Cecilia Beaux (American, 1855–1942) Portrait of Edward C. Biddle Signed and dated 'C. Beaux/Dec 87' bottom left; also titled 'EDWARD-C-BIDDLE-ÆTAT-80' across the top outer edge; also with original labels verso and with preparer's label on upper stretcher verso, oil on canvas 27 x 22 in. (68.6 x 55.9cm) Provenance The Artist. Commissioned directly from the above. Collection of Edward C. Biddle. By descent in the Biddle family. Private Collection, Pennsylvania.
CECILIA BEAUX (AMERICAN 1855-1942) Woman Profile oil on masonite 30 x 35 cm (11 3/4 x 13 3/4 in.) framed dimensions: 47 x 53 cm (18 1/2 x 20 3/4 in.) signed lower right
American School, (19th/20th century) The Poet's Child, circa 1890 Plaster 13-1/8 x 9-5/8 x 1 inches (33.3 x 24.5 x 2.5 cm) Inscribed with artist's monogram to lower right corner Titled to lower edge: THE POETS CHILD. HID01801242017
Cecilia Beaux (American, 1855-1942) Portrait of Richard Watson Gilder Oil on canvas 32 x 24 inches (81.3 x 61.0 cm) Proclaimed "the greatest woman painter of modern times" by William Merritt Chase, Cecilia Beaux is widely considered one of the finest woman painters active in America at the turn of the century, and is commonly ranked alongside John Singer Sargent and Mary Cassatt as one of the most significant portrait painters in American history. Beaux was not only technically masterful in her rich, vigorous manipulation of paint and her subtle orchestration of color, but also a keen observer and an innovative designer who could skillfully convey the character and personality of her subjects. Beaux's talents speak for themselves, but her name might never have been in the halls of museums or in art history books had it not been for Richard Watson Gilder and Helena de Kay. Beaux's masterful and harmonious Portrait of Richard Watson Gilder is a replica of the artist's seminal portrait of Richard Watson Gilder from 1902-3 that is part of the permanent collection of the National Portrait Gallery, Smithsonian Institution, in Washington, D.C. Beaux created this reductive portrait as a gift for her close friends Richard and Helena, as both a token of affection, and of gratitude for initiating her career. Following Beaux's return from studying in Paris in 1889, her cousin Kate Janvier introduced her to the poet and editor Richard Watson Gilder and his wife, Helena. Gilder was the editor-in-chief of The Century, America's most popular late nineteenth-century literary magazine. "Because of The Century's wide circulation, Gilder's editorial decisions influenced the country's cultural life so profoundly that his biographer, Herbert F. Smith, concluded that the years between 1880 and 1890 should be renamed ‘The Gilder Age'... Gilder's wife, Helena, who studied at Cooper Union and The National Academy of Design, was also an advocate for American painters, especially artists who abandoned Victorian themes in favor of expressive, painterly work. With her encouragement, The Century promoted American realist Winslow Homer...the sculptor Augustus Saint-Gaudens...and a host of others whose careers might have languished without the Gilder's help. Cecilia Beaux, also a beneficiary of their largess, was first featured in The Century's American Artists Series in the September 1894 issue." (A.A. Carter, Cecilia Beaux: A Modern Painter in the Gilded Age, New York, 1995, p. 123) Beaux became grew close to Richard and Helena, and spent a great deal of time at their homes in New York and in Massachusetts, providing her with social and professional connections she could never have achieved on her own. "Beaux wrote that at the Gilders she could take part in a life that ‘vividly joined and disseminated every form of intellectual and artistic activity....Richard and Helena Gilder were complete and firmly defined individuals...In what their marriage meant to the world around them, they were phenomenal." ( Cecilia Beaux: A Modern Painter in the Gilded Age, p. 126) HID01801242017
Cecilia Beaux (American, 1855-1942) Portrait of Anne Douglas Sedgwick Pencil and pastel on paper 18-3/8 x 13-3/8 inches (46.7 x 34.0 cm) Inscribed indistinctly lower left: [...] EXHIBITED: The National Portrait Gallery, Smithsonian Institution, Washington, D.C., "Cecilia Beaux and the Art of Portraiture," October 6, 1995-January 28, 1996, no. 71. Anne Douglas Sedgewick (28 March 1873 – 19 July 1935) was an American-born British writer whose novels explored the contrast in values between Americans and Europeans. Her best-selling novel Tante was made into a 1919 film, The Impossible Woman, and The Little French Girl into a 1925 film of the same name. Four of her books were on the list of bestselling novels in the United States for 1912, 1924, 1927, and 1929 as determined by The New York Times. In 1931, Sedgewick was elected to the United States National Institute of Art and Letters. HID01801242017
American School (19th Century) Portrait of Dorothea Gilder, 1884 Watercolor and pencil on paper 7 x 6-5/8 inches (17.8 x 16.8 cm) (sheet) Dated and titled indistinctly upper left: Dorothea [...] / 1884 In the fall of 1898, The Gilders invited Cecilia Beaux to accompany them to their family farm, Four Brooks, located on the side of a picturesque valley in the Berkshire town of Tyringham, Massachusetts. "At the time, Rodman Gilder was twenty-one and Dorothea sixteen, and presumably, neither one required her assistance, so Cecilia took the opportunity to paint, selecting for her models Dorothea and her younger sister, Francesca. The Gilders renovated the old tobacco barn on the property for Cecilia's use as a studio...Inspired by an impromptu dance invented by the two sisters, Beaux began an ambitious double portrait—a full-length oil on both girls ( Dorothea and Francesca, 1898, The Art Institute of Chicago) ...Beaux considered the painting to be one of her best achievements." (A.A. Carter, Cecilia Beaux: A Modern Painter in the Gilded Age, New York, 1995, pp. 126-27) The friendship between Beaux and Dorothea Gilder flourished over a period of years and in 1899, Beaux leased a studio at 64 Washington Square, close to the Gilders' home on Eighth Street, and spent a good deal of time with Dorothea. Over time, based upon letters and notes sent to Dorothea, Beaux fell inexplicably and inappropriately in love with her benefactors' daughter: "At last, dear D. I get to you...And must tell you first that I want terribly to be hugged...This letter sounds too foolish as I choose when I write to you." (Cecilia Beaux to Dorothea Gilder, January 4, 1901, Dorothea Gilder Papers, Archives of American Art) "I come from you and I would hold for a few minutes longer the deep joy of having kissed you. Now this one time holds its identity and is in itself a perfect whole. Soon it will slide half unconsciously into the company of other times adding indescribably to their dearness. The infinite desire, and the never-ending growth of love seems to me to be the greatest proof we have of the possibility of eternity." (Cecilia Beaux to Dorothea Gilder, April 4, 1902, Dorothea Gilder Papers, Archives of American Art) According to letters written from Dorothea to Beaux, the feeling of love and lust was mutual. Dorothea was a schoolgirl with ‘a breathless crush on a celebrity.' ( Cecilia Beaux: A Modern Painter in the Gilded Age, p. 131): "When I am with you I can sometimes think of nothing else. Just as a man without air strives desperately to get it and can do nothing else." (Dorothea Gilder to Cecilia Beaux, June 3, 1902, Dorothea Gilder Papers, Archives of American Art) Beaux would go on to sketch and paint drawings, watercolors and oils of Dorothea, one of her most powerful muses, until Dorothea married. Her seminal masterwork Dorothea in the Woods of 1897 is in the permanent collection of the Whitney Museum of American Art, New York. HID01801242017
American School (19th Century) Portrait of Dorothea Charcoal on paper 14 x 10-7/8 inches (35.6 x 27.6 cm) (sheet) Titled lower right: Dorothea HID01801242017
American School (19th Century) Helena Reading Charcoal on laid paper 11-1/2 x 8-3/4 inches (29.2 x 22.2 cm) (sheet) Titled on the reverse: Helena de Kay HID01801242017
American School (19th Century) Portrait Miniature Helena of de Kay Gilder in Mourning, circa 1909 Pencil on paper 3-5/8 x 2-7/8 inches (9.1 x 7.3 cm) (sheet) HID01801242017
Cecilia Beaux (American, 1855–1942) Portrait Sketch of a Woman Oil on canvas 16 x 13 in. (40.6 x 33cm) Provenance Kennedy Galleries, New York, New York. Skinner (now Skinner Bonhams), Marlborough, sale of May 16, 2008, lot 390. Acquired directly from the above sale. Collection of Charles and Virginia Bowden, San Antonio, New Mexico. The unlined canvas in overall fair to good condition. We notice evidence of flaking in the center of the painting, at center and center left. While the paint is not actively peeling off up, we do notice some missing flakes, which are indicative that the work may need to be restored and eventually lined. Examination under UV light reveals very small, localized areas of inpainting in the background at bottom left, bottom right quadrant and upper left along the top outer edge. The composition itself appears to be intact. See Specialist's pictures for more details. Frame: 24 x 21 x 1 1/4 in. To request additional information, please email Raphaël Chatroux at rchatroux@freemansauction.com
Cecilia Beaux (American 1855-1947), two pen and ink drawings from a sketchbook, dated 1883, 5 1/2" x 8 3/4" and 5 1/2" x 8 3/4". Competitive in-house shipping is available for this lot.
Cecilia Beaux (American 1855-1947), pencil drawing of a young woman knitting, initialed lower right, 5" x 7". Provenance: Niece of the artist; gift to Harrison B. Cultra; inheritance to Richard Barker; purchased from the Barker estate.
Oil on canvas, 1920, unsigned, lined, with label from Alfred Walker, Boston. 44 x 36 in., 55 x 47 in. (frame). Note: The US War Portraits Commission hired Cecilia Beaux in 1920 to paint a portrait of Georges Clemenceau, the French statesman who signed the WWI Peace Treaty at Versailles in 1919. The finished portrait hangs in the collection of the Smithsonian American Art Museum.
Cecilia Beaux (American, 1855-1942) Lane Lovell and His Dog, 1913 or 1914 Oil on canvas 76-1/2 x 47-1/2 inches (194.3 x 120.7 cm) Signed lower right: Cecilia Beaux PROVENANCE: Lane Lovell, Arlington, New Jersey; Hollis Taggart Gallery, New York; Private collection, Dallas. LITERATURE: H. Drinker, The Paintings and Drawings of Cecilia Beaux, Philadelphia, 1955, p. 77. We would like to thank Alice A. Carter, author of Cecilia Beaux: A Modern Painter in a Gilded Age, for her gracious assistance in cataloguing this work. A sketch for Lane Lovell and His Dog is in the collection of the Fogg Art Museum, Harvard University, Cambridge, Massachusetts. HID01801242017
CECILIA BEAUX (american 1855-1942) "ETHEL PAGE AS UNDINE" Signed and dated 'Cecilia Beaux '85' bottom left, oil on canvas 39 x 31 in. (99.1 x 78.7cm) provenance: Collection of Pauline D. Bowie, cousin of Ethel Page, Chestnut Hill, Pennsylvania. By descent in the Page-Cox family. Estate of Ms. Vidal S. Clay, Westport, Connecticut. EXHBITED: American Art Association Prize Fund Exhibition, New York, New York, 1886. Pennsylvania Academy of The Fine Arts, Philadelphia, Pennsylvania, 1887 (awarded the Mary Smith Prize). "Cecilia Beaux And The Art of Portraiture," National Portrait Gallery, Smithsonian Institute, Washington, D.C., October 6, 1995-January 28, 1996; and the Westmoreland Museum of Art, Greensburg, Pennsylvania, February 25-May 5, 1996 (traveling exhibition). "Cecilia Beaux, American Figure Painter," High Museum of Art, Atlanta, Georgia, May 12-September 9, 2007; Tacoma Art Museum, Tacoma, Washington, September 29, 2007-January 6, 2008; Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, February 2-April 13, 2008. LITERATURE: Tara Leigh Tappert, Cecilia Beaux and the Art of Portraiture, an exhibition catalogue, published for the National Portrait Gallery by the Smithsonian Institution Press, Washington D.C. and London, plate 2 (illustrated in color), no. 4, pp. 14-15. Tara Leigh Tappert, Out of the Background: Cecilia Beaux and the Art of Portraiture, an online publication with Traditional Fine Arts Organization, 1994 (with 2009 edits), discussed in chapter II, "Direction". Sylvia Yount, Cecilia Beaux: American Figure Painter, an exhibition catalogue, University of California Press, Berkeley, Los Angeles, London, 2007, no. 10, illustrated p. 109, commented pp. 25, 63 and 177. NOTE: Proclaimed "the greatest woman painter of modern times" by William Merritt Chase, Cecilia Beaux led a fascinating and unconventional life, rising from her difficult childhood in Philadelphia to a triumphant entry into the male-dominated art worlds of Paris and New York. The present work, Ethel Page as Undine (1885), is one of the artist's most successful paintings, an early dazzling portrait of Beaux's life-long friend dressed as the mythological water nymph, Undine. In her article entitled "Under the Skin: Reconsidering Cecilia Beaux and John Singer Sargent," scholar Sarah Burns reflected: "Beaux came to maturity at a time when women were entering the art world in unprecedented numbers, for the first time constituting a visible threat to the male-dominated establishment." Because of this accomplishment, one might imagine today's feminists viewing Beaux as a fierce symbol of rebellion against 19th century patriarchy. Yet Beaux was not a rebel, and did not embrace feminist values, and that may be why she remains under-recognized today. Her portraits flattered her successful male sitters, and according to scholar Tara Leigh Tappert, Beaux regarded her artistic gifts as "unique" for a 19th century woman. However, Beaux's professional achievements parallel those of other women artists of the time - namely, she rose to success independently, with a self-cultivated stubbornness, declaring "I can say I have a passionate determination to overcome every obstacle." Cecilia Beaux was born in Philadelphia in 1855 to Cecilia Leavitt, a New York City native, and Jean-Adolphe Beaux, a silk manufacturer who immigrated to the United States from Nimes, in the south of France. Following the tragic death of her mother, her grieving father returned to France, and Cecilia and her older sister Aimée Ernesta were raised by their strong maternal relatives - their grandmother and two aunts. Following art lessons with Catharine Ann Drinker, a family friend, Beaux studied perspective and copied antique masters with Francis Adolf Van der Wielen. She began classes at the Pennsylvania Academy of the Fine Arts in 1876, and while she admired Philadelphia's most controversial artist, Thomas Eakins, Beaux steered clear of his teaching methods and instead attended Christian Schussele's costume and portrait classes. Beaux did not regret her education at P.A.F.A, but she later claimed her only important artistic training had been two years of private study (1881 to 1883) with Philadelphia-born, New York painter William Sartain. It was in fact under Sartain's supervision that she began Les Derniers Jours d'Enfance, her first great success inspired by James McNeill Whistler's famous portrait of his mother. The painting brought her instant recognition on both sides of the Atlantic. Ethel Page as Undine immediately follows this major achievement. It belongs to a productive moment in Beaux's career, when she completed over fifty portraits in just three years, including watercolors of close friends, crayon portraits of family members as well as representations based on photographic reference, and several commemorative likenesses. The artist met Ethel Page (1864-1934) in 1876, when Ethel was eleven years old and Cecilia was twenty-one. The daughter of Samuel David and Isabella Graham (Wurtz) Page, Ethel came from a distinguished Philadelphia family that traced its lineage back to Roger Williams, the founder and first governor of Rhode Island. When the present work was completed in 1885, Beaux had already captured the features of her friend in a rich, dark-toned portrait now at the National Museum of Women in the Arts, Washington D.C - her "first portrait entirely from life without criticism" which she executed in her large Chestnut Street studio, where Les Derniers Jours d'Enfance had been painted. Typical of Beaux's early style and dark painting of Philadelphia in the 1880s, the portrait acknowledged the artist's awareness, and reverence, of the European portrait painting traditions of Germany and France. James Abbott McNeill Whistler and the Aesthetic movement served as the main inspiration for Ethel Page as Undine, "an idealized representation of womanhood," according to Tara Leigh Tappert. The painting features Page in a brightly illuminated three-quarter length profile set against a "tap background," most likely a Japanese fabric decorated with undulating streams of silvery water and a crescent moon - an echo to the water deity Page is impersonating. Her magnificent aquamarine dress (a Victorian-revival costume for a fancy ball) and the creamy white of the fine laces, contrast with the overall muted palette of the work. The richness of the fabric, along with Beaux's masterful rendition of the sitter's pensive psychology, demonstrate the influence of major Philadelphia portraitists, including Thomas Eakins. It also witnesses Beaux's emerging style and developing confidence in her artistic skills. Contrary to Beaux's first portrayal of her childhood friend, the Undine depiction was not a commission. Painted in Beaux's new studio on Chestnut Street, the portrait was created for exhibition. Eager to repeat her triumph with Les Derniers Jours d'Enfance, Beaux sent Ethel Page as Undine to the 1886 American Art Association Prize Fund Exhibition in New York, where it was noticed by editor and critic Clarence Cook. In his magazine The Studio, Cook declared that Beaux's work, while reminiscent of renown [sic] Philadelphia portrait painter Thomas Sully, in fact surpassed it. "It recalls the late Mr. Sully's work" he said. "Though certainly Mr. Sully never painted so well as this." The same year, a journalist in the Evening Telegraph positively reviewed the work: "Miss Cecilia Beaux who is now the occupant of a studio in the Baker Building No. 1520 Chestnut Street has just completed a large and charming portrait of a young lady. This is a seated three-quarter length, and the pale blue-green tints of the soft silk robe, the creamy white of the laces and ruddy paleness of a peculiarly delicate complexion, and the greys and grey-greens of the background of Japanese draperies make a peculiarly fascinating harmony. There is some admirable painting in this portrait, and Miss Beaux who is certainly one of the few strong painters of Philadelphia, has never done anything finer." When her painting was returned to her the following year, Beaux entered it in the Pennsylvania Academy's annual exhibition, where she once again triumphed over her female peers, receiving the Mary Smith Prize for the best work by a local woman - the second time in two years. In 1889-90, Cecilia Beaux depicted the features of her friend again in a charming pastel (the last known portrayal of Ethel Page, now at the Philadelphia Museum of Art). Ethel, then Mrs. James Large, sits in a throne-like chair, facing the artist. Wrapped in a blue velvet coat with a white fluffy lining and collar, she smiles - aware of her beauty and confident in Beaux's ability to accurately capture it. Even today, Beaux's motivation for depicting her friend as Undine remains unclear. Considering the artist's complex imagination and fascination for "secrets hidden from the ordinary mind," the answer may never be found. Yet, one can speculate about the underlying meaning of such an enigmatic portrait. If the literary reference to Undine may appear slightly unconventional in today's world, the mythological nymph was in fact a popular figure back in the 1880s, and the subject of many tales, novels, poems and operas. The subject of the painting may have originated from Ethel herself, then a well-established socialite in Philadelphia. Along with Queen Esther, Empress Theodora, and Marie-Antoinette, Undine was indeed a popular figure among the rich who indulged in fancy masquerades, impersonating famous historical and mythological characters. Large fancy balls usually opened with tableaux vivants (or living pictures), in which costumed attendees posed and recreated famous scenes. Undine might be viewed as a strategic choice for the ingénue in search of a mate. According to the legend, Undine was a water spirit who married a knight in order to gain a soul. With her seductive long hair and revealing flowy dress, Beaux may very well have wished to present her friend as a suitable bachelorette at the height of her beauty, patiently waiting for a suitor. In that regard, Beaux's Ethel Page as Undine stands out as an idealized creation of womanhood, and fits the artist's archetype of physical beauty (dark-hair and dark-eyed features). The portrayal also reaches a new level of authenticity - a woman captured as both aesthetically ethereal and socially expectant, the perfect harmony as defined by the members of the Aesthetic movement. We wish to thank Dr. Alice Carter and Dr. Sylvia Yount for their assistance in cataloguing the present portrait. Special thanks to Dr. Tara Leigh Tappert for her generosity in researching the present piece, and her thoughtful input on the preceding note. The present painting will be offered with an assortment of period photographs of Ethel Page. It will also be accompanied by a letter from Cecilia Beaux to Pauline Bowie, the cousin of Ethel Page, dated May 19, 1934, which reads as follows: "My dear Pauline, I heard day before yesterday, quite accidentally from Thornton Oakley, that my beloved Ethel was gone, and this morning I had your address from him and am writing at once. March 23rd - so long ago. It seems as if I should have felt it. For neither time nor separation could dim my love for her. How thankful I am that I had that visit last summer. She seemed just the same. Youth was always effulgent in her - in her voice - her walk - her exquisite smile and in that strength of character and will to do what she saw before her - lay under the almost imponderable buoyancy of her physique. I feel that she has floated away from earth and us all-but that, how beautiful, is no comfort to those who wanted her presence here. She was only eleven when I first knew her-but so wise, even then. Dear Pauline, I hope we may meet, for I am not satisfied not to hear from you-of her last days and I long to talk with someone-of her, and all we loved in her- No one can possibly imagine - who did not know her - her personality - unique, precious caring, ordinary humanity. This address will always find me-but Gloucester Mass. after the middle of June for I have had an ill sister (Mrs. Drinker) Thank God better now-I hope for a letter from you soon and please tell me everything-also what your plans are. You are so associated with her in my mind. How I sympathize with you… Affectionately Yours, Cecilia Beaux"
Unsigned [David Baker], oil on canvas, Portrait of an Artist; Life size full-length portrait of a young artist. [Pennsylvania Academy of the Fine Arts label verso, with apparent reference to the work as an entry in the Academy's Cecilia Beaux Portrait Prize competition.] 3'7-1/4" x 7' =frame. Condition: no issues identified.
CECILIA BEAUX American (1855-1942) "Clara Fargo Thomas" charcoal on canvas laid down on masonite, signed lower left. 19 3/4 x 15 3/4 inches Provenance: The Artist, Estate of Clara Fargo Thomas, descended to her son Joseph Thomas III; Private Collection, Massachusetts. Other Notes: Label on the reverse "In CB''s studio 132 E 19th St. top floor opposite our house 135 E 19th". Tags: Portraiture
CECILIA BEAUX (american 1855-1942) JOHN FREDERICK LEWIS AND SON, ALFRED BAKER LEWIS Signed 'Cecilia Beaux' bottom left, oil on canvas 83 3/4 x 48 in. (212.7 x 122cm) provenance: The Artist. Commissioned from the above by Mr. and Mrs. John Frederick Lewis. By descent in the family to his son, John Frederick Lewis, Jr. By descent in the family. Private Collection, Malvern, Pennsylvania. exhibited: "Cecilia Beaux: Portrait of an Artist", Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1974-1975, no. 64. literature: Pennsylvania Academy of the Fine Arts, The Paintings and Drawings of Cecilia Beaux, Philadelphia: 1955, p. 76, (illustrated). note: Both John F. Lewis Sr. (1860-1932) and John F. Lewis Jr. (1899-1965) served as President of the Board at PAFA. Lewis, Sr. served from February, 1908 through December, 1932, and Lewis, Jr. served from February, 1949 through October, 1958. According to the 1974-1975 exhibition catalogue, Beaux served as a member of the PAFA faculty from 1895-1915, and was well acquainted with the Lewis family at the height of her Philadelphia career. The present portrait, as well as the double portrait of Mrs. Lewis and son, (see lot 20) were executed over a period of several years as commissions (ca. 1908-1910). These two double portraits are striking and show the artist's skill and style at their zenith. Beaux's excellent sense of balance in color, composition, and design are evident in both paintings, bringing out the sitters' emotions, affectations, and relationships to each other in an exceptional manner.
CECILIA BEAUX (american 1855-1942) MRS. JOHN FREDERICK LEWIS AND SON, JOHN FREDERICK LEWIS, JR. Signed 'Cecilia Beaux' bottom left, oil on canvas 83 3/4 x 48 3/4 in. (212.7 x 123.8cm) provenance: The Artist. Commissioned from the above by Mr. and Mrs. John Frederick Lewis. By descent in the family to her son, John Frederick Lewis, Jr. By descent in the family. Private Collection, Malvern, Pennsylvania. exhibited: "Cecilia Beaux and the Art of Portraiture", The National Portrait Gallery, Washington, D.C., October 6, 1995-January 28, 1996; and Westmoreland Museum of Art, Greensburg, Pennsylvania, February 25-May 5, 1996. note: The present lot will be accompanied by the original receipt of payment and check written to Beaux by Mrs. John Frederick Lewis for the purchase of this painting on April 2-4, 1908.
ATTRIBUTED TO CECILIA BEAUX Pennsylvania/Massachusetts, 1855-1942 Miniature portrait of a woman holding flowers. Signed middle right "Beaux". Oil, 3.25" x 2.5" sight. Framed 6" x 5".
CECILIA BEAUX American, 1855-1942 "Study of a Head". Unsigned. From a sketchbook dated 1883. Provenance: Alfred Walker Fine Art. Private Collection, Massachusetts. Pencil and ink on paper, 6.5" x 9". Framed.
CECILIA BEAUX American, 1855-1942 "Preliminary Sketch of a Breton Costume". Unsigned. From a sketchbook dated 1883. Provenance: Alfred Walker Fine Art. Private Collection, Massachusetts. Pencil and ink on paper, 6.5" x 9". Framed.
CECILIA BEAUX American, 1855-1942 "Study of a Head". Unsigned. From a sketchbook dated 1883. Provenance: Alfred Walker Fine Art. Private Collection, Massachusetts. Pencil and ink on paper, 6.5" x 9". Framed.
CECILIA BEAUX American, 1855-1942 "Study of a Head". Unsigned. From a sketchbook dated 1883. Provenance: Alfred Walker Fine Art. Private Collection, Massachusetts. Pencil and ink on paper, 6.5" x 9". Framed.
CECILIA BEAUX American, 1855-1942 "Preliminary Sketch of a Breton Costume". Unsigned. From a sketchbook dated 1883. Provenance: Alfred Walker Fine Art. Private Collection, Massachusetts. Pencil and ink on paper, 6.5" x 9". Framed.
ATTRIBUTED TO CECILIA BEAUX WATERCOLOR ON PAPER (Pennsylvania/Massachusetts, 1855-1942) Portrait of a gentleman. Image measures 8.5" x 7", signed "Cecilia Beaux" lower right. In a wood frame.
CECILIA BEAUX (1855-1942): LANDSCAPE Ink on beige wove paper, unsigned. 5 1/2 x 8 1/2 in. (sheet), 18 x 20 3/4 in. (frame). Exhibited: Cecilia Beaux Early Drawings, Alfred J. Walker Fine Art, Boston, illustrated catalogue p.17.
Cecilia Beaux (American, 1855-1942) Portrait of Mrs. Jeanette S.C. Gilman Signed "Cecilia Beaux" l.r., stamped "MRS. JEANETTE/S.C. GILMAN/NEW YORK CITY" in tw in two places directly on the frame backing. Pastel on paper/board, sight size 31 1/2 x 26 in. (80.0 x 66.0 cm), framed. Condition: Not examined out of frame.
Cecilia Beaux (1855-1942) >Mrs. Elizabeth M. Howe <br>signed 'Cecilia Beaux-' (lower left) >oil on canvas <br>63 x 43 in. (160 x 109.2 cm.) >Painted in 1903. <br>
CECILIA BEAUX (American, 1855-1942) VICTORY BEARING AWAY THE INFANT FUTURE oil on canvas; signed Cecilia Beaux, l.r.; circa 1921; 88 x 60 inches Literature: Tappert, Tara. Out of the Background: Cecilia Beaux and the Art of Portraiture, c. 1994; Chapter 12 Other Notes: Considered one of the finest female portrait painters of the turn of the century, Cecilia Beaux was the first women to receive a full time appointment at the Pennsylvania Academy of Fine Arts. She was a contemporary of William Merritt Chase, Abbot Thayer and Childe Hassam, with her talent as a portrait artist often compared to John Singer Sargeant and Mary Cassatt. Beaux spent summers on Eastern Point in Gloucester, where she had a community of friends, including the politically active A. Piatt Andrew. It was Andrew that commissioned Beaux to create Victory Bearing Away the Infant Future, for an American Legion Fourth of July celebration in 1921.
Cecilia Beaux (American, 1855-1942) A Lady in Black, alternately titled Mrs. D Signed "Cecilia Beaux." l.l., identified on labels from Arden Studios, Inc., New York, and the Museum of Fine Arts, Boston, affixed to the reverse. Oil on canvas, 78 1/4 x 47 1/2 in. (198.7 x 120.6 cm), framed. Condition: Retouch. Provenance: The artist; Alfred I. du Pont, Wilmington, Deleware; to Museum of Fine Arts, Boston, Massachusetts, 1921, gift of Alfred I. du Pont; deaccessioned from the Museum of Fine Arts; Skinner, Inc., May 19, 2006, Sale 2320, Lot 351. N.B. Born in Philadelphia, Pennsylvania, in 1885, Beaux emerged as one of the most celebrated female artists of the late 19th and early 20th centuries. At the age of 16 she enrolled at the Pennsylvania Academy of Fine Arts where she specialized in portrait painting. She then traveled to Paris from 1877-78 to continue her studies at the Academie Julian and the Academie Colorossi, where she studied with French Salon greats William Bouguereau and Robert Tony Fleury. Upon her return to America in 1895 she accepted a position to teach at the Pennsylvania Academy of Fine Arts, a position she would hold for two decades. By 1902, she was recognized as one of the premiere portrait painters in America and won full membership into the National Academy. She respected fellow portrait artist John Singer Sargent yet regarded him as a true rival of her style, although one can observe noticeable similarities between these two artists' brush techniques and color palette.
Cecilia Beaux (1855-1942) Portrait of Mrs. Frank McFadden signed 'Cecilia Beaux' (lower right) oil on canvas 32½ x 20¼ in. (57.2 x 51.4 cm.) Painted circa 1899.
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