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Auction archive: Lot number 78

Reginald Marsh

Estimate
US$70,000 - US$90,000
Price realised:
US$62,500
Auction archive: Lot number 78

Reginald Marsh

Estimate
US$70,000 - US$90,000
Price realised:
US$62,500
Beschreibung:

Reginald Marsh American, 1898-1954 The Date, 1932 Signed Reginald Marsh and dated 1932 (lr); inscribed as titled and signed Reginald Marsh on an old exhibition label affixed to the stretcher Tempera on gessoed linen laid to masonite 24 x 17 7/8 inches Provenance: Gift of the artist to Dr. Harold R. Rice, Wynnewood, PA By descent in the family to the current owner Exhibited: The Women's Club of Orange, Exhibition of Contemporary and Modern Art, n.d. In 1949, Reginald Marsh was appointed to the position of Head of the Department of Paintings at the Moore Institute of Art in Philadelphia (today known as the Moore College of Art and Design) by Dr. Harold R. Rice, Dean of the Institute. Marsh enjoyed a close association with the Moore Institute of Art, also teaching advanced painting there from 1953 until his death the following year.The present work was a gift from Marsh to Dr. Rice, a close friend. It hung for many years in the Rice home in Wynnewood, PA. Although Reginald Marsh worked in oils early in his career, in 1929 he met Thomas Hart Benton and "recorded in a notebook, 'Met Tom Benton.. Comes up to my studio and shows me how to paint with eggs-fortunate event.' A few years later, Ralph Mayer recalled the experiments with tempera that both Marsh and Kenneth Hayes Miller carried out in 1929: 'Marsh finally worked out a satisfactory formula with yolk of egg glazes as in watercolor but on white gesso. "Only this and nothing more' except a coat of Varnish [Mayer 1933]. Marsh later described being introduced to egg tempera by Benton and by Denys Worton (1887-1958). 'It opened up a new world to me. Egg is a fine "draughtsman's" vehicle and very easy to handle. The luminosity and clearness of drawing is preserved, yet a certain greasy quality of the yolk gives a 'fat' oil effect. Drying is instantaneous and superimposed brushstrokes are easily made... I put egg yolk on a kind of belt line production for a dozen years and chucked oil forever.' Marsh said he used egg tempera from 1929 until he became dissatisfied with it in 1939." [Lance Mayer and Gay Myers, "Old Master Recipes in the 1920s, 1930s and 1940s: Curry, Marsh, Doerner and Maroger," Journal of the American Institute for Conservation, vol. 41, no. 1, article 3 (pp. 21-42). We thank Jonathan Sherman, of Sherman Art Conservation, for calling this article to our attention. C
Work is executed on a heavily gessoed canvas which is lined to a stretched canvas and laid to masonite. There are two small areas of older inpaint that do not fluoresce. They appear to be in oil and that may possibly have been added by the artist himself. Two small areas of inpaint, one on the green section of the subway column immediately adjacent to the figure of the woman, and a much smaller one on the rim of her hat.

Auction archive: Lot number 78
Auction:
Datum:
5 May 2015
Auction house:
Doyle New York - Auctioneers & Appraisers
East 87th Street 75
New York, NY 10128
United States
info@doyle.com
+1 (0)212 4272730
Beschreibung:

Reginald Marsh American, 1898-1954 The Date, 1932 Signed Reginald Marsh and dated 1932 (lr); inscribed as titled and signed Reginald Marsh on an old exhibition label affixed to the stretcher Tempera on gessoed linen laid to masonite 24 x 17 7/8 inches Provenance: Gift of the artist to Dr. Harold R. Rice, Wynnewood, PA By descent in the family to the current owner Exhibited: The Women's Club of Orange, Exhibition of Contemporary and Modern Art, n.d. In 1949, Reginald Marsh was appointed to the position of Head of the Department of Paintings at the Moore Institute of Art in Philadelphia (today known as the Moore College of Art and Design) by Dr. Harold R. Rice, Dean of the Institute. Marsh enjoyed a close association with the Moore Institute of Art, also teaching advanced painting there from 1953 until his death the following year.The present work was a gift from Marsh to Dr. Rice, a close friend. It hung for many years in the Rice home in Wynnewood, PA. Although Reginald Marsh worked in oils early in his career, in 1929 he met Thomas Hart Benton and "recorded in a notebook, 'Met Tom Benton.. Comes up to my studio and shows me how to paint with eggs-fortunate event.' A few years later, Ralph Mayer recalled the experiments with tempera that both Marsh and Kenneth Hayes Miller carried out in 1929: 'Marsh finally worked out a satisfactory formula with yolk of egg glazes as in watercolor but on white gesso. "Only this and nothing more' except a coat of Varnish [Mayer 1933]. Marsh later described being introduced to egg tempera by Benton and by Denys Worton (1887-1958). 'It opened up a new world to me. Egg is a fine "draughtsman's" vehicle and very easy to handle. The luminosity and clearness of drawing is preserved, yet a certain greasy quality of the yolk gives a 'fat' oil effect. Drying is instantaneous and superimposed brushstrokes are easily made... I put egg yolk on a kind of belt line production for a dozen years and chucked oil forever.' Marsh said he used egg tempera from 1929 until he became dissatisfied with it in 1939." [Lance Mayer and Gay Myers, "Old Master Recipes in the 1920s, 1930s and 1940s: Curry, Marsh, Doerner and Maroger," Journal of the American Institute for Conservation, vol. 41, no. 1, article 3 (pp. 21-42). We thank Jonathan Sherman, of Sherman Art Conservation, for calling this article to our attention. C
Work is executed on a heavily gessoed canvas which is lined to a stretched canvas and laid to masonite. There are two small areas of older inpaint that do not fluoresce. They appear to be in oil and that may possibly have been added by the artist himself. Two small areas of inpaint, one on the green section of the subway column immediately adjacent to the figure of the woman, and a much smaller one on the rim of her hat.

Auction archive: Lot number 78
Auction:
Datum:
5 May 2015
Auction house:
Doyle New York - Auctioneers & Appraisers
East 87th Street 75
New York, NY 10128
United States
info@doyle.com
+1 (0)212 4272730
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