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    The Hon. Paul H. Buchanan, Jr. Collection

    WILLIAM MCGREGOR PAXTON (American, 1869-1941)

    Rose and Blue, 1913
    Oil on canvas
    30-1/2 x 25-1/2 inches (77.5 x 64.8 cm)
    Signed and dated lower left: PAXTON 1913
    Possibly original frame.

    W. H. Lazelere, Morristown, PA, 1914 (by purchase);
    with Victor Spark, New York, 1969-1979;
    Purchased from Grand Central Art Galleries, New York, June 5, 1979.

    Pennsylvania Academy of the Fine Arts, Philadelphia, 109th Annual Exhibition, 1914, no. 313 (label verso),
    "William McGregor Paxton" Indianapolis Museum of Art, August 15 - October 1, 1978; El Paso Museum of Art, October 12-December 3, 1978; The Josyln Art Museum, Omaha, Nebraska, January 5 - February 11, 1979; Museum of Fine Arts, Springfield, Massachusetts, March 24 - May 6, 1979 (lent by Victor D. Spark, NY) (label verso).

    Philadelphia, North American Painting, March 10, 1914;
    Ellen Lee, William McGregor Paxton, N.A. 1869-1941, exh. cat., Indianapolis, Indiana, 1978, cat. no. 32, p. 132; ill. plate 32.
    Peter Hastings Falk, ed., The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts, vol III 1914-1968, Sound View Press, Madison, CT, 1989, p. 362 (address given as Fenway Studios, Boston).

    William McGregor Paxton, Edmund Tarbell, Philip Leslie Hale, Frank Benson, and Joseph DeCamp became known collectively as the "Boston School" painters during the first decades of the 20th century. Their genre scenes of beautiful women in light-filled domestic interiors earned them much popular and critical acclaim. As a group, Paxton and his colleagues were influenced to some extent by French Impressionism, but more profoundly by the rediscovery of the work of Johannes Vermeer - the 17th-century Dutch master from Delft whose work had fallen into obscurity for nearly 200 years. Vermeer's paintings of women performing mundane activities were a revelation: they had an enigmatic quality which owed everything to the Dutchman's mysterious ability to render the play of light on a blank wall, a piece of silk, or an earthenware pitcher. The light imparted a level of emotional seriousness to his objects it touched, and seemed almost reverent - and meaningful - though successfully defining what that meaning is in any concrete way remains persistently illusive.

    The Boston painters' emulation of Vermeer mirrored an international wave of enthusiasm for the painter around the time that a catalogue of his work was published in 1911. Wealthy American collectors including Henry Clay Frick of New York and P.A.B. Widener of Philadelphia jumped at the chance to acquire rare works by this most "modern" of the Dutch Old Masters. Closer to home, Paxton's Boston colleague, Philip Leslie Hale, wrote a book on Vermeer himself, which appeared in 1913, the date Paxton produced this painted "homage" to the Dutch master.

    Also in 1913, the year he produced Rose and Blue, William Paxton decided to resign from his teaching position the Boston Museum School, where he had taught since 1906, so that he could devote more time to his painting. At some level he must have come to a realization that what he wanted to paint next would require all of his time and attention. By most critical assessments, Paxton was embarking, in 1913, upon the best phase of his career. Rose and Blue ushered in this five-year period, when his close study of Vermeer's ability to render such a beautiful envelope of space, also brought him the closest he would ever come to being an impressionist.

    In Rose and Blue, a woman distractedly handles a pearl necklace in a room hung with an oriental brass censor. The smoky atmosphere of the room suggests that the censor is perfuming the air. Unlike many works leading up to this one, Paxton has truly diffused the light to the point that most of the forms in his painting fall in and out of sharp focus, depending upon their positions in space. The artist's use of a soft flocked wallpaper for the background plane (whose ornament he blurs into an indiscriminate pattern) makes this interior seem like a dreamy vision rather than a real one. The state of reverie he achieves, coupled with the way the woman fingers the delicate necklace, becomes a subtle meditation on the ephemeral nature of earthly existence.

    William Paxton exhibited this work at the Pennsylvania Academy Annual Exhibition in 1914, the same year in which it was purchased by W. H. Lazelere of Morristown, Pennsylvania, presumably from or immediately after the exhibition. Judge Buchanan also saw this painting in an exhibition before he bought it. Rose and Blue was part of the large Paxton traveling retrospective organized in 1978 by the Indianapolis Museum of Art where Buchanan served as a trustee. At the time of the show, the painting was owned by New York dealer, Victor Spark who sold it at auction after the end of the tour. Paul Buchanan was the buyer.

    On the back flyleaf of his copy of the 1978 exhibition catalogue, Buchanan jotted down his thoughts about Paxton: "Essentially a fine portrait painter - got the likeness. Admired Velazquez. Friends considered his best works to be small rooms with colorful figures." It is interesting that Buchanan picked up on Paxton's interest in the Spanish painter, whose distinctive painterly effects were described as an ability to "breathe paint onto the canvas." Certainly the breathy atmosphere in Rose and Blue owes perhaps as much to Velazquez as it does to Vermeer.

    Condition Report*: Painting is relined on newer stretcher, well-preserved paint surface fully intact.  On the tacking edge of the original canvas wrapped over the top stretcher bar is a pencil inscription: Mr. W. M. Paxton, Boston Mass. and C-15 (different hand).  Under UV examination there appear to be only minor areas of restoration, some older and some newer, mostly relegated to the background.  Most of the minor restoration is confined to two specific passages.  The first is in the upper-left quadrant where two two-inch parallel lines of inpaint likely fill very fine horizontal cracks which occurred prior to relining.  The second occurs in the lower-right quadrant.  Tiny, scattered areas of inpaint are located along the arm of the figure as reflected in the mirror. The figure itself is nearly devoid of any strengthening or retouch, with these few minor exceptions: quarter-inch inpaint on cheek bone; gentle strengthening of profile behind the nose and upper lip; three tiny spots of inpaint on figure's left arm and finger, as well as in the fold of the dress on her left side, just above the bottom of the frame. UV photograph available upon request.
    *Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.

    Auction Info

    Auction Dates
    June, 2009
    10th-11th Wednesday-Thursday
    Bids + Registered Phone Bidders: 2
    Lot Tracking Activity: N/A
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