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N08911

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Lot 18
  • 18

Louis Ritman 1889 - 1963

Estimate
200,000 - 300,000 USD
bidding is closed

Description

  • Louis Ritman
  • In the Arbor
  • signed L. Ritman (lower right)
  • oil on canvas
  • 31 3/4 by 25 1/2 inches
  • (80.7 by 64.8 inches)
  • Painted circa 1914.

Provenance

Private Collection, New York, circa 1940
By descent in the family to the present owner, 1961

Literature

Richard H. Love, Louis Ritman: From Chicago to Giverny; How Louis Ritman Was Influenced by Lawton Parker and Other Midwestern Impressionists, Chicago, Illinois, 1989, illustrated in color as a frontispiece

Condition

Very good condition. Unlined. Under UV: no apparent inpainting.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. 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 DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Louis Ritman first traveled to Giverny in 1911, where he joined his friends and fellow artists Frederick Frieseke and Richard Miller. Ritman resided at the Hotel Baudy along with other expatriate Americans experimenting with French Impressionism. The artist returned to Giverny each year until 1929, often living and working in a small cottage with his models. During the summer of 1913, Ritman moved fully into his mature period, painting primarily individual figures in landscapes, gardens, interiors and other intimate settings.

Describing Ritman's works painted during the summer of 1914, Richard Love writes, he "...began producing more scenes al fresco. These were still genre works in which he focused on a single figure, specifically an attractive young woman, but distinct variations appeared within overall compoisitional design... In some of his plein-air works, the figure takes up even more of the picture format; but in other examples from the same period, the model is relegated to a lesser role and woven almost imperceptibly into a tapesty-like background" (Louis Ritman: From Chicago to Giverny, Chicago, Illinois, 1989, p. 191).