Paige Kestenman AMP Lot 18
Frank Weston Benson (1862-1951)
1 More
Gift from the Collection of Esther and Howard FreemanFrom their first date aboard a sailboat in 1935, Esther and Howard Freeman shared a remarkable enthusiasm for their passions in life--whether it be sailing off Cape Cod, traveling, Howard’s inventions or Esther’s art collection. Passing along these loves to their children and grandchildren, the Freemans have left a legacy that still resounds strongly in their communities of Worcester and Cape Cod, Massachusetts.Howard Freeman established himself as one of the great inventors and engineers of our age, applying his problem-solving skills and ingenuity to everyday issues. He dramatically improved how firefighters use water to fight flames with his invention, the “Waterfog” nozzle, saving dozens of ships and thousands of lives in World War II, and even contributed to the Manhattan Project. Founding his own firm Jamesbury, Howard and his valve innovations led the company through quick expansion, winning contracts with the U.S. Navy for the nuclear submarine fleet and NASA’s space program while establishing a reputation as an exceptional manager and leader in the Worcester community. As Howard himself frequently remarked, the art collection was undoubtedly his wife Esther’s. With her passion, steadfastness and focus, and through a close relationship with the Worcester Art Museum and frequent trips to New York City, the collection took shape over many years. Incorporating the high points of American 19th century and Impressionist painting, Esther collected works by Winslow Homer, Childe Hassam, Willard Metcalf, Mary Cassatt, and many others. Another highlight of Esther’s collection was the masterful Arrangement in Pink and Gray (Afternoon Tea) by Edmund Charles Tarbell, which she later gifted to the Worcester Art Museum. Howard reflected, “In the fall of 1975, Esther expressed a desire (or even a need) to collect paintings and outlined her thoughts and a plan to me. Esther wanted to ‘collect those American artists who, about the turn of the century, had traveled to France to study with the French Impressionists and then returned to this country.’ As Esther described it, these artists did two things. First, they painted the charming pictures that she loved. Secondly, they had a great impact on the history of American art. Esther wanted to collect those artists who did both. I was delighted and supportive but told Esther that she would be the only collector in our family, and that I would stay in the background. Of course I would be supportive in every way. And she did and I did. And, as it turned out, it was a wonderful decision with a very significant impact on our lives.”Within the Freemans’ art collection, Frank Weston Benson’s The Reader held a particularly sentimental place. Benson’s painting My Three Daughters in the Worcester Art Museum was one of Esther’s favorites, and according to her husband, “It probably was this painting, more than any other, which prompted her strong desire to collect.” When The Reader came up for auction in 1976, this similarly compelling work by Benson immediately caught Esther’s eye and the Freemans planned to bid well over the high estimate for the work. However, they were outbid during the sale, leaving Esther practically in tears. A loving husband, Howard realized the mistake they had made in not acquiring the work and soon afterwards secretly negotiated with the winning bidder to purchase the painting from him. The following week, Howard revealed the happy surprise to Esther, and the painting and its story held a place of honor in their home and memories for decades thereafter.Christie’s is honored to offer The Reader, which was gifted from the Collection of Esther and Howard and Freeman to the current owners, as Lot 18.
Frank Weston Benson (1862-1951)

The Reader

Frank Weston Benson (1862-1951)
The Reader
signed 'F.W. Benson' (lower left)
oil on canvas
25 3/8 x 30 ¼ in. (64.5 x 76.8 cm.)
Painted in 1906.
The artist.
Macbeth Gallery, New York.
Joseph T.P. Sullivan, New York.
Sotheby’s, New York, 28 October 1976, lot 116, sold by the above.
Hirschl & Adler Galleries, Inc., New York, acquired from the above.
Collection of Esther and Howard Freeman, Worcester, Massachusetts, acquired from the above, 1976.
Gift to the present owners from the above, 2006.
"Art At Home and Abroad; Excellent Examples of the 'Movement of Life' at the Pennsylvania Academy Exhibition," New York Times, February 5, 1911.
"In the Galleries," Arts and Decoration, February 1912, p. 152, illustrated.
Spanierman Gallery, LLC, Frank W. Benson: The Impressionist Years, exhibition catalogue, New York, 1988, pp. 20-21, fig. 2, illustrated (as The Reader—A Summer Idyll).
Berry-Hill Galleries, Inc., Frank W. Benson: A Retrospective, exhibition catalogue, New York, 1989, pp. 18, 19, fig. 9, illustrated.
F.A. Bedford, Frank W. Benson: American Impressionist, New York, 1994, pp. 10, 47, 123-24, pl. 78, illustrated.
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, 106th Annual Exhibition, February 5-March 26, 1911, no. 301, illustrated.
Cincinnati, Ohio, Cincinnati Art Museum, 18th Annual Exhibition of American Art, May 20-July 22, 1911, no. 93, illustrated.
New York, Macbeth Gallery, Thirty Paintings by Thirty Artists, January 1912.
Worcester, Massachusetts, Worcester Art Museum, American Impressionism: Paintings of Promise, October 5, 1997-January 4, 1998, pp. 14, 30, 32, 45, pl. 5, back cover illustration.
Rockland, Maine, Farnsworth Art Museum, Impressionist Summers: Frank W. Benson’s North Haven, June 16-October 21, 2012, pp. 52-53, 127, fig. 46, illustrated.
Manchester, New Hampshire, Currier Museum of Art, 2009-16, on extended loan.

Lot Essay

We are grateful to Faith Andrews Bedford, author of the biography Frank W. Benson: American Impressionist, The Sporting Art of Frank Benson, and Impressionist Summers: Frank W. Benson's North Haven, for her assistance in cataloguing this lot.

A leader of the Boston School of art and a member of "The Ten," Frank Weston Benson is one of the best-known American artists to adapt the Impressionist aesthetic to create his own signature style. Fusing the spontaneity of Claude Monet with a more traditional Academic emphasis on form, he created sun-drenched evocations, the best of which are magnificent depictions of his own children and the bright light of summer. The Reader epitomizes these popular turn-of-the-century paintings of Benson’s children outdoors, and it is also one of the most successful at capturing the luminosity he is known for achieving throughout his career.

Born and raised in Salem, Massachusetts, Benson first studied art at the School of the Museum of Fine Arts in Boston before traveling in 1883 to the Académie Julian in Paris. Tending early in his career toward studio portraits under the glow of an oil lamp or fireplace, Benson started exploring a more Impressionist use of light during his student days in Paris. By the time the artist arrived home from abroad, the acceptance of this new French style was spreading rapidly, and Impressionist exhibitions were being held in multiple American cities.

The beginnings of Benson’s evolution toward his signature American Impressionist style can be seen as early as 1887. The painting In Summer (Private Collection) of that year portrays a profile of Benson’s future wife Ellen in her parents’ backyard, foreshadowing his later habit of depicting family outdoors. Two years later, when the artist was promoted to instructor at the School of the Museum of Fine Arts, his budding family began to take summer vacations further afield in New England. On trips to Dublin, New Hampshire, Benson had the opportunity to experiment with Impressionism by frequently painting directly from nature. In fact, in New Hampshire, he created his first plein air painting of his family, entitled Mother and Children (Unlocated) and featuring his wife Ellen, daughter Eleanor and son George in a flowery meadow. By the time he painted The Sisters of 1899 (Terra Foundation for American Art, Chicago, Illinois), featuring his younger two children, Elizabeth and Sylvia, Benson’s style had evolved to incorporate a dazzlingly bright palette and dappled, energetic brushwork.

Beginning in 1901, North Haven, a twelve square-mile island in Penobscot Bay, Maine, fulfilled Benson’s desire for a remote retreat. Recalling his first impression of the island, Benson said, “From the moment we saw it, North Haven felt like home.” He remembered looking over to his wife and children and thinking, “This is it. This is where I want to paint her. And them.” (Faith Andrews Bedford, Impressionist Summers: Frank W. Benson’s North Haven, New York, 2012, p. 23) Benson and his family returned to North Haven Island every year and eventually bought Wooster Farm, a rambling homestead bordered on three sides by the sea. Embodied in works like The Reader, it was during those summers in Maine that, according to critics of the period, Benson finally achieved his goal of becoming a truly accomplished Impressionist. Breaking away from winters spent inside his Boston studio, Benson used the time at North Haven to create his happiest and most energetic paintings. Sheila Dugan explains, “Benson’s images of life at Wooster Farm highlight its idyllic qualities and convey the energy, freedom, and playfulness of his youthful subjects. The paintings give no hint of the fog banks that often roll in on summer afternoons or of the damp gray days that seem to last for weeks. When he painted his family, Benson’s interest in the outdoor light and atmosphere extended only to bright, clear, calm weather.” (Frank W. Benson: The Impressionist Years, New York, 1988, p. 17)

In the present work, the artist depicts his eldest daughter Eleanor enjoying a beautiful summer day reading outside while perched under the shade of her parasol. Using dabs of bright white pigment, Benson creates glints of sunshine on the back of her neck and highlights in her hair and dress, which viscerally evoke the heat and beating sun of the season. At the same time, the verdant greens and cooler tones under the shadows of Eleanor’s umbrella capture the pleasure of leisure in the shade on such a blistering summer afternoon. In addition to this contrast between sun and shadow, the composition also effectively balances linear and natural forms, juxtaposing the stark vertical lines of the white picket fence in the background with the graceful curves of Eleanor’s body and the draped sweep of the umbrella. Pops of red flowers add further visual interest to the largely green and yellow palette of the peaceful painting. Indeed, Dugan contends, “Benson’s main intention is one of blending the components of the woman with the surrounding floral environment, in essence establishing her as the main flower among all the others.” (Frank W. Benson: The Impressionist Years, p. 22) It is through this convergence of portraiture and landscape that “Benson was able to capture the very spirit of life, the joie de vivre, in his style of Impressionism.” (The Art of Frank W. Benson: American Impressionist, Salem, Massachusetts, 2000, p. 29)

As with many of his plein air compositions, Benson used photography as an aid for the present composition, capturing the fleeting moment for reference when adding the finishing touches to the oil back in his Boston studio. Not only a consummate painter, Benson had an astounding ability to exactly frame a photograph to mimic what he sought to capture during his hours painting out-of-doors. However, despite working from the acute detail of a photo, The Reader is certainly not a photorealistic work. In fact, Eleanor herself once said, “He always made us more beautiful than we were.” (The Art of Frank W. Benson: American Impressionist, p. 29) Rather, his paintings, such as The Reader, are a unique combination of impressionist and formal technique in a style long considered distinctly Benson, who himself was both a member of the divergent Impressionist group, The Ten, and a full Academician. In 1921, Lorinda Munson Bryant wrote, “Mr. Benson’s brushwork has caught a certain brightness of colour and light that speaks a language of its own. No one could mistake his manner of entangling the sunlight in the hair and garments of his open air figures.” (Frank W. Benson: The Impressionist Years, p. 45)

With this balance of realism and impressionism, sunlight and shadow, The Reader is a prime example of the Maine summer paintings that embody the pinnacle of Benson’s career-long play with light. It is as if he captured in this outwardly simple scene the two words that Henry James called the most beautiful in the English language: summer afternoon. As Faith Andrews Bedford describes, “These carefree, sun-drenched paintings—inspired by the light, life, and landscape of Wooster Farm—were but a passing moment, a brief coda in a career that spanned more than sixty years. But the underlying theme of these works is seen in everything he did. He once explained, ‘I simply follow the light, where it comes from, where it goes.’” (Impressionist Summers: Frank W. Benson’s North Haven, Rockland, Maine, 2012, p. 62)

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