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Property from the Collection of Morton and Norma Lee Funger THEODORE ROBINSON (1852-1896)

A Trout Stream, Normandy

Details
THEODORE ROBINSON (1852-1896)
A Trout Stream, Normandy
signed and dated 'Th Robinson/1892' (lower right)
oil on canvas
18 x 21 ³/₄ in. (45.7 x 55.2 cm.)
Painted in 1892.
Provenance
The artist.
Hamline Robinson, brother of the above.
Mrs. C.F. Terhune, Kansas City, Missouri, niece of the artist.
Ira Spanierman, New York, 1967.
Dr. John J. McDonough, Youngstown, Ohio.
Sotheby Parke-Bernet, New York, 22 March 1978, lot 33.
(Probably) acquired by the late owners from the above.
Literature
J.I.H. Baur, Theodore Robinson: 1852-1896, Brooklyn, New York, 1946, p. 77, no. 225.
M.A. Erhardt, E. Broun, The Norma Lee and Martin Funger Art Collection, Lunenberg, Vermont, 1999, pp. 24-25, illustrated.
Exhibition
Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, 65th Annual Exhibition, December 23, 1895-February 22, 1896, p. 411, no. 282 (as A Normandy Trout Stream).
New York, Kennedy Galleries, Theodore Robinson: American Impressionist (1852-1896), November-December 1966, pp. 14, 21, no. 16, illustrated.
(Possibly) New York, Kennedy Galleries, First Annual Christmas Show of American Masters, December 1966-January 1967.
New Orleans, Louisiana, New Orleans Museum of Art; San Diego, California, Fine Arts Gallery of San Diego; San Antonio, Texas, Marion Koogler McNay Art Institute; Little Rock, Arkansas, Arkansas Arts Center; Greensburg, Pennsylvania, The Westmoreland County Museum of Art; Raleigh, North Carolina, The North Carolina Museum of Art; Oklahoma City, Oklahoma, Oklahoma Art Center; Youngstown, Ohio, The Butler Institute of American Art, A Panorama of American Painting: The John J. McDonough Collection, April 18, 1975-October 31, 1976, pp. 46-47, 94, no. 44, pl. 36, illustrated.

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Lot Essay

The present work was painted during Robinson’s final summer in Giverny, France, where he lived next to Claude Monet. Likely based on a photograph that the artist took of his model, this work demonstrates the softer, increasingly Impressionistic quality that Robinson’s work adopted in his final years.