Feb 27, 2013 10:00 EST
Doyle at Home
11
Alson Skinner Clark
American, 1876-1949
Early Morning, Palm Springs
Signed Alson Clark (lr); inscribed on an estate label From / Mrs. Alson Clark/1149 Wotkyns Drive/Pasadena 3, California and inscribed with estate number 224 on the reverse of the frame
Oil on canvas
26 x 32 inches
Provenance:
Mrs. Alson Clark, wife of the artist
Private collection
Joan Irvine Smith Fine Arts, Laguna Beach, CA
Private collection, San Francisco, CA
Exhibited:
Sacramento, CA, California State Senate, Senate Art Loan Program, 1996-99, no. L1996.3
In addition to the home Clark and his wife Medora built on the Arroyo Seco in Pasadena, after their move to California in 1919, the artist maintained a studio in Palm Springs. Turning from the more somber style of his earlier urban scenes and his 1913 views of the Panama Canal, he adjusted his palette to desert light and open space, using the plein-air methods he had learned from William Merritt Chase to capture qualities such as the sky's translucency, reflective patterns across the spare ground, and the color notes in the underbrush. A very Chase-like touch is notable in Clark's treatment of the vegetation in this painting.
Sold for $4,062
Estimated at $2,000 - $3,000
Includes Buyer's Premium
Alson Skinner Clark
American, 1876-1949
Early Morning, Palm Springs
Signed Alson Clark (lr); inscribed on an estate label From / Mrs. Alson Clark/1149 Wotkyns Drive/Pasadena 3, California and inscribed with estate number 224 on the reverse of the frame
Oil on canvas
26 x 32 inches
Provenance:
Mrs. Alson Clark, wife of the artist
Private collection
Joan Irvine Smith Fine Arts, Laguna Beach, CA
Private collection, San Francisco, CA
Exhibited:
Sacramento, CA, California State Senate, Senate Art Loan Program, 1996-99, no. L1996.3
In addition to the home Clark and his wife Medora built on the Arroyo Seco in Pasadena, after their move to California in 1919, the artist maintained a studio in Palm Springs. Turning from the more somber style of his earlier urban scenes and his 1913 views of the Panama Canal, he adjusted his palette to desert light and open space, using the plein-air methods he had learned from William Merritt Chase to capture qualities such as the sky's translucency, reflective patterns across the spare ground, and the color notes in the underbrush. A very Chase-like touch is notable in Clark's treatment of the vegetation in this painting.
Frame rubbing. There is a visible restretcher mark along the upper register. There is no visible restoration under UV light.
Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.
Auction: Doyle at Home, Feb 27, 2013
