The following
description for has been prepared entirely by the current owner, Roberts S.
Fastov, Esq., and, at the
collector’s request, has not been edited by Sloans & Kenyon
Note 1) The following biographical materials are taken from
the Askart.com website:
"Described as one of
America's most imaginative painters, Albert Pinkham Ryder, was born in 1847
in New Bedford, Massachusetts, across the street from the family home of Albert
Bierstadt. Ryder entered the National Academy of Design in 1870 and he remained
for four school years, until 1875. Soon he became allied with the group of more
progressive artists who formed the Society of American Artists in 1877. J.
Alden Weir was one of his best friends.
Also
in 1877 Ryder made his first trip abroad, to London; he spent the summer of
1882 in Europe and North Africa. Ryder expressed admiration for Rembrandt and
he seems to been inspired by Delacroix, Corot, Millet and perhaps Monticelli.
Between
1878 and 1887 Ryder exhibited at the Society of American Artist group shows, as
well as at the National Academy. In 1888, after hearing the New York premiere
of Wagner's "Twilight of the Gods", he rushed home to paint his
highly dramatic "Siegfried and the Rhine Maidens", which is arguably
an example of synaesthesia: a perfect harmony of poetry, music and
painting.
Ryder
was criticized as a figure painter but admired as a colorist. Early on,
Ryder had admirers and followers, such as Ralph Blakelock, and many good
friends in the circle of Richard Watson Gilder and his wife Helena de Kay.
Ryder was influenced by the eccentric painter Robert Loftin Newman (1827-1912),
who had a similar mystical point of view.
Ryder
developed his own personal technique, using a dark palette, heavy pigment with
multiple layers and glazes to create an inner luminosity, but his application
of paint was experimental, which frequently resulted in cracking. But for
contemporaries, such as Charles de Kay, Ryder's "pictures glow with an
inner radiance, like some minerals." His images contain solid but organic
forms that some describe as powerful and full of energy and at the same time,
they are pleasing, decorative patterns.
Ryder
chose Romantic, poetic and spiritual themes: he was a visionary who believed
that an artist must "remain true to his dream." Shakespeare and the
Bible were his major sources, but he was usually content with representing
dream-like moonlit seascapes with single vessels. His drawing upon the unconscious
and inspiration from mysterious forces in the creative process forecasts both
Surrealism and Abstract Expressionism. Visually speaking, Ryder anticipates
later American abstract painters such as Arthur Dove and Marsden Hartley, who
also focused on bold silhouette forms. The Syrian-American poet Kahlil Gibran
called on Ryder frequently.
After
1900, Ryder became more of a recluse. He lived frugally and stated, "the
artist needs but a roof . . . a crust of bread and his easel . . . and all the
rest God gives him in abundance." He was a genuine artist who cared
nothing for the "good life" to which most artists of his era aspired.
Ryder compared himself to the inch worm who crawls up a leaf, then, hanging on
to the edge, extends his twisting body, feeling for something beyond:
"That's like me. I am trying to find something out there beyond the place
on which I have a footing."
Ryder
received a silver medal at the Pan-American Exposition in Buffalo in 1901,
where Jonah, Siegfried and the Rhine Maidens and The Temple of the Mind were on
view. Meanwhile, collectors were seeking out his works John Gellatly would
donate seventeen canvases to the National Gallery and important critics were
writing ardent appreciations, from Sadakichi Hartmann, one of the first to discover
him, to Roger Fry, who admired Ryder's formal compositions. Walter Pach saw in
Ryder's works a perfect marriage of form and content. It seems fitting that ten
of his paintings appeared at the Armory Show. Ryder died just after his
seventieth birthday, in 1917.
Written
and submitted March 2005 by Michael Preston Worley, Ph.D., Chicago (Emphasis
added)."
Note 2): According to Wikopedia: “Ryder's
signature style is characterized by broad, sometimes ill-defined shapes or
stylized figures situated in a dream-like land or seascape. His scenes
are often illuminated by dim sunlight or glowing moonlight cast through eerie
clouds. The shift in Ryder's art from postal landscapes to more mystical,
enigmatic subjects is believed to have been influenced by Robert Loftin
Newman, with whom
Ryder shared a studio…. [A]fter the turn of the century [1900], his fame grew.
Important collectors of American art sought Ryder paintings for their holdings
and often lent choice examples for national art exhibitions, as Ryder himself
had lost interest in actively exhibiting his work. In 1913, ten of his
paintings were shown together in the historic Armory Show, an honor
reflecting the admiration felt towards Ryder by modernist artists of the time
who saw his work as a harbinger of American modernist art….By 1915 Ryder's
health deteriorated, and he died on March 28, 1917, at the home of a friend who
was caring for him. A memorial exhibition of his work was held in the Metropolitan
Museum of Art in New York in
1918. While the works of many of Ryder's contemporaries were partly or mostly
forgotten through much of the 20th century, Ryder's artistic reputation has
remained largely intact owing to his unique and forward-looking style. Ryder
was—along with Thomas
Hart Benton, David Siqueiros and Pablo Picasso—an important
influence on Jackson Pollock's paintings….Ryder
used his materials liberally and without care. His paintings, which he often
worked on for ten years or more, were built up of layers of paint and varnish
applied on top of each other. He would often paint into wet varnish, or apply a
layer of fast-drying paint over a layer of slow-drying paint. The result is
that paintings by Ryder remain unstable and become much darker over time; they
crack readily, do not fully dry even after decades, and sometimes completely
disintegrate. Because of this, and because some Ryder paintings were completed
or reworked by others after his death, many Ryder paintings appear very
different today than they did when first created. Many of his paintings
suffered damage even during Ryder's lifetime, and he tried to restore them in
his later years (Emphasis added.)”
This painting, which has been entitled “Toilers
Of The Sea” clearly manifests the heavy craquelure and darkening that Wikipedia
discusses above. It is an example of and variant of one of Ryder's favorite
themes, a ketch or small ship, sometimes with or without people being visible
in the ketch or small ship, being jostled or visibly threatened by the sea,
against a nighttime sky, with or without the moon visible, or relatively dark
sky, sometimes, with a yellowish caste to the sky and/or water. Both of these
characteristics, that is---the poor condition and heavy craquelure, as well as
these thematic, coloring and stylistic aspects, are clearly manifested in the
examples illustrated below from a number of museum collections. Art Cyclopedia
website lists and illustrates Ryder paintings held by 29 museums. Of these
museums, 10 own Ryder paintings manifesting these thematic characteristics, and
three of them, the Metropolitan Museum of Art, New York City, the Smithsonian
American Art Museum, Washington, D.C. and Addison Gallery of Art, Andover,
Massachusetts own 3, 4 and 2 Ryder paintings, respectively, which have these
thematic characteristics. Based on extensive research with regard to this
painting, it is not a fake or a copy of a known Ryder painting, although it
bears strong thematic and stylistic similarities with a number of these museum
examples, which are sui generis
versions of this theme and are not copies of a Ryder painting in another museum
collection, as is the case, with this lot being offered for sale. What is
symbolically evident in virtually all of these Ryder paintings is the power of
nature through the unleashed dynamic and force of the sea and its waves and
implicitly the limited ability of man to cope with the power of the sea; the implicit
awe in which man should regard the power of nature and the sea; and yet, the
ability of man to cope with and survive this powerful force of the sea and
nature.
Note 3) Examples Of Ryder Paintings And A Drawing In Museum Collections
Demonstrating Craquelure And/Or Other Condition Problems And The Themes Of A
Ketch Or Small Ship With Or Without Visible Figures In The Ship Being Jostled
By The Sea With A Nighttime Or Dark Sky. Unfortunately, a few photographs
contained herein are reduced from those displayed in the museum’s format or the
photographs in the museum format is too small to show clearly the craquelure
and/or other damage to the surface of the painting. But such craquelure and
surface damage does exist in virtually all of the Ryder paintings.
With Sloping Mast and Dipping Prow, ca. 1880-1885
Albert
Pinkham Ryder Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
12 x 12 in. (30.4 x 30.4 cm.)
Gift of John Gellatly 1929.6.102
Smithsonian American Art Museum
Albert
Pinkham Ryder (1847–1917)
Moonlight on the Sea, 1884
Oil
on wood panel
11
½ x 15 ⅞ in. (29.2 x 40.3 cm.)
Signed
lower right of center: A P Ryder
Roland
P. Murdock Collection
M72.47
Wichita
Art Museum, Kansas
Flying
Dutchman, completed by 1887
Albert Pinkham Ryder
Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
14 1/4 x 17 1/4 in. (36.1 x 43.8 cm.)
Gift of John Gellatly 1929.6.95
Smithsonian American Art Museum
Inscription: Lower right:
Ryder
Accession Number: 33.365
Jonah, ca.
1885-1895
Albert
Pinkham Ryder Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
27 1/4 x 34 3/8 in. (69.2 x 87.3 cm.)
Gift of John Gellatly 1929.6.98
Smithsonian
American Art Museum
Moonlight, 1887
Albert
Pinkham Ryder
Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on mahogany panel, cradled 15
7/8 x 17 3/4 in. (40.4 x 45.0 cm)
Gift of William T. Evans 1909.10.2
Smithsonian American Art Museum
Artist: Albert Pinkham Ryder (1847–1917)
Title: Moonlight Marine
Date: 1870–90
Medium: Oil and possibly wax on wood
panel
Dimensions: 11 1/2 x 12 in. (29.2 x
30.5 cm)
Classification: Paintings
Credit Line: Samuel D. Lee Fund,
1934
Accession Number: 34.55
Metropolitan Museum of Art
CREATOR(S)
Albert Pinkham Ryder
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Carnegie Museum of Art, Pittsburgh,
Pennsylvania
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Phillips Collection, Washington, D.C.
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Addison Gallery of Art, Andover,
Massachusetts
Artist: Albert Pinkham Ryder (1847–1917)
Title: The Toilers of the Sea
Date: ca. 1880–85
Medium: Oil on wood
Dimensions: 11 1/2 x 12 in. (29.2 x
30.5 cm)
Classification: Paintings
Credit Line: George A. Hearn Fund,
1915
Accession Number: 15.32
Metropolitan Museum of Art
Artist: Albert Pinkham Ryder (1847–1917)
Title Under a Cloud
Date: ca. 1900
Medium: Oil on canvas
Dimensions: 20 x 24 in. (50.8 x 61
cm)
Classification: Paintings
Credit Line: Gift of Alice E. Van
Orden, in memory of her husband, Dr. T. Durland
Van Orden, 1988
Accession Number: 1988.353
Metropolitan Museum of Art
Albert Pinkham Ryder
20th century
Oil on canvas
13 1/2 x 17 ½ inches
Provenance: The artist;
Mr. Peiffer, Philadelphia; to MFA, 1933, purchased for $1,200.
Credit Line: Ellen
Kelleran Gardner Fund
Boston Museum of Fine Arts
Marine,
Moonlight
Artist:
Albert Pinkham Ryder, American, 1847-1917
Medium:
Oil on panel
Dates:
1890's
Dimensions:
11 3/8 x 12 1/16 in. (28.9 x 30.6 cm)
Signature:
Signed lower right "Ryder"
Collections:
American Art
Accession
Number: 54.184
Credit
Line: Gift of Mr. and Mrs. Solton Engel
Brooklyn
Museum of Art, New York
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Ball State University Museum of Art,
Indiana
Albert Pinkham Ryder, American 1896
Oil on canvas
27 7/8 x 35 5/8 inches
Accession Number: 45.770
Provenance: The artist;
Sir William Van Horne, Montreal, before 1905; to Lady Van Horne, Montreal, by
1918; Art Association of Montreal; to MFA, 1945, purchased for $3,000.
Credit Line: A. Shuman
Collection
Boston Museum of Fine Arts
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Addison Gallery of Art, Andover,
Massachusetts
American, 1847-1917
The Flying
Dutchman, ca. 1890-1900
19th Century American Drawing
Graphite, pen and india ink with
scraping on wove paper7 5/16 in. x 7 15/16 in. (18.6 cm x 20.2 cm), sheet
(irregular)
Gift of Dr. and Mrs. James H.
Lockhart, Jr., 77.150
Memorial Art Gallery of the
University of Rochester
Note 4) The following Askart.com
and Artprice.com records regarding sales warrant the conclusion that the
presale estimate of $30,000-$60,00 is reasonable and justifiable. The highest
auction price ever paid for a Ryder painting entitled “Landscape,” which was
estimated to bring between $40,000-$60,000 and was 9" x 13", was sold
by Sotheby’s, New York on 12/1/2004 for $209,600 as lot 29. Very few of Ryder’s
oil paintings have sold since May 18, 2004, when “At the Ford,” which was
estimated to bring between $40,000-$60,000, which was 12" x 11.50"
was sold by Christie’s New York for $113,530 as lot 63. The last Ryder painting
to be offered and sold, “Pastoral Landscape,” which was 8" x 14.50"
was sold for $40,000 on 12/10/2010 by Sotheby’s New York, with an estimate of
$30,000-$50,00, as lot 120. In between, all but one of the Ryder paintings,
that sold, sold for in excess of $30,000 or failed to sell, but with the
following very high estimates: $120,000-$180,000 for “The Lorelei” (22.50"
x 19.25"); $80,000-$120,00 and for “The Lone Horseman” (7.75" x
14.50"), with an estimate of $30,000-$50,000 for “Night” (12.50" x
10.25"), which was a very non-descript painting, by Christie’s New York on
12/01/2010, as lots 87, 88, and 89, respectively. Similarly, Christie’s New
York offered “The Farmyard” (12.70" x 10.70") twice unsuccessfully,
with estimates of $80,000-$120,000 on 11/29/2007 and $30,000-$50,000 on
3/5/2009, as lots 78 and 135, respectively. Shannon Fine Art Auctioneers
sold “Landscape Of Woman And Child” (9.38" x 9.38") for $33,000, with
estimates of $25,000-$35,000, on 05/01/2008 as lot 100 The New
Orleans Auction Galleries Inc. failed to sell “Journey's End” (8.25" x
8.75"), with an estimate of $70,000-$100,000, on 03/24/2007-03/25/2007 as
lot 1002. Heritage
Auctions sold “Pond in Moonlight” for $19,500, with
estimates of $40,000-$60,000 on 11/17/2005-11/18/2005 as lot 3013. Thomaston
Place Auctioneers sold “Fishing Skiff on Stormy Sea” (15" x 19.50")
for $33,000, with estimates of $40,000-$60,000, and “The Smugglers Retreat”
(14" x 16") for $49,500, with estimates of $50,000-$60,000, on
08/27/2005 as lots 125 and 130, respectively. None of these Ryder paintings
had the same or similar theme/subject matter as manifested in this auction lot,
“Toilers of the Sea.” Per artprice.com, Kaminski Auctions sold “Misty
Moonlight” (11 ¼" x 11 ¾") for $105,000, with an estimate of
$60,000-$90,000, on 4/30/2006 as lot 100, which was not illustrated. Factors
that should be considered in terms of the reader's assessing the reasonableness
of the presale estimate of $30,000-$60,000 are that Ryder's small paintings
have brought $113,530 and $209,600 on 2 of the 16 Ryder paintings listed by
Askart.com from 1989-2010 and $105,000 for 1 Ryder painting, listed as part of
the 15 Ryder paintings listed by artprice.com from 1999-2010. The following two
Ryder paintings, both of which are larger than this auction's painting, but
were both unsigned, are the only Ryder paintings of a ketch or small ship being
jostled or threatened by the sea, against a night sky, with or without a moon,
or a relatively dark sky that have sold at auction. However, "Fishing Skiff on Stormy Sea," the painting that brought $33,000, and "The Smugglers
Retreat," the painting, that
brought $49,500, support the presale estimate of $30,000-$60,000. Another
factor which supports such presale estimate is that this Ryder auction painting
“Toilers of the Sea,” manifests one of Ryder’s favorite and best themes/subject
matter, that is part of many important museum collections, as set forth above,
which may have been a factor that was not properly assessed and did not
positively affect the auction bidding on these two other Ryder paintings. The
above illustrations of these Ryder paintings of a ketch or small ship being
jostled or visibly threatened by the sea, against a night sky, with or without
a moon, or a relatively dark sky, often with a yellowish caste to the sky and
water make clear the relevance and importance of this museum collection factor
in assessing the value of this Ryder auction lot, “Toilers of the Sea.”
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Title: Fishing Skiff on Stormy Sea |
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Title: The Smugglers Retreat |
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Note 1) The following biographical materials are taken from
the Askart.com website:
"Described as one of
America's most imaginative painters, Albert Pinkham Ryder, was born in 1847
in New Bedford, Massachusetts, across the street from the family home of Albert
Bierstadt. Ryder entered the National Academy of Design in 1870 and he remained
for four school years, until 1875. Soon he became allied with the group of more
progressive artists who formed the Society of American Artists in 1877. J.
Alden Weir was one of his best friends.
Also
in 1877 Ryder made his first trip abroad, to London; he spent the summer of
1882 in Europe and North Africa. Ryder expressed admiration for Rembrandt and
he seems to been inspired by Delacroix, Corot, Millet and perhaps Monticelli.
Between
1878 and 1887 Ryder exhibited at the Society of American Artist group shows, as
well as at the National Academy. In 1888, after hearing the New York premiere
of Wagner's "Twilight of the Gods", he rushed home to paint his
highly dramatic "Siegfried and the Rhine Maidens", which is arguably
an example of synaesthesia: a perfect harmony of poetry, music and
painting.
Ryder
was criticized as a figure painter but admired as a colorist. Early on,
Ryder had admirers and followers, such as Ralph Blakelock, and many good
friends in the circle of Richard Watson Gilder and his wife Helena de Kay.
Ryder was influenced by the eccentric painter Robert Loftin Newman (1827-1912),
who had a similar mystical point of view.
Ryder
developed his own personal technique, using a dark palette, heavy pigment with
multiple layers and glazes to create an inner luminosity, but his application
of paint was experimental, which frequently resulted in cracking. But for
contemporaries, such as Charles de Kay, Ryder's "pictures glow with an
inner radiance, like some minerals." His images contain solid but organic
forms that some describe as powerful and full of energy and at the same time,
they are pleasing, decorative patterns.
Ryder
chose Romantic, poetic and spiritual themes: he was a visionary who believed
that an artist must "remain true to his dream." Shakespeare and the
Bible were his major sources, but he was usually content with representing
dream-like moonlit seascapes with single vessels. His drawing upon the
unconscious and inspiration from mysterious forces in the creative process
forecasts both Surrealism and Abstract Expressionism. Visually speaking, Ryder
anticipates later American abstract painters such as Arthur Dove and Marsden
Hartley, who also focused on bold silhouette forms. The Syrian-American poet
Kahlil Gibran called on Ryder frequently.
After
1900, Ryder became more of a recluse. He lived frugally and stated, "the
artist needs but a roof . . . a crust of bread and his easel . . . and all the
rest God gives him in abundance." He was a genuine artist who cared
nothing for the "good life" to which most artists of his era aspired.
Ryder compared himself to the inch worm who crawls up a leaf, then, hanging on
to the edge, extends his twisting body, feeling for something beyond:
"That's like me. I am trying to find something out there beyond the place
on which I have a footing."
Ryder
received a silver medal at the Pan-American Exposition in Buffalo in 1901,
where Jonah, Siegfried and the Rhine Maidens and The Temple of the Mind were on
view. Meanwhile, collectors were seeking out his works John Gellatly would
donate seventeen canvases to the National Gallery and important critics were
writing ardent appreciations, from Sadakichi Hartmann, one of the first to
discover him, to Roger Fry, who admired Ryder's formal compositions. Walter
Pach saw in Ryder's works a perfect marriage of form and content. It seems
fitting that ten of his paintings appeared at the Armory Show. Ryder died
just after his seventieth birthday, in 1917.
Written
and submitted March 2005 by Michael Preston Worley, Ph.D., Chicago (Emphasis
added)."
Note 2): According to Wikopedia: “Ryder's
signature style is characterized by broad, sometimes ill-defined shapes or
stylized figures situated in a dream-like land or seascape. His scenes
are often illuminated by dim sunlight or glowing moonlight cast through eerie
clouds. The shift in Ryder's art from postal landscapes to more mystical,
enigmatic subjects is believed to have been influenced by Robert Loftin
Newman, with whom
Ryder shared a studio…. [A]fter the turn of the century [1900], his fame grew.
Important collectors of American art sought Ryder paintings for their holdings
and often lent choice examples for national art exhibitions, as Ryder himself
had lost interest in actively exhibiting his work. In 1913, ten of his
paintings were shown together in the historic Armory Show, an honor
reflecting the admiration felt towards Ryder by modernist artists of the time
who saw his work as a harbinger of American modernist art….By 1915 Ryder's
health deteriorated, and he died on March 28, 1917, at the home of a friend who
was caring for him. A memorial exhibition of his work was held in the Metropolitan
Museum of Art in New York in
1918. While the works of many of Ryder's contemporaries were partly or mostly
forgotten through much of the 20th century, Ryder's artistic reputation has
remained largely intact owing to his unique and forward-looking style. Ryder
was—along with Thomas
Hart Benton, David Siqueiros and Pablo Picasso—an important
influence on Jackson Pollock's paintings….Ryder
used his materials liberally and without care. His paintings, which he often
worked on for ten years or more, were built up of layers of paint and varnish
applied on top of each other. He would often paint into wet varnish, or apply a
layer of fast-drying paint over a layer of slow-drying paint. The result is
that paintings by Ryder remain unstable and become much darker over time; they
crack readily, do not fully dry even after decades, and sometimes completely
disintegrate. Because of this, and because some Ryder paintings were
completed or reworked by others after his death, many Ryder paintings appear
very different today than they did when first created. Many of his paintings
suffered damage even during Ryder's lifetime, and he tried to restore them in
his later years (Emphasis added.)”
This painting, which has been entitled “Toilers
Of The Sea” clearly manifests the heavy craquelure and darkening that Wikipedia
discusses above. It is an example of and variant of one of Ryder's favorite
themes, a ketch or small ship, sometimes with or without people being visible
in the ketch or small ship, being jostled or visibly threatened by the sea,
against a nighttime sky, with or without the moon visible, or relatively dark
sky, sometimes, with a yellowish caste to the sky and/or water. Both of these characteristics,
that is---the poor condition and heavy craquelure, as well as these thematic,
coloring and stylistic aspects, are clearly manifested in the examples
illustrated below from a number of museum collections. Art Cyclopedia website
lists and illustrates Ryder paintings held by 29 museums. Of these museums,
10 own Ryder paintings manifesting these thematic characteristics, and three of
them, the Metropolitan Museum of Art, New York City, the Smithsonian American
Art Museum, Washington, D.C. and Addison Gallery of Art, Andover, Massachusetts
own 3, 4 and 2 Ryder paintings, respectively, which have these thematic
characteristics. Based on extensive research with regard to this painting, it
is not a fake or a copy of a known Ryder painting, although it bears strong
thematic and stylistic similarities with a number of these museum examples,
which are sui generis versions of
this theme and are not copies of a Ryder painting in another museum collection,
as is the case, with this lot being offered for sale. What is symbolically
evident in virtually all of these Ryder paintings is the power of nature
through the unleashed dynamic and force of the sea and its waves and implicitly
the limited ability of man to cope with the power of the sea; the implicit awe
in which man should regard the power of nature and the sea; and yet, the
ability of man to cope with and survive this powerful force of the sea and
nature.
Note 3) Examples Of Ryder Paintings And A Drawing In Museum Collections
Demonstrating Craquelure And/Or Other Condition Problems And The Themes Of A
Ketch Or Small Ship With Or Without Visible Figures In The Ship Being Jostled
By The Sea With A Nighttime Or Dark Sky. Unfortunately, a few photographs
contained herein are reduced from those displayed in the museum’s format or the
photographs in the museum format is too small to show clearly the craquelure
and/or other damage to the surface of the painting. But such craquelure and
surface damage does exist in virtually all of the Ryder paintings.
With Sloping Mast and Dipping Prow, ca. 1880-1885
Albert
Pinkham Ryder Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
12 x 12 in. (30.4 x 30.4 cm.)
Gift of John Gellatly 1929.6.102
Smithsonian American Art Museum
Albert
Pinkham Ryder (1847–1917)
Moonlight on the Sea, 1884
Oil
on wood panel
11
½ x 15 ⅞ in. (29.2 x 40.3 cm.)
Signed
lower right of center: A P Ryder
Roland
P. Murdock Collection
M72.47
Wichita
Art Museum, Kansas
Flying
Dutchman, completed by 1887
Albert Pinkham Ryder
Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
14 1/4 x 17 1/4 in. (36.1 x 43.8 cm.)
Gift of John Gellatly 1929.6.95
Smithsonian American Art Museum
Inscription: Lower right:
Ryder
Accession Number: 33.365
Jonah, ca.
1885-1895
Albert
Pinkham Ryder Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on canvas mounted on fiberboard
27 1/4 x 34 3/8 in. (69.2 x 87.3 cm.)
Gift of John Gellatly 1929.6.98
Smithsonian
American Art Museum
Moonlight, 1887
Albert
Pinkham Ryder
Born: New Bedford, Massachusetts
1847 Died: New York, New York 1917
Oil on mahogany panel, cradled 15
7/8 x 17 3/4 in. (40.4 x 45.0 cm)
Gift of William T. Evans 1909.10.2
Smithsonian American Art Museum
Artist: Albert Pinkham Ryder (1847–1917)
Title: Moonlight Marine
Date: 1870–90
Medium: Oil and possibly wax on wood
panel
Dimensions: 11 1/2 x 12 in. (29.2 x
30.5 cm)
Classification: Paintings
Credit Line: Samuel D. Lee Fund,
1934
Accession Number: 34.55
Metropolitan Museum of Art
CREATOR(S)
Albert Pinkham Ryder
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Carnegie Museum of Art, Pittsburgh,
Pennsylvania
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Phillips Collection, Washington, D.C.
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Addison Gallery of Art, Andover,
Massachusetts
Artist: Albert Pinkham Ryder (1847–1917)
Title: The Toilers of the Sea
Date: ca. 1880–85
Medium: Oil on wood
Dimensions: 11 1/2 x 12 in. (29.2 x
30.5 cm)
Classification: Paintings
Credit Line: George A. Hearn Fund,
1915
Accession Number: 15.32
Metropolitan Museum of Art
Artist: Albert Pinkham Ryder (1847–1917)
Title Under a Cloud
Date: ca. 1900
Medium: Oil on canvas
Dimensions: 20 x 24 in. (50.8 x 61
cm)
Classification: Paintings
Credit Line: Gift of Alice E. Van
Orden, in memory of her husband, Dr. T. Durland
Van Orden, 1988
Accession Number: 1988.353
Metropolitan Museum of Art
Albert Pinkham Ryder
20th century
Oil on canvas
13 1/2 x 17 ½ inches
Provenance: The artist;
Mr. Peiffer, Philadelphia; to MFA, 1933, purchased for $1,200.
Credit Line: Ellen
Kelleran Gardner Fund
Boston Museum of Fine Arts
Marine,
Moonlight
Artist:
Albert Pinkham Ryder, American, 1847-1917
Medium:
Oil on panel
Dates:
1890's
Dimensions:
11 3/8 x 12 1/16 in. (28.9 x 30.6 cm)
Signature:
Signed lower right "Ryder"
Collections:
American Art
Accession
Number: 54.184
Credit
Line: Gift of Mr. and Mrs. Solton Engel
Brooklyn
Museum of Art, New York
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Ball State University Museum of Art,
Indiana
Albert Pinkham Ryder, American 1896
Oil on canvas
27 7/8 x 35 5/8 inches
Accession Number: 45.770
Provenance: The artist;
Sir William Van Horne, Montreal, before 1905; to Lady Van Horne, Montreal, by
1918; Art Association of Montreal; to MFA, 1945, purchased for $3,000.
Credit Line: A. Shuman
Collection
Boston Museum of Fine Arts
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Addison Gallery of Art, Andover,
Massachusetts
American, 1847-1917
The Flying
Dutchman, ca. 1890-1900
19th Century American Drawing
Graphite, pen and india ink with
scraping on wove paper7 5/16 in. x 7 15/16 in. (18.6 cm x 20.2 cm), sheet
(irregular)
Gift of Dr. and Mrs. James H.
Lockhart, Jr., 77.150
Memorial Art Gallery of the
University of Rochester
Note 4) The following Askart.com
and Artprice.com records regarding sales warrant the conclusion that the
presale estimate of $30,000-$60,00 is reasonable and justifiable. The highest
auction price ever paid for a Ryder painting entitled “Landscape,” which was
estimated to bring between $40,000-$60,000 and was 9" x 13", was sold
by Sotheby’s, New York on 12/1/2004 for $209,600 as lot 29. Very few of Ryder’s
oil paintings have sold since May 18, 2004, when “At the Ford,” which was
estimated to bring between $40,000-$60,000, which was 12" x 11.50"
was sold by Christie’s New York for $113,530 as lot 63. The last Ryder painting
to be offered and sold, “Pastoral Landscape,” which was 8" x 14.50"
was sold for $40,000 on 12/10/2010 by Sotheby’s New York, with an estimate of
$30,000-$50,00, as lot 120. In between, all but one of the Ryder paintings,
that sold, sold for in excess of $30,000 or failed to sell, but with the
following very high estimates: $120,000-$180,000 for “The Lorelei” (22.50"
x 19.25"); $80,000-$120,00 and for “The Lone Horseman” (7.75" x
14.50"), with an estimate of $30,000-$50,000 for “Night” (12.50" x
10.25"), which was a very non-descript painting, by Christie’s New York on
12/01/2010, as lots 87, 88, and 89, respectively. Similarly, Christie’s New
York offered “The Farmyard” (12.70" x 10.70") twice unsuccessfully,
with estimates of $80,000-$120,000 on 11/29/2007 and $30,000-$50,000 on
3/5/2009, as lots 78 and 135, respectively. Shannon Fine Art Auctioneers
sold “Landscape Of Woman And Child” (9.38" x 9.38") for $33,000, with
estimates of $25,000-$35,000, on 05/01/2008 as lot 100 The New
Orleans Auction Galleries Inc. failed to sell “Journey's End” (8.25" x
8.75"), with an estimate of $70,000-$100,000, on 03/24/2007-03/25/2007 as
lot 1002. Heritage
Auctions sold “Pond in Moonlight” for $19,500, with
estimates of $40,000-$60,000 on 11/17/2005-11/18/2005 as lot 3013. Thomaston
Place Auctioneers sold “Fishing Skiff on Stormy Sea” (15" x 19.50")
for $33,000, with estimates of $40,000-$60,000, and “The Smugglers Retreat”
(14" x 16") for $49,500, with estimates of $50,000-$60,000, on
08/27/2005 as lots 125 and 130, respectively. None of these Ryder paintings
had the same or similar theme/subject matter as manifested in this auction lot,
“Toilers of the Sea.” Per artprice.com, Kaminski Auctions sold “Misty
Moonlight” (11 ¼" x 11 ¾") for $105,000, with an estimate of
$60,000-$90,000, on 4/30/2006 as lot 100, which was not illustrated. Factors
that should be considered in terms of the reader's assessing the reasonableness
of the presale estimate of $30,000-$60,000 are that Ryder's small paintings
have brought $113,530 and $209,600 on 2 of the 16 Ryder paintings listed by
Askart.com from 1989-2010 and $105,000 for 1 Ryder painting, listed as part of
the 15 Ryder paintings listed by artprice.com from 1999-2010. The following two
Ryder paintings, both of which are larger than this auction's painting, but
were both unsigned, are the only Ryder paintings of a ketch or small ship being
jostled or threatened by the sea, against a night sky, with or without a moon,
or a relatively dark sky that have sold at auction. However, "Fishing Skiff on Stormy Sea," the painting that brought $33,000, and "The Smugglers
Retreat," the painting, that
brought $49,500, support the presale estimate of $30,000-$60,000. Another
factor which supports such presale estimate is that this Ryder auction painting
“Toilers of the Sea,” manifests one of Ryder’s favorite and best themes/subject
matter, that is part of many important museum collections, as set forth above,
which may have been a factor that was not properly assessed and did not
positively affect the auction bidding on these two other Ryder paintings. The
above illustrations of these Ryder paintings of a ketch or small ship being
jostled or visibly threatened by the sea, against a night sky, with or without
a moon, or a relatively dark sky, often with a yellowish caste to the sky and
water make clear the relevance and importance of this museum collection factor
in assessing the value of this Ryder auction lot, “Toilers of the Sea.”
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Title: Fishing Skiff on Stormy Sea |
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Title: The Smugglers Retreat |
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