artist and friend Louis Comfort Tiffany, she frequented the various artist's colonies that dotted the Massachusetts coast line including Gloucester and Martha's Vineyard. Drawing inspiration from her travels both domestic and abroad, Peterson produced a diverse body of work that she exhibited at various institutions such as the Société des Artistes Francais, St. Botolph Club in Boston, the Art Institute of Chicago and in 1915 at the Panama Pacific International Exposition in San Francisco.
In Gloucester Harbor, Peterson employs grand brush strokes and an assertive line, creating a mosaic effect of highly expressive tones of blue, pink and yellow offset by pure whites. Peterson's style had become very definitive and has been described by Jonathan J. Joseph: "Her linear construction directed a viewer along a definite course and did not allow the viewer's attention to wander. Her tonal masses dominated lines and defined form, while subtle, thin oscillating lines emphasized form edges to better display the juxtapositioning of dark and light color areas. In some ways, Peterson's paintings resemble cloisonné, in that color is often surrounded by a thin outlining of charcoal or contrasting paint much like the thin wires of cloisonné surround enamel. However, lines do not encompass or totally contain color areas, but combine in a grand decorative order and show control in carefreeness. The work of Peterson becomes a sensuous place in the commonplace movements of nature." (Jane Peterson: An American Artist, Boston, Massachusetts, 1981, p. 17)
Gloucester Harbor demonstrates Peterson at the height of her abilities. The innovative stylistic elements are the fundamental characteristics of her style that garnered her critical acclaim. Particularly impressed by her innovative approach to painting, one reviewer remarked in 1917 that "Miss Jane Peterson uses strong colors and broad brush to give the facts about docks and fishing craft and harbours in a somewhat knock-you-down fashion." (as quoted in Jane Peterson: An American Artist, p. 32)
The present work is accompanied by two exhibition labels that have since been removed from the reverse and preserved.
Condition Report*: Wax lined canvas. Under UV exam, there appears to be scattered inpaint, most concentrated in the sky, and lower foreground of the water, and a few minor spots in the dock and boats. The E in Jane appears to be reinforced. Scattered craquelure. Mild surface soiling. Faint stretcher bar lines visible. Framed Dimensions 35 X 45 Inches

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1
10
2
50
5
100
10
200
20
500
50
1,000
100
2,000
200
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
200,000
20,000
500,000
25,000
1,000,000
50,000
2,000,000
100,000
10,000,000
200,000
+

价格信息

拍品估价:80,000 - 120,000 美元 起拍价格:80,000 美元  买家佣金:
落槌价 佣金比率
0 - 300,000 25.00% + VAT
300,000 - 3,000,000 20.00% + VAT
3,000,000 - 以上 15.00% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Heritage Auctions
地址: 2801 W Airport Fwy Northwest corner of West Airport Freeway and, Valley View Ln, Dallas, TX 75261
邮编: 90212
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士