Comparable Sales
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
Observed sale facts, comparable evidence, artist index history and modeled research remain separate.
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
Thomas Robinson, Providence.
His sale, New York, Moore's Art Galleries, 16-18 November 1886 (lot 184), Young Ladies' Institute, 1...
Wendell P. Colton.
Victor D. Spark, New York.
Bought by Mr. and Mrs. Noah L. Butkin, 20 November 1977. Given to the CMA in 1977.
Thomas Robinson, Providence. His sale, New York, Moore's Art Galleries, 16-18 November 1886 (lot 184), Young Ladies' Institute, 17 x 12ž in., as by V. Bertin. Wendell P. Colton. Victor D. Spark, New York. Bought by Mr. and Mrs. Noah L. Butkin, 20 November 1977. Given to the CMA in 1977.
Year in Review: 1977. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978). Impressionist Gardens. National Galleries of Scotland (July 31-October 17, 2010); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (November 23, 2010-February 27, 2011). Paris. Salon (1824), no. 1236, Le curieux; étude d'après nature. Paris, Grand Palais; Detroit Institute of Arts; New York, Metropolitan Museum of Art. French Painting 1774-1830: The Age of Revolution (1974-75), 270 (repr.), no. 132. Text by Robert Rosenblum. National Gallery of Scotland (7/31/2010 - 10/17/2010) and Museo Thyssen-Bornemisza (11/23/2010 - 2/27/2011): "Impressionist Gardens"
Here a young man uses a ladder to climb over a garden wall. The sign at his right translates into "School for Young Ladies under the Direction of Mrs. Wachsam"—<em>wachsam</em> being the German word for "watchful." Apparently, overcome by curiosity, the man cannot resist his desire to see the young women concealed behind the wall. Scenes with amorous, sometimes voyeuristic overtones are common in the work of Mongin. The artist also seems fascinated with depicting the exact details of his settings. In 1824, a critic who saw <em>The Curious One</em> wrote that Mongin's paintings are "portraits of houses coated in plaster, garden trees, almost trivial details, and this pleases me greatly. Full of naiveté, this is what I need in a landscape, as in a representation of man's actions." The critic's comments clearly demonstrate his appreciation for Mongin's work, as well as the artist's belief in the inherent relationship between nature and man.
0 observed sales · 0 comparable sales · 5 structured provenance events · 2 structured exhibitions.