Artist:
N.C. Wyeth
(American, 1882 - 1945)
Maine Islands
Medium: Probably tempera on hardboard (Renaissance Panel)
Date: ca. 1939 / 1941
Dimensions:
15 1/2 × 23 in. (39.4 × 58.4 cm)
Private collection
Accession number: SUPP2000.2327
Research Number: NCW: 2327
InscribedLower right: MAINE ISLANDS (underlined); lower left: from N. C. WYETH / to HAROLD A. FINLEY 1941; on reverse, partial Renaissance Panel label, no. 701, dated 8/(missing); inscribed along left edge of label in NCW's hand: NOTICE / This panel is WAXED-DO NOT VARNISH-N.C.W. (last line circled by artist); additional label once attached to verso of panel" This picture is / waxed -- Do Not / Varnish -- / N. C. W. (underlined)
ProvenanceThe artist to Harold A. Finley, 1941, and descended in family to 2010; (Somerville Manning Gallery, Greenville, DE, 2010-2011); [NY, NY, Christie's, Nov. 2019, lot no. ]
References
Christine B. Podmaniczky, N. C. Wyeth, Catalogue Raisonne of Paintings (London: Scala, 2008), L.218, p. 773
Curatorial RemarksThis work is dated by the Renaissance Panel label; although the complete panel preparation date is missing, the artist purchased panels numbered 698 through at least 708 on August 11, 1938. Nicholas Wyeth has identified this view from Little Caldwell's Island toward Port Clyde and Hupper Island. The first owner of the painting was a Vice President of Metropolitan Life Insurance Company.
The Renaissance Panel label is adhered at 90 degrees from the orientation of the painting, and appears as if most of the label was peeled off deliberately. It was not unusual for Wyeth to reuse supports, but a conservation examination in 2010 did not reveal an underpainting. The medium, without scientific analysis, is reported as "probably thinned down tempera" (Joyce Hill Stoner, May 16, 2010). A heavy layer of nicotine film and stained coatings (visible in 2008 publication) were removed during treatment, giving the painting a much different appearance (website image).
The Renaissance Panel label is adhered at 90 degrees from the orientation of the painting, and appears as if most of the label was peeled off deliberately. It was not unusual for Wyeth to reuse supports, but a conservation examination in 2010 did not reveal an underpainting. The medium, without scientific analysis, is reported as "probably thinned down tempera" (Joyce Hill Stoner, May 16, 2010). A heavy layer of nicotine film and stained coatings (visible in 2008 publication) were removed during treatment, giving the painting a much different appearance (website image).
Image Source for printed Catalogue Raisonne:hardcover: Photography directly from artwork; website: Photography directly from artwork
Photo Credit:hardcover: Rick Echelmeyer, digital photography from snapshot, 12/1/2006; website: Jim Schneck, 6/2010