LOT 209
上一件
下一件
Andrew Wyeth Archie’s Corner
作品估价：USD 25,000 - 35,000
货币换算
成交状态：未知
买家佣金拍卖企业在落槌价的基础上收取买家佣金
26%
图录号：
209
拍品名称：
Andrew Wyeth Archie’s Corner
拍品描述：
Property from the Brady Family Collection
Andrew Wyeth
1917 - 2009
Archie's Corner
signed Andrew Wyeth (lower right)
graphite on paper
13 ¾ by 19 ½ in.
34.9 by 49.5 cm.
Executed in 1953.
The Andrew & Betsy Wyeth Study Center of the Brandywine Museum of Art confirms that this object is recorded in Betsy James Wyeth’s files.
Dr. Margaret Irving Handy, Chadds Ford, Pennsylvania (acquired by 1963)
Acquired in 1977 by the present owner
Richard Meryman, Andrew Wyeth, Boston, 1968, p. 10, illustrated
Betsy James Wyeth, Wyeth at Kuerners, Boston, 1976, illustrated
Maine, Museum of Art of Ogunquit, Third Annual Exhibition: American of Our Times and Andrew Wyeth, 1955
Philadelphia, Pennsylvania Academy of the Fine Arts, One Hundred and Fifty-Second Annual Exhibition of Watercolors, Prints and Drawings, 1957
Cambridge, Massachusetts, The Fogg Museum; New York, The J. Pierpont Morgan Library; Washington, D.C., Corcoran Gallery of Art and Rockland, Maine, William A. Farnsworth Library and Museum, Andrew Wyeth: Dry Brush and Pencil Drawings, 1963, no. 13, n.p., illustrated
Philadelphia, Pennsylvania Academy of the Fine Arts; Baltimore Museum of Art; New York, Whitney Museum of American Art and Art Institute of Chicago, Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings, 1966-67, no. 63, p. 46
Chadds Ford, Pennsylvania, The Brandywine Museum of Art, The Brandywine Valley, 1973
New York, Metropolitan Museum of Art, Two Worlds of Andrew Wyeth, 1976-77
Altoona, Pennsylvania, Southern Alleghenies Museum of Art; Pennsylvania, Pittsburgh Plan for Art, and Pennsylvania, Allentown Art Museum, The 1981 Hazlett Memorial Awards Exhibition for the Visual Arts, 1981, no. 24
New York, Whitney Museum of American Art, Unknown Terrain: The Landscapes of Andrew Wyeth, 1998, no. 43, pp. 99 and 217, fig. 80, illustrated
Executed in 1953, Archie’s Corner conveys Andrew Wyeth's intimate connection to his rural Pennsylvania roots. The present work was created as a study for Snow Flurries (1953), currently in the collection of the National Gallery of Art. Wyeth’s skilled use of pencil to capture the degradation of the local church demonstrates the artist’s dynamic talent. Known affectionately as Archie’s Corner for its position at the intersection of two streets, the church in Wyeth’s hometown of Chadds Ford, Pennsylvania was built by preacher Linda A. Archie in the 1890s. This church is a frequently recurring motif within Wyeth’s oeuvre, revealing the landmark’s personal significance to the artist.
Archie’s Corner's moving depiction of a church falling into ruin is a testament to Wyeth’s meticulous and immersive sketching process. The present work’s psychological depth conveys the artist’s commitment to careful observation and intense study of his subjects over long periods of time. Wyeth pays particular attention to capturing the spirit of his subjects. In the present drawing, the isolation and solitary presence of the church is deeply felt, contrasted against a sparse winter landscape.
Further testifying to its significance, the present work has been included in several major institutional exhibitions of Wyeth's work, including Two Worlds of Andrew Wyeth at the Metropolitan Museum of Art in 1976 and Unknown Terrain: The Landscapes of Andrew Wyeth, which took place at the Whitney Museum of American Art in 1998.
Andrew Wyeth
1917 - 2009
Archie's Corner
signed Andrew Wyeth (lower right)
graphite on paper
13 ¾ by 19 ½ in.
34.9 by 49.5 cm.
Executed in 1953.
The Andrew & Betsy Wyeth Study Center of the Brandywine Museum of Art confirms that this object is recorded in Betsy James Wyeth’s files.
Dr. Margaret Irving Handy, Chadds Ford, Pennsylvania (acquired by 1963)
Acquired in 1977 by the present owner
Richard Meryman, Andrew Wyeth, Boston, 1968, p. 10, illustrated
Betsy James Wyeth, Wyeth at Kuerners, Boston, 1976, illustrated
Maine, Museum of Art of Ogunquit, Third Annual Exhibition: American of Our Times and Andrew Wyeth, 1955
Philadelphia, Pennsylvania Academy of the Fine Arts, One Hundred and Fifty-Second Annual Exhibition of Watercolors, Prints and Drawings, 1957
Cambridge, Massachusetts, The Fogg Museum; New York, The J. Pierpont Morgan Library; Washington, D.C., Corcoran Gallery of Art and Rockland, Maine, William A. Farnsworth Library and Museum, Andrew Wyeth: Dry Brush and Pencil Drawings, 1963, no. 13, n.p., illustrated
Philadelphia, Pennsylvania Academy of the Fine Arts; Baltimore Museum of Art; New York, Whitney Museum of American Art and Art Institute of Chicago, Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings, 1966-67, no. 63, p. 46
Chadds Ford, Pennsylvania, The Brandywine Museum of Art, The Brandywine Valley, 1973
New York, Metropolitan Museum of Art, Two Worlds of Andrew Wyeth, 1976-77
Altoona, Pennsylvania, Southern Alleghenies Museum of Art; Pennsylvania, Pittsburgh Plan for Art, and Pennsylvania, Allentown Art Museum, The 1981 Hazlett Memorial Awards Exhibition for the Visual Arts, 1981, no. 24
New York, Whitney Museum of American Art, Unknown Terrain: The Landscapes of Andrew Wyeth, 1998, no. 43, pp. 99 and 217, fig. 80, illustrated
Executed in 1953, Archie’s Corner conveys Andrew Wyeth's intimate connection to his rural Pennsylvania roots. The present work was created as a study for Snow Flurries (1953), currently in the collection of the National Gallery of Art. Wyeth’s skilled use of pencil to capture the degradation of the local church demonstrates the artist’s dynamic talent. Known affectionately as Archie’s Corner for its position at the intersection of two streets, the church in Wyeth’s hometown of Chadds Ford, Pennsylvania was built by preacher Linda A. Archie in the 1890s. This church is a frequently recurring motif within Wyeth’s oeuvre, revealing the landmark’s personal significance to the artist.
Archie’s Corner's moving depiction of a church falling into ruin is a testament to Wyeth’s meticulous and immersive sketching process. The present work’s psychological depth conveys the artist’s commitment to careful observation and intense study of his subjects over long periods of time. Wyeth pays particular attention to capturing the spirit of his subjects. In the present drawing, the isolation and solitary presence of the church is deeply felt, contrasted against a sparse winter landscape.
Further testifying to its significance, the present work has been included in several major institutional exhibitions of Wyeth's work, including Two Worlds of Andrew Wyeth at the Metropolitan Museum of Art in 1976 and Unknown Terrain: The Landscapes of Andrew Wyeth, which took place at the Whitney Museum of American Art in 1998.