THOMAS MORAN (1837-1926)
THOMAS MORAN (1837-1926)
THOMAS MORAN (1837-1926)
1 More
THOMAS MORAN (1837-1926)
4 More
Property from a Private Collection, Laguna Niguel, California
THOMAS MORAN (1837-1926)

Venice, Sunset behind Santa Maria

THOMAS MORAN (1837-1926)
Venice, Sunset behind Santa Maria
signed with initials in monogram and dated 'TMoran. N.A./1898.' (lower right)
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
Painted in 1898.
The artist.
Mrs. Horace Gallatin, 1898.
Pascal M. Gotterdam.
Schweitzer Gallery, New York.
Mrs. Palmer.
Private collection, Dallas, Texas.
Christie's, New York, 5 December 1986, lot 102.
Clabir Collection, acquired from the above.
Christie's, New York, 2 December 1988, lot 179, sold by the above.
Private collection, Dallas, Texas, acquired from the above.
Estate of the above.
Christie's, New York, 20 May 2015, lot 40, sold by the above.
Vallejo Gallery, Newport Beach, California, acquired from the above.
Acquired by the present owner from the above.
San Diego, California, San Diego Museum of Art, circa 2020-22, on loan.
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

Tylee Abbott
Tylee Abbott Vice President, Head of American Art

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

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, Connecticut, 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.'" (Thomas Moran, p. 123)

More from 19th Century American Art

View All
View All