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Guy Rose Sold at Auction Prices

Landscape painter, Illustrator, b. 1867 - d. 1925

(born 1867; died 1925) American painter. A native of San Gabriel, California, Guy Rose is revered as one of the most important turn-of-the-century American Impressionists and is arguably the most significant California painter who worked in the plein-air tradition. Rose began his formal artistic education at the California School of Design in San Francisco, where he studied with Raymond Dabb Yelland and Emil Carlsen. Rose traveled to Paris in 1888 and enrolled at the Academie Julian, where he would study for three years and exhibit at the Salon. In the spring of the following year, Rose visited Giverny in the French countryside. Rose was drawn to the small town's country setting and, like many other artists of the day, was influenced by the French Impressionist painter Claude Monet who was living there at the time. Rose's exposure to Monet's impressions of the French countryside and his conversations with Monet about his art had a lifelong and profound affect on Rose's work. A distinct but gradual shift from the academic style of Rose's early paintings toward Impressionism can be seen in the decade after this visit to Giverny as he began to incorporate a looser and brighter style into his own art. (W. South, Guy Rose: American Impressionist, Oakland, California, 1995, pp. 24-25). In 1904 Rose and his wife purchased a cottage in Giverny and converted it into a studio and home. Rose's paintings in the first years of the 20th century exhibit a full commitment to painting in the Impressionist style. "He painted landscapes and figures, and combinations thereof, with a mature sensitivity to the interpretation of transient color and fugitive light" (Guy Rose: American Impressionist, p. 40).
Credit: Christie’s, Beverly Hills, April 27, 2005- California, Western and American Paintings, Drawings and Sculpture. Lot 10
and
Christie’s, Beverly Hills, November 17, 2004- California, Western and American Paintings, Drawings and Sculpture. Lot 9

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    • Guy Rose (1867-1925) The Sea, Laguna 24 x 29 1/4 in. framed 33 3/4 x 38 3/4 in.
      Aug. 06, 2024

      Guy Rose (1867-1925) The Sea, Laguna 24 x 29 1/4 in. framed 33 3/4 x 38 3/4 in.

      Est: $200,000 - $300,000

      Guy Rose (1867-1925) The Sea, Laguna signed 'Guy Rose' (lower right) and titled (on the reverse) oil on canvas 24 x 29 1/4 in. framed 33 3/4 x 38 3/4 in.

      Bonhams
    • Guy Rose (1867-1925) Lifting Fog, La Jolla Cliffs 32 x 39 1/4 in. framed 41 1/4 x 49 in.
      Apr. 23, 2024

      Guy Rose (1867-1925) Lifting Fog, La Jolla Cliffs 32 x 39 1/4 in. framed 41 1/4 x 49 in.

      Est: $400,000 - $600,000

      Guy Rose (1867-1925) Lifting Fog, La Jolla Cliffs signed 'Guy Rose' (lower right) oil on canvas 32 x 39 1/4 in. framed 41 1/4 x 49 in.

      Bonhams
    • Guy Rose (1867-1925) Figures on a Moonlit Balcony sight 15 x 10 in. framed 24 3/4 x 19 in.
      Apr. 23, 2024

      Guy Rose (1867-1925) Figures on a Moonlit Balcony sight 15 x 10 in. framed 24 3/4 x 19 in.

      Est: $20,000 - $30,000

      Guy Rose (1867-1925) Figures on a Moonlit Balcony signed 'Guy Rose' (lower right) mixed media on paper sight 15 x 10 in. framed 24 3/4 x 19 in.

      Bonhams
    • Attributed to Guy Rose Oil on Canvas Coastal Landscape, H 24" W 36"
      Jan. 19, 2024

      Attributed to Guy Rose Oil on Canvas Coastal Landscape, H 24" W 36"

      Est: $500 - $700

      Signed lower right. Frame Measurements H 31" W 43" Provenance: Property from a Plymouth, MI private collector.

      DuMouchelles
    • Attributed to Guy Rose Oil on Canvas Coastal Landscape, H 24" W 36"
      Oct. 20, 2023

      Attributed to Guy Rose Oil on Canvas Coastal Landscape, H 24" W 36"

      Est: $500 - $700

      Signed lower right. Frame Measurements H 31" W 43"

      DuMouchelles
    • Painting, Guy Rose
      Jun. 16, 2023

      Painting, Guy Rose

      Est: $10,000 - $15,000

      Guy Rose (American, 1867-1925), "Rising Mists," oil on canvas, titled on a handwritten label verso, canvas: 28.5"h x 23.75"w, overall (with frame): 36.5"h x 31.75"w. Provenance: Earl Stendahl, Los Angeles, CA by 1926; by descent to present owner. Exhibited: Los Angeles, CA, Stendahl Art Galleries, Guy Rose Memorial Exhibition, February 16 - March 14, 1926, p. 56, no. 87, illustrated.

      Clars Auctions
    • Guy Rose (American, 1867-1925), View from Arroyo Terrace, Pasadena, oil on canvas, 24 x 29in (61 x 74cm)
      Jan. 15, 2023

      Guy Rose (American, 1867-1925), View from Arroyo Terrace, Pasadena, oil on canvas, 24 x 29in (61 x 74cm)

      Est: $100,000 - $150,000

      Guy Rose (American, 1867-1925) View from Arroyo Terrace, Pasadena oil on canvas signed lower left Guy Rose, titled and with paper gallery label to reverse

      Andrew Jones Auctions
    • Guy Rose (1867-1925) Along the San Gabriel Mountains 24 x 29 in. framed 32 x 37 in. (Painted circa 1916.)
      Nov. 21, 2022

      Guy Rose (1867-1925) Along the San Gabriel Mountains 24 x 29 in. framed 32 x 37 in. (Painted circa 1916.)

      Est: $200,000 - $300,000

      Guy Rose (1867-1925) Along the San Gabriel Mountains signed 'Guy Rose' (lower left) oil on canvas 24 x 29 in. framed 32 x 37 in. Painted circa 1916.

      Bonhams
    • Guy Rose (1867-1925) Off Point Lobos 24 x 29 in. framed 33 x 38 in.
      Aug. 02, 2022

      Guy Rose (1867-1925) Off Point Lobos 24 x 29 in. framed 33 x 38 in.

      Est: $400,000 - $600,000

      Guy Rose (1867-1925) Off Point Lobos signed 'Guy Rose' (lower left) oil on canvas 24 x 29 in. framed 33 x 38 in. For further information on this lot please visit the Bonhams website

      Bonhams
    • Attr to Guy Rose, Wickliffe Bay, Oil on Canvas
      May. 01, 2022

      Attr to Guy Rose, Wickliffe Bay, Oil on Canvas

      Est: $1,600 - $2,200

      Attributed to Guy Rose, "Wickliffe Bay Ca.", oil on canvas, signed L/R, 16" x 20", framed 22" x 28 1/2". Provenance: Buffalo, New York estate.

      Kaminski Auctions
    • Guy Rose (1867-1925) Foggy Morning, Veules (Normandy Coast) 23 3/4 x 28 3/4in framed 32 1/4 x 36 1/2in (Painted circa 1909.)
      Aug. 03, 2021

      Guy Rose (1867-1925) Foggy Morning, Veules (Normandy Coast) 23 3/4 x 28 3/4in framed 32 1/4 x 36 1/2in (Painted circa 1909.)

      Est: $200,000 - $300,000

      Guy Rose (1867-1925) Foggy Morning, Veules (Normandy Coast) signed 'Guy Rose' (lower left) and titled on a period label (on the reverse) oil on canvas 23 3/4 x 28 3/4in framed 32 1/4 x 36 1/2in Painted circa 1909. For further information on this lot please visit the Bonhams website

      Bonhams
    • ATTRIBUTED TO GUY ROSE (1867 - 1925): "WOMAN WITH PARASOL"
      May. 23, 2021

      ATTRIBUTED TO GUY ROSE (1867 - 1925): "WOMAN WITH PARASOL"

      Est: $5,000 - $10,000

      oil on canvas laid down on board; unsigned; 18 1/4 x 13 1/2 inches; 23 x 19 inches frame

      Abell Auction
    • Guy Rose (1867-1925) Carmel Dunes 10 x 13 3/4in framed 17 x 21in
      Apr. 20, 2021

      Guy Rose (1867-1925) Carmel Dunes 10 x 13 3/4in framed 17 x 21in

      Est: $120,000 - $160,000

      Guy Rose (1867-1925) Carmel Dunes signed 'Guy Rose' (lower right) oil on panel 10 x 13 3/4in framed 17 x 21in For further information on this lot please visit the Bonhams website

      Bonhams
    • Guy Rose (1867-1925) - In the High Canadian Rockies (Sublimity)
      Oct. 28, 2020

      Guy Rose (1867-1925) - In the High Canadian Rockies (Sublimity)

      Est: $400,000 - $600,000

      Guy Rose (1867-1925) In the High Canadian Rockies (Sublimity) oil on canvas 28 x 29 in. (71.1 x 73.7 cm.)

      Christie's
    • Guy Rose (1867-1925) View of Wood's Cove, Rockledge 24 x 29in framed 36 x 40in
      Oct. 13, 2020

      Guy Rose (1867-1925) View of Wood's Cove, Rockledge 24 x 29in framed 36 x 40in

      Est: $400,000 - $600,000

      Guy Rose (1867-1925) View of Wood's Cove, Rockledge signed 'Guy Rose' (lower right) oil on canvas 24 x 29in framed 36 x 40in For further information on this lot please visit the Bonhams website

      Bonhams
    • ATTRIBUTED TO GUY ROSE: WOMAN WITH UMBRELLA
      Jun. 14, 2020

      ATTRIBUTED TO GUY ROSE: WOMAN WITH UMBRELLA

      Est: $5,000 - $10,000

      oil on canvas; laid down on board

      Abell Auction
    • Guy Rose Signed, Normandy, Oil on Panel
      May. 31, 2020

      Guy Rose Signed, Normandy, Oil on Panel

      Est: $4,000 - $6,000

      Guy Rose signed, Spring in Normandy, oil on panel. Provenance: From a private collection in Monterey, California.

      Kaminski Auctions
    • Guy Rose (1867-1925) Still Life with Wine Bottle and Onion 18 x 24in (Painted circa 1887.)
      Mar. 17, 2020

      Guy Rose (1867-1925) Still Life with Wine Bottle and Onion 18 x 24in (Painted circa 1887.)

      Est: $8,000 - $12,000

      Guy Rose (1867-1925) Still Life with Wine Bottle and Onion signed 'Guy Rose' (lower right) oil on canvas 18 x 24in Painted circa 1887. For further information on this lot please visit the Bonhams website

      Bonhams
    • Guy Rose (1867-1925) Carmel Dunes and Pebble Beach 24 x 29in (Painted in 1918.)
      Nov. 25, 2019

      Guy Rose (1867-1925) Carmel Dunes and Pebble Beach 24 x 29in (Painted in 1918.)

      Est: $100,000 - $150,000

      Guy Rose (1867-1925) Carmel Dunes and Pebble Beach signed 'Guy Rose' (lower right) oil on canvas 24 x 29in Painted in 1918. For further information on this lot please visit the Bonhams website

      Bonhams
    • Guy Rose, Spring in Normandy, Oil on Board
      Jun. 30, 2019

      Guy Rose, Spring in Normandy, Oil on Board

      Est: $6,000 - $8,000

      Guy Rose (American, 1867-1925), Spring in Normandy, oil on board, signed, 6" x 9", 9" x 11 3/4" framed. Provenance: Goldfield Gallery, Los Angeles. Guy Rose was born in San Gabriel, California, he became one of California's premier impressionist painters of the late 19th and early 20th centuries and was also a leading figure in the California regionalist movement. In 1888, he went to Paris and studied with Benjamin Constant, Jules Lefebvre, and at the Academie Julian with Lucien Doucet. In 1898, he received honorable mention at the Paris Salon, the first artist from California to get such recognition. He and his wife bought a cottage at Giverny, where he became greatly influenced by Monet and the other Impressionists during the time he lived there from 1904 to 1912. Unlike many of the artists in residence there, he actually became a friend of Monet, who was a mentor. The painting 'Spring in Normandy' was probably study for a future larger painting, and was likely executed between 1907 and 1912 while Rose was actively painting in Giverny and had fully and completely committed to Impressionism. The fairly constrained color palette of painting reflects the French forest setting, but within the limited palette of mostly greens to yellows, Rose creates endless, subtle and distinct colors from blue-green shadows to yellow-green sunlit highlights. Gauzy light filtered through overhead trees is visualized with soft colors.

      Kaminski Auctions
    • Guy Rose Monterey Landscape Oil on Canvas
      Mar. 03, 2019

      Guy Rose Monterey Landscape Oil on Canvas

      Est: $40,000 - $60,000

      Guy Rose, Monterey landscape with house, oil on canvas, signed L/L, 17" x 27 3/4" (sight), 29 1/4" x 39 1/4" framed. Provenance: Palm Springs, California estate.

      Kaminski Auctions
    • Guy Rose Spring in Normandy Oil on Canvas
      Mar. 03, 2019

      Guy Rose Spring in Normandy Oil on Canvas

      Est: $8,000 - $10,000

      Guy Rose (American, 1867-1925), Spring in Normandy, oil on board, signed, 6" x 9", 9" x 11 3/4" framed. Provenance: Goldfield Gallery, Los Angeles. Guy Rose was born in San Gabriel, California, he became one of California's premier impressionist painters of the late 19th and early 20th centuries and was also a leading figure in the California regionalist movement. In 1888, he went to Paris and studied with Benjamin Constant, Jules Lefebvre, and at the Academie Julian with Lucien Doucet. In 1898, he received honorable mention at the Paris Salon, the first artist from California to get such recognition. He and his wife bought a cottage at Giverny, where he became greatly influenced by Monet and the other Impressionists during the time he lived there from 1904 to 1912. Unlike many of the artists in residence there, he actually became a friend of Monet, who was a mentor. The painting “Spring in Normandy” was probably study for a future larger painting, and was likely executed between 1907 and 1912 while Rose was actively painting in Giverny and had fully and completely committed to Impressionism. The fairly constrained color palette of painting reflects the French forest setting, but within the limited palette of mostly greens to yellows, Rose creates endless, subtle and distinct colors from blue-green shadows to yellow-green sunlit highlights. Gauzy light filtered through overhead trees is visualized with soft colors.

      Kaminski Auctions
    • Guy Rose (1867-1925) Giverny Hillside 9 3/4 x 12 1/2in overall: 17 x 21in
      Nov. 19, 2018

      Guy Rose (1867-1925) Giverny Hillside 9 3/4 x 12 1/2in overall: 17 x 21in

      Est: $20,000 - $30,000

      Guy Rose (1867-1925) Giverny Hillside unsignedoil on canvas9 3/4 x 12 1/2inoverall: 17 x 21in Provenance: Christie's, California, Western and American Paintings, October 24, 2000, lot 57.Private collection, Beverly Hills, California.Giverny Hillside is an important early work that incorporates influences of Impressionism and a Tonalist palette reminiscent of James Abbott McNeill Whistler into a gentle plein air scene. C.F. Sloane of the Los Angeles Herald described a similar work by the artist of the same period: 'One of these is a hillside lying in full sunlight, which intensifies the warm green of the early grass, and the other is a view of the church mentioned above. This is in a lower tone of color than the first, but is treated in the same broad manner and has the same clear feeling of atmosphere.' (C.F. Sloane, Mr. Rose's Paintings, Los Angeles Herald, October 13, 1891) As in the description, Giverny Hillside is of a similar 'lower tone of color' while it also maintains the hallmarks of the impressionistic brushstroke and plein air technique. Light breaks through the gray cloud-filled sky washing the rolling landscape in cool, atmospheric chiaroscuro. The direction that the artist was to follow is clearly demonstrated for us in Giverny Hillside.

      Bonhams
    • Guy Rose, (1867 - 1925 Pasadena, CA), "The Old Summer House", Oil on canvas, 28.75" H x 23.5" W
      Oct. 23, 2018

      Guy Rose, (1867 - 1925 Pasadena, CA), "The Old Summer House", Oil on canvas, 28.75" H x 23.5" W

      Est: $200,000 - $300,000

      Guy Rose (1867 - 1925 Pasadena, CA) "The Old Summer House" Oil on canvas Signed lower right: Guy Rose, titled on the stretcher, titled again and inscribed on a gum label affixed to the stretcher: France 28.75" H x 23.5" W Exhibitions: The Los Angeles Art Association, Los Angeles, CA, n.d. Notes: With the Stendahl Galleries stamp signed by Ethel Rose and Earl Stendahl and dated March, 1926 verso. "The Old Summer House" was likely executed between 1907 and 1912 while Rose was actively painting in Giverny and had fully and completely committed to Impressionism. In this intimate forest interior view of vines and bushes growing into and overtaking an old summer cottage, Rose's 'mature sensitivity to the interpretation of transient color and fugitive light' is displayed (South, p. 40). Purely impressionistic works such as this painting 'records a series of perceptions and experiences culled from a heightened awareness of the visible' (South, pp. 40-41). The fairly constrained color palette of "The Old Summer House" reflects the French forest setting, but within the limited palette of mostly greens to yellows, Rose creates endless, subtle and distinct colors from blue-green shadows to yellow-green sunlit highlights. Gauzy light filtered through overhead trees is visualized with soft colors and flatter, swirling b rushwork in the upper part of the composition. Foreground brushwork becomes much more defined and lively on the forest floor and on the vines trailing the cottage porch. The present painting is a wonderful reflection of Rose's personal views of the transcendent spirituality of nature and his belief that the act of painting was a mediation between nature and the divine, while also showcasing Rose's fully developed impressionist technique, honed from Master French Impressionist and Giverny neighbor Claude Monet's optical wizardry (South p. 50).

      John Moran Auctioneers
    • Guy Rose, (1867 - 1925 Pasadena, CA), Young woman in a field of daisies, Oil on canvas, 24" H x 17" W
      Oct. 23, 2018

      Guy Rose, (1867 - 1925 Pasadena, CA), Young woman in a field of daisies, Oil on canvas, 24" H x 17" W

      Est: $400,000 - $600,000

      Guy Rose (1867 - 1925 Pasadena, CA) Young woman in a field of daisies Oil on canvas Signed lower right: Guy Rose, inscribed on the stretcher: Woman's Magazine Cover for June 1914, inscribed verso: 10 3/4" to extreme edges / 2 velox prints wanted 24" H x 17" W Literature: "The Woman's Magazine," June, 1914, cover illustration. Notes: Guy Rose, the San Gabriel-born master of Impressionism, studied in Paris beginning in 1888. From 1904 to 1912, he spent eight years living and painting in Giverny, France where he was strongly influenced by his friend Claude Monet and other impressionist painters working there. While Rose painted many personal explorations of impressionism during his time in France, particularly after health issues relating to childhood lead poisoning improved after 1907, he and his wife Ethel financed their lives there through work as illustrators for women's magazines. In fact, the move to France was facilitated by Ethel's work as Paris fashion representative for Harper's Bazaar, a position she held for 13 years beginning in 1899 (South, p. 37). Guy Rose returned to the United States for the last time in 1912, and brought with him a deep commitment to Impressionism and a focus on light and atmosphere. For their first two years back in the US, Rose and Ethel lived in Washington Square, New York in proximity to Macbeth Gallery where Rose was actively exhibiting, and summered in Narragansett, Rhode Island where Rose taught sketching classes. This brief period ended in fall 1914, when the couple returned permanently to Southern California. Outdoor figural compositions were a popular genre for Rose and his contemporaries in Giverny and Rose continued to produce alfresco portraiture, such as the present painting, upon his return to the US. In his figure-focused paintings from this period, Rose is particularly adept at depicting layers of patterns from the decorated fabric and folds of his sitter's dress to the naturalistic settings the women are posed in (South, p. 53). The present alfresco portrait of a beautiful, fashion-forward woman standing in a field of blooming daisies was painted for a June 1914 woman's magazine cover and was possibly executed in February of 1914, according to inscriptions on the upper stretcher bar. Movement is everywhere in the scene - in the figure's billowing wind-swept scarf, in the the riot of daisy heads that surround her feet, in the spindly and irregular distant fence that crosses behind the figure's head, in the lively, bravura brushwork Rose uses to represent the receding blossoms in the middle ground, and in the thinned, quick green brushwork of the background that gives the impression of a thick stand of hedges or trees. Rose, likely with publication in mind, balances and enhances the color palette with deliberate areas of complementary greens and oranges. The pops of tangerine orange in the figure's scarf, flower decorating her hat and even her red hair visually link the figure to the orange daisy heads and distant orange-yellow ragweed growing along the back fence. Rose was at the prime of his career when the present work was executed. He was exhibiting regularly with top American art dealers, was a sought-after instructor and successful illustrator, and had just returned from a productive, illuminating and healthy period in France. The present painting has the immediacy of an experienced impressionist's first-hand observation of the figure in nature. It showcases Rose's virtuosity with light, and his confident, rapid brushwork executed at the height of his career. Rose's keen awareness of, and ability to balance and restrain color and brushwork honed in France and his extensive experience in producing works intended for printed publication, crystallize in the present painting's intimate yet lavish, natural yet chic portrait composition.

      John Moran Auctioneers
    • Guy Rose (1867-1925) Laguna Beach 18 1/4 x 15 1/8in overall: 25 x 22in US$ 150,000 - 250,000
      Aug. 07, 2018

      Guy Rose (1867-1925) Laguna Beach 18 1/4 x 15 1/8in overall: 25 x 22in US$ 150,000 - 250,000

      Est: $150,000 - $250,000

      Guy Rose (1867-1925) Laguna Beach signed 'Guy Rose' (lower right)oil on canvas18 1/4 x 15 1/8inoverall: 25 x 22in ProvenancePrivate collection, Newport Beach, California.Guy Rose was one of several American artists who went to Europe in the late nineteenth-century to absorb time-honored academic traditions—rigid, exact drawing and accurate, Salon-appropriate paintings. He was typical, too, in that he felt the irresistible attraction to outdoor painting where nature was constantly shifting in incandescent color. Rose would forever remain a confident and careful draftsman and a rigorous composer of sound compositions, but his surfaces would be animated by the vitality of light as actually observed. By the turn of the century, Rose and his wife, Ethel, were living in Giverny where Guy gained an intimate knowledge of the work of that little town's most famous artist, Claude Monet. Rose took his academic foundation and swiftly replaced it with the new modern style of the day, brightening his palette and adding a completely new wispy, quick freshness to his works. The result was to become one of the hallmarks of American Impressionism.When Guy Rose returned to California in 1914, he brought with him a vast firsthand knowledge of what was happening in the art world in both Europe as well as on the East Coast. This experience enabled the artist to work confidently with a broad array of compositions and colors. These works illustrate the artist at the peak of his powers. Painting up and down the California coast, Rose visited Laguna Beach in 1915 and 1916. He found the constant sunlight and postcard-perfect scenery of southern California ideal for setting up shop as an easel painter. He took advantage of his proximity to the sea and made excursions to the coast whenever possible. He actively sought the solitude of the ocean and the quaint sleepy seaside hamlets dotted along the coast. In his 1995 book Guy Rose: American Impressionist, Dr. Will South writes the following, "In painting the Pacific, Rose could indulge two of his major pictorial interests explored at Giverny; reflections on water and multifarious atmosphere. It also satisfied his personal penchant for creating images of solitude and quiet." In describing a similar composition, Dr. South astutely notes: "What he brought west was a mature understanding of translating atmospheric subtlety into paint at the same time he managed to allow individual brushstrokes to retain their identity as daubs of pigment...he makes the largeness of the Pacific intimate, and the often bold outline of the shore quiet. Rose understood well the possibilities of humble subject matter, composition and scale, and further how a limited palette, such as the blue-green program... could express more than the outsized canvas of many colors. And, while Rose's debt to French precedent is also obvious, and his years of residence at Giverny inform this later work, he nonetheless touches upon an early-twentieth century California aesthetic (indeed, one he helped to create) wherein the landscape is approachable, lyrical, nuanced, and ever soothing."This painting depicts the main beach along Laguna's shore on a quiet hazy day. The cliffs at the north end of the beach are where the Laguna Art Museum stands today. Further down the shoreline one can see Emerald Bay and Irvine Cove. It clearly was an inspiring sight for the artist to witness this unspoiled stretch of coastline. Rose shows off all of his impressionist skills with his high key palette and subtle variations of blues and whites. This is a classic plein air painting with clues that reveal the artist's influences and talent. The composition evokes a simplicity reminiscent of Japanese art. Although the scene is subtle in mood, upon closer inspection, the variation in colors and attention to detail are surprising. It is no wonder that Guy Rose is considered the leader in California Impressionist painting.

      Bonhams
    • Guy Rose (1867-1925) Eagle Rock 7 1/2 x 9 1/2in overall: 13 3/4 x 15 3/4in
      Apr. 24, 2018

      Guy Rose (1867-1925) Eagle Rock 7 1/2 x 9 1/2in overall: 13 3/4 x 15 3/4in

      Est: $20,000 - $30,000

      Guy Rose (1867-1925) Eagle Rock 7 1/2 x 9 1/2in overall: 13 3/4 x 15 3/4in

      Bonhams
    • Guy Rose, (1867 - 1925 Pasadena, CA), Study for "Windswept Trees, Laguna", Oil on canvas, 18" H x 15" W
      Mar. 27, 2018

      Guy Rose, (1867 - 1925 Pasadena, CA), Study for "Windswept Trees, Laguna", Oil on canvas, 18" H x 15" W

      Est: $80,000 - $120,000

      Guy Rose (1867 - 1925 Pasadena, CA) Study for "Windswept Trees, Laguna" Oil on canvas Signed lower right: Guy Rose 18" H x 15" W Provenance: Private Collection, Los Angeles, CA. Notes: Framed size: 24" H x 21" W x 2.75" D. Guy Rose, the San Gabriel-born master of impressionism, studied in Paris beginning in 1888. From 1904- 1912, he spent eight years living and painting in Giverny, France where he was strongly influenced by his friend Claude Monet and other impressionist painters working there. When Guy Rose returned to California in 1914, he brought with him an intensified focus on light that can be seen in his execution of California landscapes and coastals from this period. By early 1915, Rose began making multiple trips to the Laguna environs where he executed the present painting circa 1917. There, Rose '…painted the coastline [and landscape] with a complete command of the impressionistic strategies he had mastered at Giverny' (W. South, 'Guy Rose: American Impressionist', Oakland, CA, 1995, p. 62). The present work is the smallest, and likely original, composition that Rose repeated in two larger versions, all circa 1917. Considered seminal Laguna-area compositions by the artist, the paintings all depict spindly, swaying eucalyptus trees set against a piercing blue and cloud-filled sky. The largest, 'Laguna Eucalyptus' (40' H x 30' W), is in the collection of The Irvine Museum, and 'Windswept Trees, Laguna' (29' H x 24' W), was exhibited at Stendahl Galleries and remained in the family of Jessie Yarnell Kimball until it was sold in a John Moran Auctioneers, Inc. auction in March 2014. Rose largely maintained the structure and atmosphere of the scene in each work but played with subtle changes in compositional details noticeable principally in the foreground, clouds and tree trunks. Successfully exhibiting regularly on both US coasts with the top American art dealers, Rose was at the prime of his career when the present work was executed. When Rose's New York dealer, William Macbeth, complained that he had no time for 'any of that damned brown California stuff ', Rose responded that he didn't see his native state that way and validated his vision in the best way possible – his work (as quoted in South, p. 66). 'Rose clarified for Macbeth [epitomized in examples like the present painting] just how California appeared to his eyes with this monumental image of an expansive, cloud-filled sky streaked with towering eucalypti. The emerald clusters of leaves on the trees echo the shape of the clouds, which themselves restate the curve and sweep of the foreground hill. The trees surge upward in the composition and the clouds outward, pushing empty space to the fringes' (South, p. 66). Further, Will South writes: 'With 'Laguna Eucalyptus' [and the other versions including the present painting] Rose not only reinstated pictorial themes refined in France but materialized on canvas a number of long- and widely held assumptions regarding California as the newest and greatest Eden, where nature is everywhere resplendent, pleasing, and plentiful' (South, p. 66). The present painting has the immediacy of an artist's first-hand observation of the landscape. It showcases Rose's virtuosity with light, and his confident, rapid brushwork. Dark trees, not fully shadowed so subtle color fluctuations create a naturalistic impression, are juxtaposed against a dynamic cloudy sky that is bright despite a lack of direct sunlight. Rose's keen awareness of, and ability to balance and restrain, fractured light patterns presents a calm but controlled, intimate but rich composition that is purely Rose and purely California.

      John Moran Auctioneers
    • Painting, Guy Rose
      Feb. 25, 2018

      Painting, Guy Rose

      Est: $80,000 - $120,000

      **Catalog should read "No Lot"** Guy Rose (American/French, 1867-1925), Monterey Coast, oil on canvas, signed lower right, exhibition label (Huntington Library and Art Gallery Exhibition, March 1940) affixed verso, canvas: 15"h x 18"w, overall (with period frame): 21.75"h x 24.75"w

      Clars Auctions
    • Guy Rose (1867-1925) Spring in Normandy 24 x 19 3/4in overall: 29 1/2 x 25 1/2in
      Nov. 20, 2017

      Guy Rose (1867-1925) Spring in Normandy 24 x 19 3/4in overall: 29 1/2 x 25 1/2in

      Est: $120,000 - $180,000

      Guy Rose Spring in Normandy signed 'Guy Rose' (lower right), inscribed 'Earl L. Stendahl' (on the reverse) oil on canvas 24 x 19 3/4in overall: 29 1/2 x 25 1/2in Footnotes Provenance The artist. Estate of the artist. With Stendahl Art Galleries, Los Angeles, California, by 1933. Private collection, Rhode Island. Thence by descent to the present owners. Exhibited Los Angeles, California, Stendahl Art Galleries, Guy Rose: Memorial Exhibition, 1926, p. 53, illustrated. Santa Barbara, California, Free Public Library, Paintings: Guy Rose/Paul Sample in the Falkner Memorial Art Gallery, 1934, no. 3. Dr. Will South writes of the present work, "Guy Rose's Spring in Normandy is a variant on his earlier painting of the same title (now in a private collection). It was typical of the Impressionists, most noticeably in the work of Claude Monet, to revisit the same subject at different times of day or in different seasons. Rose adopted this practice, though in this case while we see the same blossoming tree repeated, the backgrounds vary slightly. The present painting is very likely the later version as it is listed and illustrated in the artist's important posthumous show, Guy Rose: Memorial Exhibition. The Stendahl Art Galleries represented the Estate of Guy Rose at that time, working directly with the artist's widow, Ethel Rose. Stendahl still had the painting in his inventory as of March of 1933 when Ethel wrote to him about the possibility of showing Guy Rose's work in Santa Barbara." (unpublished letter, December 2016) Rose's painting style was deeply influenced by Claude Monet and his paintings of scenes in and around Giverny reflect this. Guy and Ethel Rose bought a stone cottage in Giverny in 1899. They spent many summers there over the next thirteen years. Numerous American artists visited Giverny in these years in hopes of meeting and working with Monet. But Monet worked independently and interacted with only a few of these artists. One exception was Guy Rose, who probably met Monet through the artist Lilla Cabot Perry. Perry was a neighbor and became a close friend to Ethel and Guy Rose. She had moved to Giverny ten years earlier after seeing Monet's work in a Paris gallery. She eventually developed a close relationship with Monet and went on to befriend many American artists as they traveled through Giverny. Spring in Normandy aptly illustrates the influence of Claude Monet's landscape compositions on Rose. The lively fence posts in the foreground, the central focus on the swirls of cherry blossoms and fluid distant landscape, all reflect the impact of the French master. Few artists have the artistic ability to successfully use white as the primary color in a composition. It took a unique and bold effort to capture this marvelous scene in the north of France on an early Spring morning.

      Bonhams
    • Guy Rose, (1867 - 1925 Pasadena CA), 'Sierra Vista Hill', haystacks near South Pasadena, CA, Oil on canvas, 23.75' H x 28.75'
      Oct. 24, 2017

      Guy Rose, (1867 - 1925 Pasadena CA), 'Sierra Vista Hill', haystacks near South Pasadena, CA, Oil on canvas, 23.75' H x 28.75'

      Est: $100,000 - $200,000

      Guy Rose (1867 - 1925 Pasadena CA) 'Sierra Vista Hill', haystacks near South Pasadena, CA Oil on canvas Signed lower right: Guy Rose, titled verso, titled again on a gum label affixed verso 23.75' H x 28.75' W Provenance: Jessie Yarnell Kimball, Los Angeles CA, by descent in the family to current owner; Private Collection, Los Angeles, CA. Exhibitions: Guy Rose Memorial Exhibition, 1926, Stendahl Galleries, Los Angeles, CA, catalogue number 82. Notes: 'Sierra Vista Hill' was painted in the district of Sierra Vista, which is at the western boundary of present day El Sereno, the oldest community in Los Angeles. El Sereno is bordered on the north by South Pasadena and is Los Angeles' easternmost neighborhood. Mrs. Jessie Yarnell Kimball, an avid buyer of Guy Rose's paintings, purchased 'Sierra Vista Hill' at Earl Stendahl's Guy Rose Memorial Exhibition in 1926. Aside from being an admirer of Rose's artwork, Jessie had a special interest in 'Sierra Vista Hill'. Jesse Yarnell, her father and early newspaperman who established the Weekly Mirror, which took over the Los Angeles Times in 1881, lived atop a hill (now known as Rose Hill) in Sierra Vista. When Guy Rose painted 'Sierra Vista Hill', the area was undergoing real estate development, but hay and barley fields were still a part of the landscape. It is not known if the hill of haystacks in Rose's painting was part of her family's land holdings but there is no doubt Jessie Yarnell Kimball had a strong personal connection to the scene which she and her family intimately knew. 'Sierra Vista Hill' is recorded as No. 82 in the Memorial Catalogue. Stendahl wrote the following description for the painting: 'A hazy day broods over this typical glimpse of the Southern California countryside. This is one of the works in which Guy Rose most clearly resembles Monet, for the founder of French Impressionism loved this mood of nature and he was partial to hay fields.' No California landscape by Guy Rose makes a more direct, visual connection to Claude Monet and his famous haystack paintings than 'Sierra Vista Hill'. When Rose saw this scene of haystacks plying the hill in Sierra Vista, very likely he could not help but think of his many years in France and then rendered a painting of it on the spot. The outcome is historical and exceptional. At first glance, one might think of it as a French scene, but we know it is not; it is local and 'made in California.' In execution, the painting is brilliantly Guy Rose in every way: composition, play of light, palette, and brushstroke. With a stamp from the Guy Rose Sale verso ink signed by Ethel Rose and Earl Stendahl. Framed size: 27.5' H x 32.5' W x 1.5' D.

      John Moran Auctioneers
    • GUY ROSE (AMERICAN, 1867-1925) Rising Mists oil on canvas 28O x 23O in
      Jun. 14, 2017

      GUY ROSE (AMERICAN, 1867-1925) Rising Mists oil on canvas 28O x 23O in

      Est: $20,000 - $30,000

      GUY ROSE (AMERICAN, 1867-1925) Rising Mists oil on canvas 28O x 23O in. (72.4 x 59.7 cm.)

      Christie's
    • Guy Rose (1867-1925) Spring in Normandy
      May. 23, 2017

      Guy Rose (1867-1925) Spring in Normandy

      Est: $250,000 - $350,000

      Guy Rose (1867-1925) Spring in Normandy oil on canvas 24 x 19 ¾ in. (61 x 50.2 cm.)

      Christie's
    • Painting, Circle of Guy Rose
      Apr. 22, 2017

      Painting, Circle of Guy Rose

      Est: $300 - $500

      Circle of Guy Rose (American, 1867-1925), European Harbor Scene with Figures, oil on canvas, bears signature lower right, overall (with frame): 33"h x 45.5"w

      Clars Auctions
    • Painting, Guy Rose
      Dec. 11, 2016

      Painting, Guy Rose

      Est: $7,000 - $10,000

      Guy Rose (American, 1867-1925), "The Plough," oil on canvas, signed lower left, pencil signed verso (on canvas), canvas: 8.25"h x 11.75"w, overall (with frame): 15.25"h x 19"h. Note: Paperwork accompanies this lot

      Clars Auctions
    • GUY ROSE (1867-1925) Woods Cove, Laguna signed ‘Guy Rose’ (lower
      Nov. 21, 2016

      GUY ROSE (1867-1925) Woods Cove, Laguna signed ‘Guy Rose’ (lower

      Est: $120,000 - $180,000

      GUY ROSE (1867-1925) Woods Cove, Laguna signed ‘Guy Rose’ (lower right) oil on canvas 15 x 18in overall: 21 1/2 x 24 1/2in

      Bonhams
    • Painting, Guy Rose
      Nov. 13, 2016

      Painting, Guy Rose

      Est: $15,000 - $25,000

      Guy Rose (American, 1867-1925), "The Plough," oil on canvas, signed lower left, pencil signed verso (on canvas), canvas: 8.25"h x 11.75"w, overall (with frame): 15.25"h x 19"h. Note: Paperwork accompanies this lot

      Clars Auctions
    • Guy ROSE 1867 - 1925 Bords de mer, falaise Huile sur toile
      Oct. 18, 2016

      Guy ROSE 1867 - 1925 Bords de mer, falaise Huile sur toile

      Est: €10,000 - €12,000

      Guy ROSE 1867 - 1925 Bords de mer, falaise Huile sur toile Signée en bas à gauche "Guy Rose" h: 54 w: 65 cm Commentaire : Oil on canvas; signed lower left

      Artcurial
    • Oil on Canvas Alpine Farm Scene Signed G. Rose
      Jul. 10, 2016

      Oil on Canvas Alpine Farm Scene Signed G. Rose

      Est: $300 - $500

      Oil on Canvas Impressionist Alpine Farm Scene Signed G. Rose, possibly the California artist Guy Rose (1867-1925). 24"h x 36"w, unframed. Rose painted primarily in California and New York, but also spent some years in Paris at the Academie Julian, and was the first California artist to receive a prize at the Paris Salon.

      Greenwich Auction
    • Oil on Canvas Alpine Farm Scene Signed G. Rose
      Jun. 26, 2016

      Oil on Canvas Alpine Farm Scene Signed G. Rose

      Est: $300 - $500

      Oil on Canvas Impressionist Alpine Farm Scene Signed G. Rose, possibly the California artist Guy Rose (1867-1925). 24"h x 36"w, unframed. Rose painted primarily in California and New York, but also spent some years in Paris at the Academie Julian, and was the first California artist to receive a prize at the Paris Salon.

      Greenwich Auction
    • GUY ROSE (American, 1867-1925) Indian Tobacco Trees, La Jolla 24 x 29in
      Apr. 12, 2016

      GUY ROSE (American, 1867-1925) Indian Tobacco Trees, La Jolla 24 x 29in

      Est: $600,000 - $900,000

      Guy Rose (American, 1867-1925) Indian Tobacco Trees, La Jolla signed 'Guy Rose' (lower right) oil on canvas 24 x 29in overall: 34 x 38 1/2in FOOTNOTES Provenance With Stendahl Galleries, Los Angeles, California, number 1039. With Walter A. Nelson-Rees, Oakland, California. With Petersen Galleries, Beverly Hills, California. The Fieldstone Collection, Newport Beach, California. Exhibited Laguna Beach, Laguna Art Museum, California Light 1900 - 1930, Four City Tour 1990 - 1991. Montclair, New Jersey, Montclair Art Museum, California Light, April 21, 1991 - June 2, 1991. Oakland, The Oakland Museum, Guy Rose: American Impressionist, July 1 – September 24, 1995. Irvine, The Irvine Museum, Guy Rose: American Impressionist, October 20, 1995 – February 24, 1996. Irvine, The Irvine Museum, Lasting Impressions: Twenty Years of the Irvine Museum, January 26 – June 6, 2013. Literature Earl L. Stendahl, Guy Rose, Stendahl Art Galleries, Los Angeles, 1922, pl. 4, p. 14, illustrated, along with description. Patricia Trenton, California Light 1900 – 1930, Laguna Beach, 1990, cover illustration, p. 108, pl. 104, illustrated full page color, p. 189, exhibition note. William H. Gerdts, All Things Bright & Beautiful, California Paintings from The Irvine Museum, Irvine, 1998, p. 192, illustrated in color. David Wicinas, Native Grandeur: Preserving California's vanishing landscapes, Irvine, p. 25, illustrated in color. Jean Stern, Masters of Light, Plein Air Painting in California 1890-1930, Irvine, 2002, p. 41, illustrated in color. Jean stern,A California Woman's Story: The Autobiography of Joan Irvine Smith, Irvine, 2006, p. 288, illustrated in color. In the 1922 Stendahl Galleries catalogue, the author writes, A group of tobacco trees at the right, their sparkling, crinkly green leaves interspersed with yellow flowers, the blue sea beyond. Rich purple shadows run across the foreground, and a bit of white surf helps to make this picture one of bright happiness. Guy Rose visited San Diego in 1915 to attend the Panama-California Exposition, in newly-built Balboa Park. He was particularly taken by the small seaside community of La Jolla, just north of San Diego. Sometime late in 1915 or early 1916, he painted Indian Tobacco Trees. The painting shows a view of La Jolla Cove with its distinctive natural arch, which collapsed in 1978, in the left distance. In the foreground, Rose shows the viewer a cluster of Indian Tobacco trees (Nicotiana glauca), a species of wild tobacco, with its small brilliant yellow flowers. The intense Mediterranean light of the southern California coast radiates throughout the painting. The scene reflects the influence of Rose's earlier visit to Giverny, with his attention to color and how it explodes across the canvas in a cavalcade of impressionistic dabs of greens, yellows and purples. With no color spared, the composition is perfectly balanced as one draws their eye diagonally down the path, through the sun dappled shade, towards the rocky cliffs and on to the water's edge. Considered by many to be one of Rose's best seascapes, Indian Tobacco Trees exemplifies the allure of the Southern California coast and its magical light and shadow. No wonder that exhibitions and advertisements of such paintings helped draw throngs of young men and women to move West and settle in hamlets all along the California coast. As with William Wendt's Old Coast Road, Guy Rose's Indian Tobacco Trees became synonymous with the best of California plein air painting, having been chosen to grace the cover of the seminal 1990 Laguna Art Museum exhibition catalogue, California Light 1900-1930.

      Bonhams
    • GUY ROSE (American, 1867-1925) To Headland (Carmel Coast) 18 x 14in
      Apr. 12, 2016

      GUY ROSE (American, 1867-1925) To Headland (Carmel Coast) 18 x 14in

      Est: $100,000 - $150,000

      Guy Rose (American, 1867-1925) To Headland (Carmel Coast) signed 'Guy Rose' (lower right) oil on canvas 18 x 14in overall: 28 x 24in FOOTNOTES Provenance With Stendahl Galleries, Los Angeles, California. Private collection, Mountain Center, California. A copy of the 1922 Guy Rose Exhibition catalogue from Stendahl Galleries accompanies this lot. The hardbound catalogue is inscribed To Mrs. Garner from The Stendahls. In the late 1880s, Guy Rose went to Paris and studied with Benjamin Constant, Jules Lefebvre, and at the Academie Julian under Lucien Doucet. The influence of these painters can be seen clearly in Rose's early works. The artist's later, Impressionist paintings are a distinct departure from this academic style and speak to the heavy influence of Claude Monet on Rose's work a decade later. Living in Giverny with his wife, Rose took that academic foundation and immediately replaced it with the new modern style of the day, brightening his palette and adding a completely new wispy, quick freshness to his works. The result was a true, seasoned American Impressionist. When Guy Rose returned to California in 1914, he brought with him a vast firsthand knowledge of what was happening in the art world in both Europe as well as on the East Coast. This experience enabled the artist to work confidently with a broad array of compositions and colors. These works encompassed the pinnacle of his career. Painting up and down the California coast, Rose visited the Monterey and Carmel area around 1915. He was likely encouraged by fellow painters Channel Pickering Townsley and Evelyn McCormick. He must have been gob smacked by what he saw; the beauty and endless vantage points along the coast which has attracted a long list of noted painters since the turn of the century. To Headland is the faint inscription that appears in charcoal on the back of the canvas. This was probably an early description of what is now known as the Carmel Highlands, a small stretch of coves and steep coast just south of Carmel-By-The-Sea. It is also the site of William Ritschel's home. This painting exemplifies the steep cliffs all along the shoreline that dot this area for several miles. This stretch of the California coast is one of its most famous, and one can still imagine today, on a drive down Highway 1, artists such as Guy Rose hiking along the shoreline to find vantage points on which to paint. This is a classic coastal scene for Rose, reminiscent of his iconic Point Lobos, Carmel, the location of which is but a short walk away. Rose visited the area on several trips and these paintings went on to help establish the artist as the top California plein air painter.

      Bonhams
    • Guy Rose (1867-1925 Pasadena, CA)
      Mar. 22, 2016

      Guy Rose (1867-1925 Pasadena, CA)

      Est: $70,000 - $90,000

      ''Monterey, Calif.'', a Monterey coastal landscape, circa 1918-1920, signed lower right: Guy Rose, titled on a gum label affixed to the stretcher, oil on canvas, 12'' H x 18'' W, est: $70,000/90,000. Note: When Guy Rose returned to his native Southern California in 1914 after eight years in Giverny, Northern France, he brought with him an intensified focus on light and atmosphere. Particularly in his Pacific seascapes, ''Rose could indulge two of his major pictorial interests explored at Giverny; reflections on water and multifarious atmosphere. It also satisfied his personal penchant for creating images of solitude and quiet'' (W. South, ''Guy Rose: American Impressionist''', Oakland, CA, 1995, p. 62). Rose first visited Carmel-by-the-Sea in 1918, and the Carmel and Monterey areas immediately became ''the primary focus of what were to be his last years of painting'' (W. South, p. 67). Rose spent the summers of 1918, 1919 and 1920 in Carmel and there produced a prodigious number of Carmel and Monterey coastals, exploring similar locations and views but always approaching each painting as a unique experience. ''It was clearly not Rose's intent to paint the same scene over and over, but rather to paint the varied experiences of expansiveness versus enclosure, of translucence versus opacity, or warmth versus cold'' (W. South, p. 67). ''Monterey, Calif.'' is a remarkable study of light and water-saturated air at the intersection where ocean meets land. Rose utilizes a restrained range from sunlight to shadow and plays with subtle changes in light and dark pigments to enliven the composition. ''Rose?s keen attentiveness to actual atmospheric conditions, derived most fully from Monet, intensifies the experience of openness and recession'' (W. South, p. 64). Recession is a prominent feature here as the exposed coastal rocks recede further and further into deepening water toward the open ocean. Interestingly, in the present work Rose omits the horizon line and sky, effectively reining in the sensation of an infinite sea often evoked by his coastals and directing attention instead toward rich coastal details. The immediacy of the foreground rocks along the lower compositional edge, painted in rose and blue-grey tones, give the impression that the viewer is in the scene, standing above the small cove. A glimpse of beach in the lower right nearly blends with the neighboring rocks, whose smooth planes become rough and craggy where the rock extends out and above the water. Spectral algae blooms on the underside reflect the water?s surface colors. The outcropping casts the deepest shadow in the composition, creating turquoise jewel-tone facets on the inside of a gentle wave moving toward the beach. The rich shadows are further emphasized by near-black paint used to present the rock below the shifting surface. Tight, lively brushstrokes of white water that churn over the edges of the retreating rocks in the middle ground are in contrast with elongated, flat, horizontal brushwork that finishes the furthest viewable ocean. Rose?s obsessive focus on color behavior in coastal atmospheric variation is on exquisite display in ''Monterey, Calif.'' .

      John Moran Auctioneers
    • GUY ROSE, attribué (San Gabriel Californie 1867-1925 Pasadena) Marine aux voiliers
      Mar. 19, 2016

      GUY ROSE, attribué (San Gabriel Californie 1867-1925 Pasadena) Marine aux voiliers

      Est: €28,000 - €32,000

      GUY ROSE, attribué (San Gabriel Californie 1867-1925 Pasadena) Marine aux voiliers Huile sur toile Signé Guy Rose en bas à gauche Dimensions : 48 x 64 cm

      Accademia Fine Art
    • GUY ROSE 1867 - 1925 | Untitled (Woods Cove, Rockledge)
      Nov. 18, 2015

      GUY ROSE 1867 - 1925 | Untitled (Woods Cove, Rockledge)

      Est: $120,000 - $180,000

      oil on canvas

      Sotheby's
    • Guy Orlando Rose (1887-1925 Pasadena, CA)
      Oct. 20, 2015

      Guy Orlando Rose (1887-1925 Pasadena, CA)

      Est: $100,000 - $150,000

      ''Duck Cove - Wickford'', bridge over Duck Cove, Wickford, Rhode Island, circa 1913-1914, signed lower right: Guy Rose, titled verso, oil on canvas, 21'' H x 24'' W, est: $100,000/150,000. Note: Guy Rose's mature, fully impressionistic style developed during his nearly thirteen years abroad, the last eight spent living and working in Giverny, is celebrated in the painting ''Duck Cove - Wickford'' (W. South, ''Guy Rose: American Impressionist'', Oakland, CA, 1995, p. 59). The painting was likely executed during a brief period in 1913 or 1914 when Guy and Ethel Rose summered in Rhode Island, where Rose taught an outdoor sketching class at Narragansett Pier in an area south of Wickford. ''Duck Cove - Wickford'' captures a sweeping view of waterways and land that encompass the Duck Cove salt marsh in a bold palette of blues and chartreuse balanced by more muted brown, grey and blue tones in the foreground and sky. Ribbons of water traverse the irregularly shaped marsh flowing toward Wickford Harbor and Narragansett Bay as foreground sand and rocks yield to lush green grasses along the channels' edges. The day is sunny with a light layer of clouds adding a play of pattern against blue sky. Dominating and contrasting the otherwise completely naturalistic environment is a spindly wooden bridge crossing a narrow strait. Rose's brief time in New England came after he and Ethel left France in 1912 and before they returned permanently to California in autumn 1914. During this short period when the couple spent part of each year in New York and the Wickford area of Rhode Island, Rose exhibited regularly including a notable 1913 show at Macbeth Gallery. The few documented identifiably Rhode Island subjects the artist produced, including this painting, reveal the full commitment to and synthesis of French Impressionism presented in fresh American subject matter that Rose would continue to explore in California. Inscribed by Jessie Yarnell Kimball to her son Curtis Yarnell Kimball verso: Curtis Y. Kimball / on his 8th birthday / from his mother.

      John Moran Auctioneers
    • Guy Orlando Rose (1887-1925 Pasadena, CA)
      Oct. 20, 2015

      Guy Orlando Rose (1887-1925 Pasadena, CA)

      Est: $150,000 - $200,000

      ''Sand Dunes'', near Carmel, CA, circa 1918-1920, signed lower right: Guy Rose, titled and numbered verso: #93, oil on canvas, 24'' H x 29'' W, est: $150,000/200,000. Note: Local-born artist Guy Rose spent eight years living in Giverny, France where he was strongly influenced by his friend Claude Monet and other impressionist painters working there. When Rose returned to California in 1914, he brought with him an intensified focus on light that can be seen in his execution of California landscapes from this mature Impressionist period. ''The ceaseless interplay between the appearance and dissolution of form, and the challenge of transfixing a moment's perception, continued to fascinate Rose as it had his precursors in Impressionism'' (W. South, ''Guy Rose: American Impressionist'', Oakland, CA, 1995, p. 67). In his first years back in California, Rose worked most frequently in Laguna Beach and the Sierras while feverishly exhibiting and selling on both Coasts, teaching and becoming involved in major local art clubs and organizations. Rose first visited Carmel-by-the-Sea in 1918 and it immediately became ''the primary focus of what were to be his last years of painting'' (W. South, p. 67). Rose produced a prodigious number of Carmel coastals in a three-year period, exploring similar locations and views but always approaching each painting as a unique experience. ''It was clearly not Rose's intent to paint the same scene over and over, but rather to paint the varied experiences of expansiveness versus enclosure, of translucence versus opacity, or warmth versus cold'' (W. South, p. 67). ''Sand Dunes'' is a lovely, atmospheric example from this important Carmel period. Rather than painting from a vantage point of coastline yielding to ocean, in the present work, Rose paints from the coastal dunes back toward a deep landscape of rolling hills and a vast cloud-filled sky. The contrast of warm and cool tones is extreme in the composition, with a relatively thin band of distant hills and fields painted in cool greens, purples and blues inserted between broad, flat planes of warm sand and clouds. Rose paints with intentionally sparing detail, choosing to apportion the canvas in broad, flat planes of color that harken back to Japanese compositional influences. Coastal dune grasses and shrubs spring out of an otherwise constrained environment, painted with sculptural brushwork that finishes the scene.

      John Moran Auctioneers
    • AFTER GUY ROSE (American, 1867-1925)Untitled (Wooded Riverscape)Oil on canvasSigned lower rightSize: 36" x 24" (exclusive of frame)
      Apr. 25, 2015

      AFTER GUY ROSE (American, 1867-1925)Untitled (Wooded Riverscape)Oil on canvasSigned lower rightSize: 36" x 24" (exclusive of frame)

      Est: $600 - $800

      (American, 1867-1925) Untitled (Wooded Riverscape) Oil on canvas Signed lower right

      Greater London Auctions, LLC
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