Raymond Dabb Yelland (1848-1900)Moss Beach, Monterey signed and dated 'R. D. Yelland. 1893.' (lower right) and signed and dated again and titled (on the reverse) oil on canvas 28 x 48 in. framed 41 x 61 1/4 in.FootnotesProvenance The artist. Mrs. Bertha Romaine, gift from the above. Mt. Diablo Union High School, Concord, California, gift from the above. Concord Historical Society, Concord, California, gift from the above. Garzoli Gallery, San Rafael, California, acquired from the above. Acquired by the present owners from the above, 1995. Exhibited Santa Barbara, Santa Barbara Museum of Art, A Painter's Paradise: Artists and the California Landscape, November 29, 1996 – February 16, 1997, no. 177. Literature American Art Review, December 1996, vol. VIII, no. 6, p. 113. Gloria R. Martin and William H. Gerdts, A Painter's Paradise: Artists and the California Landscape, Santa Barbara, Santa Barbara Museum of Art, 1996, p. 57, illustrated. English-born and New York City-bred luminist landscape painter Raymond Dabb Yelland "was interested in the spirituality of light effects and imbued his coastal scenes with the radiant glow of morning or late afternoon." 1 Educated at the National Academy of Design under traditional landscape, portrait and genre artists James R. Brevoort, Lemuel Everett Wilmarth and William Page Yelland moved to San Francisco in 1874. In California, his strong academic training and teaching background evident in earlier genre subjects, transitioned into a singular focus on the landscape. Inspired by the surrounding beauty of Monterey and on travels throughout Northern California and Oregon, influenced by East Coast luminist painters, and captivated by transcendentalist concepts, particularly the writings of Ralph Waldo Emerson, Yelland "recognized the California landscape as a manifestation of God." 2 He sought to show the viewer the spiritual quality of their natural surroundings and, like his East Coast counterparts, preferred to paint scenes that were "calm and tranquil, depicted at sunrise, late afternoon, or evening." 3 "The Monterey Peninsula became his favorite destination after he spent his first extended visit there in summer 1876" and he made regular trips to the area for the rest of his life, particularly after building a summer studio on the peninsula in 1889. 4 In the present painting, gentle ocean waves lap along a sweeping coastal cove painted in jewel tones and a pink-purple glow of early morning or late afternoon sun. The only evidence of man in this pristine, natural coastal setting is Point Pinos Lighthouse positioned at the center point of the composition. Moss Beach, Monterey is imbued with spiritual and luminist qualities indicative of Yelland's best work. 1 Scott A. Shields, Artists at Continent's End: The Monterey Peninsula Art Colony, 1875-1907, University of California Press, 2006, p. 281. 2 Shields, p. 282. 3 Ibid., p. 282. 4 Ibid. pp. 282, 284.
Raymond Dabb Yelland (1848-1900)Moss Beach, Monterey signed and dated 'R. D. Yelland. 1893.' (lower right) and signed and dated again and titled (on the reverse) oil on canvas 28 x 48 in. framed 41 x 61 1/4 in.FootnotesProvenance The artist. Mrs. Bertha Romaine, gift from the above. Mt. Diablo Union High School, Concord, California, gift from the above. Concord Historical Society, Concord, California, gift from the above. Garzoli Gallery, San Rafael, California, acquired from the above. Acquired by the present owners from the above, 1995. Exhibited Santa Barbara, Santa Barbara Museum of Art, A Painter's Paradise: Artists and the California Landscape, November 29, 1996 – February 16, 1997, no. 177. Literature American Art Review, December 1996, vol. VIII, no. 6, p. 113. Gloria R. Martin and William H. Gerdts, A Painter's Paradise: Artists and the California Landscape, Santa Barbara, Santa Barbara Museum of Art, 1996, p. 57, illustrated. English-born and New York City-bred luminist landscape painter Raymond Dabb Yelland "was interested in the spirituality of light effects and imbued his coastal scenes with the radiant glow of morning or late afternoon." 1 Educated at the National Academy of Design under traditional landscape, portrait and genre artists James R. Brevoort, Lemuel Everett Wilmarth and William Page Yelland moved to San Francisco in 1874. In California, his strong academic training and teaching background evident in earlier genre subjects, transitioned into a singular focus on the landscape. Inspired by the surrounding beauty of Monterey and on travels throughout Northern California and Oregon, influenced by East Coast luminist painters, and captivated by transcendentalist concepts, particularly the writings of Ralph Waldo Emerson, Yelland "recognized the California landscape as a manifestation of God." 2 He sought to show the viewer the spiritual quality of their natural surroundings and, like his East Coast counterparts, preferred to paint scenes that were "calm and tranquil, depicted at sunrise, late afternoon, or evening." 3 "The Monterey Peninsula became his favorite destination after he spent his first extended visit there in summer 1876" and he made regular trips to the area for the rest of his life, particularly after building a summer studio on the peninsula in 1889. 4 In the present painting, gentle ocean waves lap along a sweeping coastal cove painted in jewel tones and a pink-purple glow of early morning or late afternoon sun. The only evidence of man in this pristine, natural coastal setting is Point Pinos Lighthouse positioned at the center point of the composition. Moss Beach, Monterey is imbued with spiritual and luminist qualities indicative of Yelland's best work. 1 Scott A. Shields, Artists at Continent's End: The Monterey Peninsula Art Colony, 1875-1907, University of California Press, 2006, p. 281. 2 Shields, p. 282. 3 Ibid., p. 282. 4 Ibid. pp. 282, 284.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
