Attributed to William Grosvenor Congdon, it does not have a COA. Medium: oil wood. 23.5 x 20.5. Provenance: private owner.
Biography: 1912 - 1998. William Congdon was born in Providence, Rhode Island on April 15, 1912 into a wealthy family. He was raised in the best tradition of local society, attending dancing classes, summering near Newport, studying at St. Mark's School. He studied at Yale University where he earned a Bachelor of Arts degree, Demetrious School of Sculpture, and the Provincetown School of Art with Henry Hensche. He astounded his family by plunging headlong into the study of sculpture, becoming very expert so quickly that he was soon commissioned to do a series of garden figures and portraits.This profitable career was interrupted in 1942 when Congdon joined the American Field Service, following the war from El Alamein to Belsen. Soon after, he threw himself into relief work in Italy when the Quakers rebuilt the mutilated towns of the Sangro Valley. When he finally came home, his old easy life, the conventional sculpture that lined his studio, seemed meaningless and distasteful. Abruptly he took off for New York, rented a bare room in the Bowery and began to paint. In a fury of emotion he poured out his impressions of the bewildering immensity of the city and his memories of the glowing, shadowy palaces of Italy.Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint based on the description