American, 1863-1948 Grasse, No. 1, circa 1927-29 Signed C Prendergast (ll) Watercolor on paper 10 1/8 x 13 inches (25.7 x 33 inches) Provenance: The artist Mrs. Charles Prendergast, 1948 Hirschl and Adler Gallery, New York, 1969 Private collection William Beadleson, Inc. Hirschl and Adler. 1975 Private collection Exhibited: New York, Davis Galleries, Charles Prendergast: Watercolors, Carvings, Panels, Oct. 22 - Nov. 9, 1963 Literature: Carol Clark, Nancy Mowll Mathews, Gwendolyn Owens, Maurice Brazil Prendergast / Charles Prendergast: A Catalogue Raisonné, Williamstown, MA, p. 701, no. 2334 (Framed 16 7/8 x 20 1/2 inches) The sheet has been mounted to a support board; toning to the edges; small creases and losses at the extreme edges.
"Williams College Museum of Art" by Maurice and Charles Prendergast, 1975 Unsigned Offset Lithograph. Paper size is 36 x 15 inches, with an image size of 26.75 x 13 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details:
Charles E. Prendergast (American, 1863-1948) Girl with Rooster (Florida), c. 1946-1947 watercolor and pencil on paper Numbered and titled '18 - Girl with Rooster' verso 8 1/2 x 6 in. (21.6 x 15.2cm) This lot is located in Philadelphia. The Collection of Dr. Richard J. and Eva Wattenmaker, Pennsylvania (since 1967).
(American, 1863-1948) carved, gilt and paint wash with corner foliate and central diaper cartouche decoration, incised verso "...Prendergast...", rabbet 18-3/8 x 24-1/4 in., exterior 27-1/2 x 33-1/2 x 1-3/4 in., width 5 in., Provenance: A Buffalo New York Family, sold by Cottone Auctions, New York, March 29, 2014, lot 155, sold for $3,250
This watercolor painting on paper is signed "Prendergast", for Charles E. Prendergast (Newfoundland / America, 1863-1948), lower right. The work is housed in a black frame with an off-white mat. There is rippling visible to the right margin, and discoloration lower middle, as well as light wear to the frame. Provenance: From the collection of Francin Chapin, Dean of Chicago Painters and previous instructor at The Art Institute of Chicago. This lot does not come with a written certificate or bill of sale. The sight area measures 7" x 10", and the frame measures 13" x 17". In-house shipping is available. Please see our website regarding our in-house shipping procedures.
This watercolor painting on paper is signed "Prendergast", for Charles E. Prendergast (Newfoundland / America, 1863-1948), lower middle. The work is housed in a black frame with a white mat. There is a crease down its center, foxing (upper left), and brown flecks (lower left). Provenance: From the collection of Francin Chapin, Dean of Chicago Painters and previous instructor at The Art Institute of Chicago. It does not come with a written certificate or bill of sale. The sight area measures 10 3/4" x 14 1/2", and the frame measures 19" x 23". In-house shipping is available. Please see our website regarding our in-house shipping procedures.
CHARLES E. PRENDERGAST (1863-1948) Country Fair mixed media on gessoed board image, 12 1⁄4 x 16 1⁄2 in. (31.1 x 41.9 cm.); overall, 15 3⁄4 x 19 in. (40 x 48.3 cm.)
"Williams College Museum of Art" by Maurice and Charles Prendergast, 1975 Unsigned Offset Lithograph. Paper size is 36 x 15 inches, with an image size of 26.75 x 13 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details:
Property from the Wolf Family Collection Charles Prendergast 1863 - 1948 Fruit in a Silver Bowl signed C. Prendergast. (lower right) tempera, gold leaf and silver leaf on gessoed panel 19¾ by 20 in. 49.5 by 50.8 cm. Executed circa 1936.
CHARLES E. PRENDERGAST Monte Carlo. Gouache and pencil on cream wove paper, 1927. 260x340 mm; 10 1/4x13 3/8 inches. Signed in pencil, lower right recto. Provenance: Estate of the artist, Connecticut; Eugénie van Kemmel Prendergast, the artist's widow; the Society of the Four Arts, Palm Beach; private collection, New Jersey. The current work is registered with the Williams College Museum of Art, Prendergast Collection, Williamstown, with a letter of authenticity, dated August 11, 2005. Artist brothers Maurice (1858-1924) and Charles Prendergast (1863-1948) were born in Newfoundland and moved to Boston as children. Both studied fine art in Paris in 1891 and by 1894, were living together in Boston, Charles making his career primarily as a framer and Maurice as an artist. Maurice modelled his work after the French avant-garde and exhibited with The Eight in New York in 1908 and at the landmark 1913 Armory Show. Charles was influenced by the Arts and Crafts movement and New England folk art. In 1915, Maurice and Charles exhibited together for the first time in New York at Montross Gallery. They continued to exhibit together with the Society of Independent Artists, where Charles was elected vice president in 1917. The Society, founded in New York in 1916, filled the void caused by the dissolution of the Association of American Painters and Sculptors after the Armory Show was mounted in 1913. It was based on the French Société des Artistes Indépendants with the mission of promoting avant-garde artists with annual exhibitions. Unlike the conservative National Academy of Design, membership in the Society was open to any artist able to pay a fee and annual dues. Among its other founders were Marcel Duchamp, Man Ray, Katherine Dreier, William Glackens, Rockwell Kent, John Marin, Walter Pach, John Sloan and Joseph Stella. Its first exhibition, held at the Grand Central Palace in New York in April 1917, was twice the size of the Armory Show, and espoused the democratic ideal of accessible arts.
Charles Prendergast style large stylized arts and crafts painting depicting floral tree with birds. Foreground with hunter, stag, and tiger. Gouache on thin board. Unsigned. Some small areas of flaking or loss to gouache. This painting is in the style of Charles Prendergast and warrants additional research. Overall: 37 x 30in.
Maurice Brazil Prendergast (MA/NY / France 1858-1924). Watercolor/paper seaside painting. The work is signed, dated, and titled. It is framed, under glass, in what may be a Charles Prendergast (1863-1948) frame- see photos for possible evidence of a round seal impression to frame. Measures: 14 7/8" x 18 1/2" exterior frame 8 3/8" x 11 3/4" Rabbet. 7 1/2" x 11" Sight. Provenance: From a large private collection of a Westchester NY art collector.
Charles E. Prendergast (1863-1948) Fantasy signed 'C. Prendergast' (lower left)tempera, gold leaf and pencil on incised gessoed panel23 x 31inExecuted circa 1916-18. Provenance: Mrs. Sally Lewis, Portland, Oregon, by 1924.By descent to the present owner. ExhibitedPortland, Oregon, Portland Art Association, French and American Paintings, Drawings, Bronzes, African Masks: Brought from New York and Paris by Miss Sally Lewis, April 5-30, 1924, n.p., no. 44 (as Carved, Wooden Panel).Portland, Oregon, Portland Art Association, Loan Exhibition of Paintings Held in the New Museum of Art, November 18, 1932-January 2, 1933, p. 12, no. 87 (as A Decorative Panel). New Brunswick, New Jersey, Rutgers University, and elsewhere, The Art of Charles Prendergast, October 2, 1968-February 16, 1969, pp. 42, 48, no. 9, illustrated (as Decorative Panel).Portland, Oregon, Portland Art Museum, From Oregon Private Collections, November 16-December 30, 1977, p. 25, no. 40.LiteratureM. Komanecky, V.F. Butera, The Folding Image: Screens by Western Artists of the Nineteenth and Twentieth Centuries, New Haven, Connecticut, 1984, p. 192, fig. 18.3, illustrated.C. Clark, N.M. Mathews, G. Owens, Maurice Brazil Prendergast and Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 675, no. 2239, illustrated.The present work retains its original frame made by the artist.Fantasy by Charles Prendergast is a superlative example of the artist's carved pictorial panels, created at the height of his artistic vision and technical ability, which dates to the mid-late 1910s. The present work, in the artist's carved frame, exemplifies the ethos of the Arts and Crafts movement—it showcases artistic vision with handcraftsmanship equally, and blurs the boundaries between fine art, objecthood, and decoration. The complex multi-figural composition exhibits Prendergast's hallmark mosaic-like style and unique use of media.Prendergast grew up with artistic leanings but did not receive formal art training until his late twenties, albeit by osmosis. In 1891, Charles accompanied his older brother, Maurice Prendergast (1858-1924), to Paris, where he attended classes at the Académie Julian. It may be said that the careers of the artistic brothers forked at this juncture—while Maurice stayed on to complete his training, Charles returned to Boston, Massachusetts by 1892 where he became a business partner with Lars F. Peterson & Co., a maker of carved wood decorative mouldings and fireplace mantels.At the company, though Charles was involved primarily with sales, he became heavily involved with manufacture and learned all aspects of wood carving. By 1897, Charles found himself struggling against ennui in his career, which came at a time when Maurice's artistic career was taking off in Boston and beyond. Encouraged by Maurice and their artist friends, Charles began designing and carving picture frames to complement their works, thus moving professionally in the same circles as his brother. He found frame-making to be the perfect application of his acquired skill, which required a harmonious eye toward the art it contained. Prendergast believed that "a good frame will bring out all the fine points of a good picture and it will strengthen a poor one, making it seem better than it is, although nobody who knows art will be fooled." (as quoted in E. Wilner, The Gilded Edge: The Art of the Frame, San Francisco, 2000, p. 69) Over the next decade, Charles developed a following for his artistic frames, which he collaborated closely on with Maurice and for a period with his friend Hermann Dudley Murphy (1867-1945). His frames became known for their intricately tooled and carved designs with unique motifs and experimental finishes. In the summer of 1911, Charles Prendergast traveled to Italy which scholar Nancy Mowll Mathews identifies as a critical turning point in his career. While the impetus for this trip is unknown, it is believed that the trip signified a professional reckoning where having mastered the craft of his work, he was "awakened" to his own artistic vision. Mathews points to the financial and professional security that would have enabled him to travel and speculates that "he planned the sojourn as a springboard into the pictorial arts.' ("Charles Prendergast: Beauties...of a Quiet Kind," American Art Review, vol. V, no. 6, Winter 1994, p. 102) Mathews suggests that Prendergast had pushed frame-making so far that the only place left for innovation was to be found within the frame. The result was a new medium for Prendergast—the carved pictorial panel.Fantasy, created circa 1916-18, exhibits influences of Prendergast's Italian trip, with its loose mythological and biblical iconography as well as technique. There appear to be possible references to Diana, the Three Graces, and St. Andrew whose generalized form is only reinforced by the simplicity of line in which they are rendered. The sylvan landscape is presented synoptically, a Medieval pictorial and narrative device that Prendergast likely saw on his visits to churches and museums. Though the composition is presented as vignettes, there is great care for balance and symmetry on all axes. Prendergast's technique of an incised gessoed layer with paint and gilt evokes that of Medieval altarpieces, as seen particularly in the angel. Also visible in the present work is the two-dimensional influence of Chinese and Persian miniatures, which struck Prendergast in its effects of "miniaturization and colorful simplification." (Ibid, p. 103)The present work is in a simply ornamented frame which carries its own staccato rhythm and further activates the animated scene within. Whether expressed on the periphery or center stage, Prendergast believed that "The art of wood carving has a message of its own to deliver, with its own peculiar and perfect way of expressing it...Our professional carvers are sometimes created as machines andthe best way to gain recognition is to show that they are something much better than machines. Good work compels respect, and if the craftsman wishes to take a higher rank, he must become an artist as well." (as quoted in E. Wilner, p. 96)
Charles Prendergast (American,1863-1948), "Monte Carlo", 1927, gouache on paper, signed and dated lower right, signed and titled verso, accompanied by museum letter of authentication, unframed in mat, 10.25"h x 13.25"w (sheet)
Charles Prendergast (American,1863-1948), "Monte Carlo", 1927, gouache on paper, signed and dated lower right, signed and titled verso, accompanied by museum letter of authentication, unframed in mat, 10.25"h x 13.25"w (sheet)
CHARLES E. PRENDERGAST American (1863-1948) "Page from Sketchbook" (Winter Park, Florida) pencil and watercolor on paper, titled on a label from Mrs. Prendergast on the reverse, unsigned. 8 x 5 inches Provenance: Estate of the Artist; Eugénie Prendergast; Gifted to Joseph Butler in 1982. Literature: Carol Clark, Nancy Mowll Mathews and Gwendolyn Owen, "Marurice Prendergast: A Catalogue Raisonne," (Williamstown, MA: Williams College Museum, 1990), cat. no. 2389. Other Notes: Tags: works on paper, portrait, figurative, abstract
The Riders, Charles Prendergast Framed Print, Charles Prendergast 10 September to 4 December 1983 / Williams College Museum of Art, The Riders 1908 oil and gold leaf on panel 32.75x25.25 inches collection of Mrs. Charles Prendergast, gold frame with glass, piece measures in inches 26x38
CHARLES PRENDERGAST (1863-1948): BIRD Watercolor and pencil on gessoed paperboard, c.1928-32, unsigned. Catalogue raisonné number 2364. 12 x 18 in. (sheet), 16 1/4 x 22 in. (frame). Provenance: The artist; Mrs. Charles Prendergast. Estate of Joseph T. Butler, Tarrytown, NY
CARVED GILTWOOD FRAME, ATTRIBUTED TO CHARLES PRENDERGAST (1863-1948) Fitted as a mirror, with a loan label from Williams College Museum of Art, and a label signed 'Eugenie Prendergast by John Boyd'. 18 x 22 in. (sight), 29 x 25 in. (frame). Provenance: Mrs. Charles Prendergast. Estate of Joseph T. Butler, Tarrytown, NY
CARVED GILTWOOD FRAME, ATTRIBUTED TO CHARLES PRENDERGAST (1863-1948) Fitted with a mirror, with label from Williams College Museum of Art. 13 x 18 in. (sight), 21 x 26 in. (frame). Provenance: Mrs. Charles Prendergast. Estate of Joseph T. Butler, Tarrytown, NY
Artist Name: Prendergast, Charles Title: The Riders Medium: Offset Lithograph Edition Size: Unknown Year: Unknown Paper Size: 36 x 24.5 inches Image Size: 30 x 22.5 inches Condition: A-: Near Mint, very light signs of handling Notes: From the Williams College Museum of Art.
1901, Oil on Canvas painting, Consignor attributes painting to Charles Prendergast, Signed: "C.E.P. 1901". 1800's frame brackets of this style were used by the top artists during this period. Condition Report: slight loss of paint on surface, see zoom photo. Size: 40" x 25".
Charles E. Prendergast (American, 1863-1948) Hill Town, No. 2, c. 1927-29 Signed "C. Prendergast" in color pencil l.r., with a label from C.W. Kraushaar Art Galleries, 680 Fifth Avenue, New York, affixed to the backing. Watercolor and graphite on paper, 10 7/8 x 8 1/4 in. (27.3 x 21.0 cm), framed. Condition: Unobtrusive toning and soiling, tape/residue on the reverse, trimmed sheet, tape hinged to window mat. Provenance: Descended to the present owner from her grandfather, a president of Pepperell Manufacturing. N.B. C.W. Kraushaar Art Galleries was located at 680 Fifth Avenue between 1919 and 1936. The work is number 2321B in the Maurice and Charles Prendergast Systematic Catalogue Project, Prendergast Archive and Study Center, Williams College Museum of Art.
Charles E. Prendergast (American, 1863-1948) Hill Town, No. 2, c. 1927-29 Signed "C. Prendergast" in color pencil l.r., with a label from C.W. Kraushaar Art Galleries, 680 Fifth Avenue, New York, affixed to the backing. Watercolor and graphite on paper, 10 7/8 x 8 1/4 in. (27.3 x 21.0 cm), framed. Condition: Unobtrusive toning and soiling, tape/residue on the reverse, trimmed sheet, tape hinged to window mat. Provenance: Descended to the present owner from her grandfather, a president of Pepperell Manufacturing. N.B. C.W. Kraushaar Art Galleries was located at 680 Fifth Avenue between 1919 and 1936. The work is number 2321B in the Maurice and Charles Prendergast Systematic Catalogue Project, Prendergast Archive and Study Center, Williams College Museum of Art.
CHARLES PRENDERGAST 1863 - 1948 FLOWERS IN A BLUE PAINTED VASE WITH BIRD signed C. Prendergast , l.l.; and dated 1936 , l.r. tempera and gold leaf on incised gessoed panel 20 by 16 in. (50.8 by 40.6 cm)
Manner of Charles E. Prendergast (American, 1863-1948) Baroque-style Picture Frame Unsigned, with labels from the Rhode Island School of Design Museum, Providence, and William Macbeth, Inc., New York, affixed to the reverse. Gilt over gesso and red clay bole hand-carved and tooled wood picture frame, rabbet size 25 1/2 x 30 1/4 in. (64.8 x 76.8 cm). Condition: Retouch, losses, abrasions, craquelure.
Charles E. Prendergast (American, 1863-1948) Floral and Geometric Motif Arts & Crafts Picture Frame Signed and dated "····Prendergast····/··1907····" on the reverse. Gilt over gesso and red clay bole hand-carved and tooled wood picture frame, rabbet size 18 1/2 x 22 1/2 in. (47.0 x 57.2 cm). Condition: Retouch, minor losses/abrasions, craquelure.
Charles Prendergast (1863-1948) Three-Panel Screen oil and gold leaf on gessoed wood each panel, 75 x 27¼ in. (190.5 x 69.2 cm.) Painted circa 1916-17.
CHARLES PRENDERGAST (american 1863-1948) "IN PARADISE" A beveled glass mirror flanked by two lateral panels, each reverse painted with tempera and applied gold leaf, the left panel signed with initials 'CP' bottom left, the right, signed twice with initials 'CP' bottom left and center Lateral panels 13 5/8 x 5 3/4 in. (34.6 x 14.6cm) Overall size, including stained hardwood frame 15 3/4 x 28 1/8 in. (40 x 71.4cm) provenance: Gift from the artist to Hannah O'Brien who nursed the artist's brother, Maurice Brazil Prendergast, at his Greenwich Village home in New York. By family descent to John and Olga O'Brien. By family descent to the present owner. Private Collection, Idaho. note: According to Dr. Nancy Mowell Mathews, this work dates from circa 1920 and relates to works such as "Decorated Mirror With Two Figures" circa 1915-17 (catalogue raisonné no. 2231), "Decoration on Glass" circa 1915-17 (catalogue raisonné no. 2233) and "Fairy Story" circa 1920, reworked in 1946 (catalogue raisonné no. 2277). The latter piece, which features similar motifs was a gift to the artist's friend, William Glackens. We wish to thank Nancy Mowell Mathews, Williams College Museum of Art, Williamstown, Massachusetts for her assistance in cataloguing this lot.
CHARLES PRENDERGAST (american 1863-1948) "IN PARADISE" A beveled glass mirror flanked by two lateral panels, each reverse painted with tempera and applied gold leaf, the left panel signed with initials 'CP' bottom left, the right, signed twice with initials 'CP' bottom left and center Lateral panels 13 5/8 x 5 3/4 in. (34.6 x 14.6cm) Overall size, including stained hardwood frame 15 3/4 x 28 1/8 in. (40 x 71.4cm) provenance: Gift from the artist to Hannah O'Brien who nursed the artist's brother, Maurice Brazil Prendergast, at his Greenwich Village home in New York. By family descent to John and Olga O'Brien. By family descent to the present owner. Private Collection, Idaho. note: According to Dr. Nancy Mowll Mathews, this work dates from circa 1920 and relates to works such as "Decorated Mirror With Two Figures" circa 1915-17 (catalogue raisonne no. 2231), "Decoration on Glass" circa 1915-17 (catalogue raisonne no. 2233) and "Fairy Story" circa 1920, reworked in 1946 (catalogue raisonne no. 2277). The latter piece, which features similar motifs was a gift to the artist's friend, William Glackens. We wish to thank Nancy Mowll Mathews, Williams College Museum of Art, Williamstown, Massachusetts for her assistance in cataloguing this lot.
CHARLES E. PRENDERGAST (American, 1863-1948) DAY AT THE BEACH. Mixed media crayon and watercolor beach scene shows people on a sandy beach and in the water. A long black pier is on left side under a sun and blue sky. Signed lower left "Predergast". Housed in a modern gilt wood frame with silk matte and gold inner liner. SIGHT SIZE: 7-1/4" x 10-3/4". CONDITION: Very good. 9-73652 MD
Charles Prendergast (1868-1948) The Offering incised with artist's initials 'CP' (center left) tempera and gold leaf on carved panel 20 x 25 in. (50.8 x 63.5 cm.) Painted circa 1916-17.
PROPERTY OF CHESTNUT HILL COLLEGE, PHILADELPHIA, PENNSYLVANIA INTERIOR (FLORIDA SERIES) measurements 8 1/2 by 10 7/8 in. alternate measurements 21.6 by 27.6 cm. inscribed Prendergast (B) 4141 and titled Interior Florida on the verso; dedicated To Chestnut Hill College/ Philadelphia, Penna./ Florida Series/ Charles Prendergast 1946/ from/ Mrs. Charles Prendergast/ Westport, Conn. on the backing collage, charcoal, pencil and watercolor on paper Condition Note: The sheet is folded at the right edge, creating a 2 inch overlap. Various studio stains and smudges through sheet. We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. Executed circa 1946-47 PROVENANCE Mrs. Charles Prendergast, 1948 Bequeathed to the present owner from the above, 1966 EXHIBITED New York, Davis Galleries, Watercolors, Carvings, Panels: Charles Prendergast, 1863-1948, October 22-November 9, 1963, no. 27 LITERATURE Carol Clark, Nancy Mowll Mathers, and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, no. 2381, p. 712, illustrated
PROPERTY OF CHESTNUT HILL COLLEGE, PHILADELPHIA, PENNSYLVANIA TREE, FLORIDA measurements 11 7/8 by 8 7/8 in. alternate measurements 30.2 by 22.5 cm. signed C.P. per E.P. l.l. (in Eugénie Prendergast's hand); signed CPrendergast and numbered 3542B on the verso, dedicated To Margaret Conner from/ Mrs. Charles Prendergast/ with warm regards/ August 21, 1964 on the backing charcoal and crayons on paper Condition Note: Sheet is discolored and with mat stain; affixed to mat at upper edge. We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. Executed circa 1946-47 PROVENANCE Mrs. Charles Prendergast, 1948 Margaret Conner, Norristown, Pennsylvania, 1964 Bequeathed to the present owner from the above EXHIBITED New York, Davis Galleries, Watercolors, Carvings, Panels: Charles Prendergast, 1863-1948, October 22-November 9, 1963, no. 26 LITERATURE Carol Clark, Nancy Mowll Mathers, and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, no. 2383, p. 712, illustrated
CHARLES E. PRENDERGAST Monte Carlo. Watercolor and traces of black chalk on cream wove paper, circa 1927. 270x345 mm; 105/8x135/8 inches. Signed in pencil, lower right recto. Ex-collection Mrs. Charles Prendergast, according to an inscription in ink on the frame back; and the Society of the Four Arts, Palm Beach, with their label on the frame back. The current work is registered with the Williams College Museum of Art, Prendergast Collection, Williamstown.
PROPERTY FROM THE ALEXANDER M. BING COLLECTION CHARLES PRENDERGAST 1863-1948 AN EXOTIC GARDEN WITH FOUR FIGURES inscribed carved wood panel on the reverse tempera, gold and silver leaf on incised and gessoed panel Executed circa 1916-18. PROVENANCE Alexander M. Bing, New York By descent to the present owner LITERATURE AND REFERENCES Carol Clark, Nancy Mowll Mathews and Gwendolyn Owens, Maurice Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, no. 2249, p. 678, illustrated (as unknown title) CATALOGUE NOTE The present work is related to Charles Prendergast's The Offering in the collection of The Butler Institute of American Art, Youngstown, Ohio.
(american 1863-1948) "THE DONKEY RIDER" Tempera and gold leaf on glass 7 7/8 x 6 1/4 in. (20 x 15.8 cm.) Executed in 1925 provenance: The artist's wife, Eugenie Prendergast Acquired from the above, circa 1954 Collection of Mr. and Mrs. Philip F. Newman By family descent exhibited: Kraushaar Galleries, New York, NY, "Charles Prendergast Memorial Exhibition", January 4th-23rd, 1954, Cat. No. 13. note: This lot will be accompanied by several cards and notes to Mrs. Newman from Eugenie Prendergast. A copy of the Charles Prendergast Memorial Exhibition catalog will also be included together with a letter from Antoinette Kraushaar discussing Mrs. Prendergast's original reluctance to sell the "Donkey Rider"
(american 1863-1948) "THE ZOO" Signed with initials "CP" bottom right tempera, gold and silver leaf on glass above mirror in a frame by the artist 13 3/4 x 21 1/2 in. (34.9 x 54.6 cm.)(image size); 23 x 23 5/8 in. (58.4 x 60 cm.) (overall) Executed circa 1928-32 provenance: The Artist Kraushaar Galleries, New York, New York Purchased from the above in 1942 by Mrs. Edgar Stillman Kraushaar Galleries, New York, New York Purchased from the above in 1957 Collection of Mr. and Mrs. Philip F. Newman, Philadelphia, Pennsylvania By family descent exhibited: Museum of Fine Arts, Boston, MA, October 2 - November 3, 1968 Rutgers University Art Gallery, New Brunswick, NJ, November 17-December 27, 1968 The Phillips Collection, Washington, DC, January 11-February 16, 1969 literature: "The Art of Charles Prendergast", by Richard J. Wattenmaker, pub. Museum of Fine Arts, Boston and Rutgers, The State University, 1968, Cat. No. 56, pg. 93 (illustrated) note: This lot will be accompanied by related correspondence.
CHARLES PRENDERGAST 1863-1948 FRUIT IN A SILVER BOWL Measurements: 19.5 by 20in. Alternate Measurements: (49.5 by 50.8 cm) signed C. Prendergast, l.r. tempera, gold and silver leaf on gessoed panel Painted circa 1936. Provenance: Mrs. Charles Prendergast (the artist's wife), 1948 Kraushaar Galleries, New York (acquired from the above) Acquired by the present owner from the above, 1954 Exhibited: New York, Kraushaar Galleries, Decorative Panels by Charles Prendergast, October-November 1937, no. 7 Andover, Massachusetts, Addison Gallery of American Art, Phillips Academy, The Prendergasts: Retrospective Exhibition of the Work of Maurice and Charles Prendergast, September-November 1938, no. 17 New York, Kraushaar Galleries, Charles Prendergast, March-April 1947, no. 9 New York, Kraushaar Galleries, Charles Prendergast 1869-1948: Memorial Exhibition, January 1954, no. 22 Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Twentieth Century American Painting and Sculpture from Philadelphia Private Collections, October November 1958, no. 189 New Brunswick, New Jersey, Rutgers University Art Gallery; Boston, Massachusetts, Museum of Fine Arts, The Art of Charles Prendergast, October-November 1968, no. 33, illustrated p. 72 New York, Hirschl & Adler Galleries, The Art of Charles Prendergast, March 1969, no. 19 Literature and References: Carol Clark, Nancy Mowll Mathews, Gwendolyn Owens, Maurice Prendergast, Charles Prendergast: A Catalogue Raisonne, Williamstown, Massachusetts, no. 2285, p. 687, illustrated
CHARLES PRENDERGAST 1863-1948 FLOWER VASE Measurements: 20in. by 16in. Alternate Measurements: (50.8 by 40.6 cm) signed with artist's monogrammed initials CP, l.l. tempera and silver leaf on masonite Executed circa 1936. Provenance: Kraushaar Galleries, New York ( acquired directly from the artist) Miss E.M. Mellon, 1954 Kraushaar Galleries, New York Acquired from the above, 1963 Exhibited: ( possibly) Andover, Massachusetts, Addison Gallery of American Art, Phillips Academy, The Prendergasts: Retrospective Exhibition of the Work of Maurice and Charles Prendergast, September-November 1938, no. 15 Brooklyn, New York, The Brooklyn Museum; Andover, Massachusetts, Addison Gallery of American Art, Phillips Academy, American Painting: Selections from the Collection of Daniel and Rita Fraad, June-November 1964, no. 38, p. 47, illustrated New York, Wickersham Gallery, American Flowers: Loan Exhibition of Oils, Pastels and Watercolors, May-June 1967, no. 27 Boston, Massachusetts, Museum of Fine Arts; New Brunswick, New Jersey, Rutgers University Art Gallery; New York, Hirschl & Adler Galleries, The Art of Charles Prendergast, October 1968-March 1969, no. 34, p. 71, illustrated p. 73 Literature and References: Patricia Boyd Wilson, Christian Science Monitor, December 1968, illustrated Carol Clark, Nancy Mowll Mathews and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonne, Williamstown, Massachusetts, 1990, no. 2272, p. 684, illustrated
Charles E. Prendergast (1863-1948) Pine Tree, Iles de Lerins bears initials 'C.P. per E.P.' (lower right) watercolor and pencil on paper 11 1/4 x 9 in. (28.6 x 22.9 cm.)
