Artist:
N.C. Wyeth
(American, 1882 - 1945)
Sea Gulls
Medium: Oil on canvas mounted on hardboard
Date: 1938
Dimensions:
approximately 26 x 84 in. (66 x 213.3 cm)
Location unknown
Accession number: SUPP2000.1336
Research Number: NCW: 1336
InscribedLower left: N. C. WYETH (underlined)
ProvenanceCol. and Mrs. William N. Campbell, Kennebunk, ME, 1938; St. Anthony's Monastery, Kennebunk, ME, 1947 - 1981; (Richard W. Oliver, Auction and Art Gallery, Kennebunk, ME, Nov. 6, 1981, lot no. 75)
Exhibition HistoryKennebunkport, ME, Arts Festival, Aug. 1967
References
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), M.58, p. 625
Curatorial RemarksDespite later sale material that included Kenneth Roberts in the provenance, correspondence in the Kenneth Roberts collection at Dartmouth College Library makes it clear that this piece was painted for William N. Campbell, a friend of Roberts, at the author's instigation (NCW to Kenneth Roberts, May 29, 1938.)
"The three pieces of canvas are mounted in a thick impasto of white lead on a masonite board. Sealed as it is from the front also, with wax, the painting will last for hundreds of years. I had made a preliminary study of the main group of four gulls and they turned out so well that I applied them to the long panel, adding canvas to the ends. --I feared I could not duplicate the performance" (NCW to KR, as above, Courtesy of Dartmouth College Library). The painting was not adhered to the wall, but framed in a "swell little hand carved moulding...the toning over the gold leaf varied in color (NCW to KR, as above). It remained in the house when the the propery became a monastery in 1947.
"The three pieces of canvas are mounted in a thick impasto of white lead on a masonite board. Sealed as it is from the front also, with wax, the painting will last for hundreds of years. I had made a preliminary study of the main group of four gulls and they turned out so well that I applied them to the long panel, adding canvas to the ends. --I feared I could not duplicate the performance" (NCW to KR, as above, Courtesy of Dartmouth College Library). The painting was not adhered to the wall, but framed in a "swell little hand carved moulding...the toning over the gold leaf varied in color (NCW to KR, as above). It remained in the house when the the propery became a monastery in 1947.
Image Source for printed Catalogue Raisonne:1. print source (Brandywiner River Museum, auction catalogue); 2. archival photo of painting hanging at "Fairfields," although not likely in original position (Brandywine River Museum).
Photo Credit:1. Rick Echelmeyer, 9/20/2006