THOMAS MORAN (1837-1926)
THOMAS MORAN (1837-1926)
THOMAS MORAN (1837-1926)
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THOMAS MORAN (1837-1926)
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On occasion, Christie's has a direct financial int… Read more Visionary: The Paul G. Allen Collection
THOMAS MORAN (1837-1926)

Glorious Venice

THOMAS MORAN (1837-1926)
Glorious Venice
signed with initials in monogram and dated 'TMoran./1888' (lower left)
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
Painted in 1888
Private collection, Philadelphia.
Hirschl & Adler Galleries, Inc., New York, 1978.
David David Gallery, Philadelphia, 1979.
Private collection, 1987.
Red Fox Fine Art, Middleburg.
Private collection (acquired from the above); sale, Sotheby’s, New York, 22 May 2002, lot 126.
Private collection (acquired from the above sale).
Spanierman Gallery, LLC, New York (2003).
Dina Wein Reis and David Reis, New York (2004).
Acquired from the above by the late owner, 2011.
R.B. Moran, “Thomas Moran: An Impression” in The Mentor, vol. 12, no. 7, August 1924, p. 50 (illustrated).
Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art; Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, pp. 24-25, 74-77, no. 15 (illustrated in color, p. 75).
Special notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Further details
This work will be included in Phyllis Braff’s, Stephen Good’s and Melissa Webster Speidel’s forthcoming catalogue raisonné of the artist’s work.

Brought to you by

Max Carter
Max Carter Vice Chairman, 20th and 21st Century Art, Americas

Lot Essay

In May 1886, Thomas Moran traveled to Venice for the first time. A popular subject of interest and nostalgia in the late nineteenth century, Venice was certainly already a familiar place for Moran through the writings of Lord Byron and John Ruskin and depictions by J.M.W. Turner. Nonetheless, he was amazed by the splendor of the place, writing to his wife Mary, "Venice is all, and more, than travelers have reported of it. It is wonderful. I shall make no attempt at description..." (as quoted in N.K. Anderson, et al., Thomas Moran, New Haven, 1997, p. 122). Upon his return, Moran immediately set to work on studio oils, and, from that point forward, he submitted a Venetian scene almost every year he exhibited at the National Academy. "The subject became his 'best seller'" (op. cit. Thomas Moran, p. 123).
In Glorious Venice, Moran depicts the floating city's distinctive convergence of dazzling architecture and bustling life on the harbor. The Doge's Palace glows in the distance at far right, while merchants, pedestrians and even an artist working from a boat at center lend themselves to the scene's vivaciousness.

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