MIDDLETON MANIGAULT California/New York/Ontario, 1887-1922 Figures and animals in a landscape. Unsigned. "Manigault" written in pencil, in another hand, lower left margin.
EDWARD MIDDLETON MANIGAULT (american 1887–1922) "STILL LIFE WITH FLOWERS" Signed 'Manigault' bottom right; also dated '1918' bottom left, oil on canvas 34 x 30 in. (86.4 x 76.2cm) provenance: Private Collection, New York, New York. EXHIBITED: "Middleton Manigault: Visionary Modernist," Colombus Museum of Art, Colombus, Ohio, January 15-March 31, 2002; and Hollis Taggart, New York, New York, May 23-July 19, 2002; and University of Delaware, September 5-October 25, 2002; and Gibbes Museum of Art, Charleston, South Carolina, November 22, 2002-January 28, 2003 (traveling exhibition).
Edward Middleton Manigault American, 1887-1922 Still Life with Tulips and a Rose in Blue Pitcher, 1918 Signed Manigault (ul) and dated 1918 (ur) Oil on canvas 22 18 x 14 3/8 inches Provenance: Montross Gallery, New York Salander-O''Reilly Galleries, Inc., New York Hollis Taggert Galleries, New York
Middleton Manigault (American, 1887-1922) Greyhound (The Whippet) Oil on canvas 12-1/2 x 9-1/4 inches (31.8 x 23.5 cm) Signed lower left: Manigault PROVENANCE: Francis M. Naumann Fine Art, New York; Hollis Taggart Galleries, New York. EXHIBITED: Columbus Museum of Art, Columbus, Ohio, "Middleton Manigault: Visionary Modernist," n.d. HID04901242017
Both sides of the canvas are used. As it is signed and dated, the landscape appears to be the primary painting in this double sided work. Edward Middleton Manigault is known to have shared canvases with George Bellows, a fellow student at the New York School of Art, making attribution for the unsigned figural work on reverse uncertain. Manigault suffered from depression and destroyed over 200 of his own paintings prior to his death. This, in combination with his short lifespan makes his works rare today. (source, biographical details: AskArt.com) Provenance: Consignor states that her late husband, a renovator of historic homes, traded the painting for renovation work on an Old Northwood Historic District home.
EDWARD MIDDLETON MANIGAULT American (1887-1922) "5th Avenue" watercolor on paper, signed "Manigault" and dated 1914 lower right. 9 5/8 x 11 3/8 inches (sight) Provenance: McDaniel Gallery, New York, New York; Country Art Gallery, Locust Valley, New York; Private Collection, New York. Other Notes: Tags: New York City, Works on Paper, Watercolor
MIDDLETON MANIGAULT (American, 1887-1922) COLUMBIA YACHT CLUB 1908, oil on board signed and dated Manigault 08, l.r. 6 x 8 in. (frame: 9 x 11 in.) Provenance: Property of a Private Collection, Middleton, RI; The Boston Art Club. Other Notes: Manigault's own inventory list for 1908 has eight oil paintings of the Hudson River, each with these dimensions. This title matches the image most closely.
EDWARD MIDDLETON MANIGAULT (Canadian, 1887-1922) Three Roses, 1918 Oil on canvas 8 x 6 inches (20.3 x 15.2 cm) Signed lower left: Manigault Dated lower right: 1918 PROPERTY FROM THE KING COLLECTION, TEXAS PROVENANCE: The artist; Kenneth Hayes Miller, acquired from the above, 1918; Sale: Shannon's Fine Art Auctioneers, Milford, Connecticut, October 21, 1999, lot 313; Acquired by the present owner from the above. EXHIBITED: El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 5, 2014, no. 54. LITERATURE: P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 137-39, no. 54, illustrated.
EDWARD MIDDLETON MANIGAULT (Canadian, 1887-1922) Landscape with Bridge, 1916 Watercolor on paper 18 x 12-1/8 inches (45.7 x 30.8 cm) Signed and dated lower left: Manigault 1916 PROPERTY FROM THE KING COLLECTION, TEXAS PROVENANCE: The artist; [With] Daniel Gallery, New York; Estate of the artist; By descent; Private collection, Florida, acquired from the above, 1950; Hollis Taggart Galleries, New York; Acquired by the present owner from the above, November 2001. EXHIBITED: Columbus Museum of Art, Columbus, Ohio, and elsewhere, "Middleton Manigault: Visionary Modernist," January 15-March 31, 2002, no. 28; El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 5, 2014, no. 53. LITERATURE: N. Maciejunes and B. Venn, Middleton Manigault: Visionary Modernist, exhibition catalogue, Columbus Museum of Art, Columbus, Ohio, pp. 32, 66, no. 28, illustrated; M. Cole, "Middleton Manigault: Visionary Artist," American Art Review, February 2002, pp. 128-37, illustrated; "Discovering the American Modern 1907-1936: The King Collection," American Art Review, December 2013, pp. 80-87, 127, illustrated; P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 137-39, no. 53, illustrated. Driven by an intensely experimental nature, Edward Middleton Manigault explored the parameters of Realism, Post-Impressionism, Symbolism, and Cubism. In addition to painting, he was a talented craftsman who produced ceramics, picture frames, carved wood constructions and furniture. In a short period of time due to a life cut tragically short, Manigault created a diverse body of work in a range of styles that reflected his visionary approach to the aesthetics of modernism. His artistic development parallels the trajectory of early American modernism and exemplifies its innovative, searching spirit. Manigault was born in London, Ontario, in 1887 into a prominent London family. In search of formal art training, he moved to New York City in 1905 and enrolled in classes at the New York School of Art. He studied under Robert Henri and Kenneth Hayes Miller, who would remain a lifelong friend and enthusiastic champion of Manigault's work. The dark palette of Manigault's early paintings clearly reflects Henri's influence. These works also share the hazy, romantic and symbolic subjects found in Miller's work. Early in his career Manigault concentrated on depicting the effects of light, time of day, and atmosphere. Under Henri's influence, and along with his friend George Bellows, Manigault took to the streets and portrayed the rivers and parks of the city. Manigault made a dramatic shift away from Realism by 1909 and began producing paintings in the spirit of Post-Impressionism. During next two years, he honed an independent style that resulted in a number of dramatic, imaginative compositions. He exhibited some of them at the Haas Gallery in New York, where he had three solo shows from 1909 through 1911. Infused with a Fauvist palette, many of Manigault's compositions at this time were created with a technique related to Pointillism, in which he juxtaposed bold patches of color to create mosaic-like effects. These energetic, vibrant paintings also drew upon decorative aspects of Eastern art. Manigault continued to refine his modernist style and build upon qualities of Eastern art in the pictures he created around 1911. However, a palette of more somber, muted tones replaced the bright palette he had previously favored. In addition, Manigault had become far more focused on overall decorative patterning. During this period, he also created low-toned Symbolist-inspired paintings. His visionary landscapes populated by nudes bear a resemblance to those of Arthur B. Davies, an artist with whom Manigault was undoubtedly familiar. Manigault's pilgrimage to Europe in 1912 reinforced his attraction to Symbolist subjects. He remained abroad, traveling in France and England, from June to September of that year. The artist had not gone to train under a specific master or to study in any particular school. Rather, he spent time visiting museums and galleries where he could make copies of works by the Old Masters and see the work of Cézanne and other modern masters. During his travels, Manigault painted extensively in watercolor and renewed his earlier interest in architectural scenes and landscapes. After returning from Europe, Manigault began regularly exhibiting his paintings. In 1913, he submitted two works to New York's Armory Show, and also had his first solo show at the Charles Daniel Gallery. His association with this establishment endured for several years. 1915 marked a radical change in Manigault's career. He married Gertrude Buffington Phillips, and shortly thereafter volunteered as an ambulance driver during World War I. Manigault's artistic output ceased while he was at the front. After only five months, he was declared "incapacitated" and discharged from service. Manigault's war experiences precipitated a serious nervous breakdown and made returning to art an extremely difficult task. He produced only four paintings in 1916. When Manigault recovered, he made numerous war-related paintings, most of which are now unlocated. The only known extant image directly pertaining to his military experiences is Vorticist Landscape (War Impression) (c. 1916, Private collection, Minneapolis, Minnesota), a distinctive painting that expresses the tumultuous conditions of war. Landscape with Bridge is one of only a handful of pictures produced by the artist in the year following his discharge from the army. In the work, Manigault "encapsulates the energy of industrial components constructed compactly around the central line, arc and oval of smokestack, bridge, and hints of distant space...Besides the larger, more abstract watercolor Vorticist Landscape, it represents his only foray into Vorticism, the major English contribution to early twentieth-century modernism. Additionally, [Landscape with Bridge] inspired one of Manigault's most original creations in the realm of decorative arts, Fantasy Construction, a bold almost two-foot-high painted wood construction. Studying the dynamically abstracted Landscape with Bridge and considering its uniqueness within Manigault's production, one is ultimately led to question whether the Vorticist style, which embraced the unheralded energy of the modern machine age yet also acknowledged its darker side, here offered Manigault a temporary vehicle through which he could try to exorcise his recent experiences of the war" (P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, p. 139). Manigault attracted an impressive range of patrons including J. Paul Getty and Ferdinand Howald, noted American collector of European and American Modernist art. In addition, his old friend Kenneth Hayes Miller was a leading champion of his work, as was the Modernist sculptor Elie Nadelman. In 1922, a few months after his thirty-fifth birthday, Manigault died prematurely from starvation, brought on by his attempts to fulfill his aesthetic ambitions. He had begun to fast in an attempt to reach a higher spiritual plane and discover colors he felt were otherwise inaccessible. Shortly before his death, the artist destroyed approximately 200 of his paintings during periods of depression and hysteria. His remaining works, of which Landscape with Bridge is a rare and important example, are invaluable documents that highlight the artist's contribution to American Modernism.
Signed Edward Middleton Manigault (Ca, NY, Canada 1887-1922) and dated 1917 porcelain bowl. Muted colors of greens, brown, gold and cream, Ornate geometric Persian style design, 8 1/2" diameter x 4" deep. Manigault suffered from severe depression and ad as reclusive sought fasting to purify himself to inspire his artistic vision. He literally died of starvation in 1922 at the age of 35. Before his death he destroyed much of his work. What remains "are invaluable documents that highlight the artist's contribution to American modernism".
EDWARD MIDDLETON MANIGAULT (american 1887-1922)/span CIRCUS BOY Signed 'Manigault' bottom left, dated '1916' bottom right, oil on canvas 15 x 15 in. (38.1 x 38.1cm) provenance: /spanPrivate Collection, Florida.
Peaches in a Compote inscribed 'This painting was done in San Fransisco [sic], Cal during summer of 1922 by Edward Middleton Manigault. Signed Gertrude P. Manigault Widow of the artist.' (on the reverse) oil on canvas 16 x 20 in. (40.6 x 50.8 cm.)
Gladiolas inscribed 'Painted by E. Middleton Manigault in California 1921 or 1922 Gertrude P. Manigault (widow of artist) July 16, 1944- West Palm Beach, Fl.' (on the reverse) oil on canvas 20 x 16 in. (50.8 x 40.6 cm.)
Cyclamen inscribed 'This unfinished still-life was painted in California in 1922 by my husband the late Edward Middleton Manigault Gertrude P. Manigault West Palm Beach, florida, 1944' (on the reverse) oil on canvas 18 x 15 in. (45.7 x 38.1 cm.)
White Orchids inscribed 'Painted by E. Middleton Manigault 1921 or 1922 in California Gertrude R. Manigault (widow of artist) July 16 1944 - West Palm Beach, Fl.' (on the reverse) oil on canvas 20 x 16 in. (50.8 x 40.6 cm.)
Manigault, E. Middleton Canadian/American (1887-1922) JAVANESE DANCER watercolor on paper, framed signed: lower left, Manigault sight size: H6 1/2" W10 1/2" *Provenance: Hollis Taggart Galleries, New York. *Artist biography: Painter E. Middleton Manigault was born in Canada in 1887, and raised there, but was also associated with Charleston, South Carolina where his great-grandfather Joseph Manigault lived, building the Joseph Manigault House, which is still used by the Charleston Museum. Middleton Manigault moved to New York as an eighteen-year-old. Encouraged by his parents in his art pursuits, he studied with Robert Henri and Kenneth Hayes Miller, who became his friend, at the New York School of Art. Fellow students included Edward Hopper and George Bellows. Manigault used some of Bellows' old canvases which now have both artists' signatures on the back. He began exhibiting in 1906 at the age of nineteen. In 1912, he was influenced by the old masters during a European trip. He would eventually work in several styles and media, his oil paintings varying from early stylized, decorative, pointillist-expressionist landscapes, buildings and still-lifes--nearly visionary in concept, including religious subject matter (Christ appearing to Mary)--to later, more broadly-painted works related to Cezanne's applications of patches of color. He also worked with crafts and decorative arts in addition to fine art. Manigault was a reclusive, emotionally unstable and idealistic artist searching for an art that would more intensely represent his desires for self-expression and give meaning to his life. He suffered from chronic depression and repeated breakdowns. He sought fulfillment of his idealism for a period of time in the utopian Oneida Community, in New York. Toward the end of his life, in an effort to see colors more intensely, "colors not perceptible to the physical eye," he lived an ascetic lifestyle, fasting so extensively in an attempt to purify himself--that he literally died of starvation in 1922. He was only thirty-five years old. In this state of depression shortly before his death, he destroyed approximately two hundred of his paintings. He had destroyed others as early as 1909. A writer for "American Art Review" magazine stated that "What remains of his output clearly ranks him among the more fascinating and idiosyncratic of early Modern artists". Manigault exhibited in the 1913 New York Armory Show. His painting "The Clown", was purchased from the exhibition by Arthur Jerome Eddy and J. Paul Getty, major avant-garde art collectors. Manigault also showed a painting titled "Adagio". "The Clown", 1912, is a frontal figure in gold-brown costume with a skull-like face white with makeup and the saddest, most hopeless expression. He sits before a stylized, nearly brown-black forest where one of the trees has eyes like a giant owl. A yellow sky, dark clouds and trees, and the darkness of the setting create a disconsolate, threatening environment and atmosphere. Some critics found this painting terrifying. In a somewhat strange series of events, Manigault married his wife, Gertrude in April 1915 and only two days later volunteered for service as an ambulance driver for the British in World War I France. Five months later, in September, the military termed him "incapacitated for further service," apparently because of a nervous breakdown resulting from a wall collapsing on him. He was forever changed by his War experience. Always a steady, disciplined worker, Manigault now had difficulty realizing his vision. Finishing only four paintings in 1916, he commented, "Painting is worse than war." It was at this time that he and Gertrude began spending summers in Colebrook, New Hampshire, at her family's vacation home, and in upstate New York, where Kenneth Hayes Miller introduced him to the Oneida Community. They moved to Los Angeles in 1919, futilely hoping the warmer weather would help Manigault. Near the end of his life, moving to San Francisco without his wife, the artist began the ascetic life of meditation and fasting which would kill him. He was very thin when she last saw him, but he believed he had found the way. She described him as suffering from "the sort of unconscious bodily torture that the great sages and prophets have undergone." Many critics praised his work during his lifetime, but because Manigault died young, destroyed his own work, and did not live in New York, the museums that create modernist art reputations forgot him as an artist, though his wife and sister faithfully continued to contact galleries and museums after his death. The Columbus Museum of Art in Ohio, which in 1931 acquired its first Manigault, "The Procession", provided the venue in 2002 for the artist's first one-man exhibition in eighty-six years. "The Procession" was also the first Manigault to enter a public collection. The Columbus Museum owns several works, including "The Clown". The Metropolitan Museum of Art, New York City, has a watercolor. The Norton Museum of Art, West Palm Beach, Florida has at least four Manigault paintings in its collection. Though he explored a variety of modernist styles, Manigault had a unique vision. According to Nannette V. Maciejunes, Senior Curator of the Columbus Museum of Art, "What comes to mind when you close your eyes and think of Middleton Manigault is a lot of specific pictures, not a signature style." The exhibition, "Middleton Manigault, Visionary Modernist", was seen at the Columbus Museum of Art, Columbus, Ohio, January 15-March 31, 2002; Hollis Taggart Galleries, New York, May 21-July 19, 2002; University Gallery, University of Delaware, Newark, Delaware, September 5-October 25, 2002; and Gibbes Museum of Art, Charleston, South Carolina, November 22, 2002-March 23, 2003. An accompanying exhibition catalogue with forty-eight color plates, published by Hollis Taggart Galleries, is the first major publication exploring Manigault's life and work. It includes a detailed essay by Beth Venn, former Whitney Museum of American Art curator, and a Manigault biographer who guest-curated the exhibition. The catalogue also includes essays by Nannette Maciejunes, and Angela Mack, Curator of Collection of the Gibbes Museum of Art.
1887-1922 THE LOUVRE FROM THE TUILLERIES Signed and dated Manigault 1912 (lc), inscribed Paris (lr) Watercolor and pencil on paper laid to board 9 7/8 x 14 1/4 inches Provenance: Christie's, New York, September 27, 1985, lot 294
