Large John Francis Murphy (American/New York, 1853-1921) oil on canvas painting titled "Where Sunlight Lingers," depicting a meadow landscape at sunset. Signed and dated lower right "J. Francis Murphy, 1913". Exhibited at the National Academy of Design in 1913, number 205. Housed in the original carved and gilded frame (more information below). Sight: 26-1/2" H x 40-1/4" W. Framed: 40-1/4" H x 54-1/4" W. Provenance: the estate of a New York collector, purchased from Macbeth Gallery, New York City (date unknown). Biography: John Francis Murphy, a leading tonalist landscape painter of the American Barbizon, was born 1853 in Oswego, New York. As a teen, he moved west with his family to Chicago, where he began painting billboards and theater backdrops. He received a few weeks of training at the Chicago Academy of Design, but was primarily self-taught. He found employment in New York as an illustrator, but was drawn to the countryside and began painting landscapes. A trip to France in 1886 deepened his familiarity with the work of the French Barbizon painters such as Corot, Rousseau and Duabigny. Murphy's middle-period landscapes show the influence of American tonalists A. H. Wyant, George Inness, and Homer Dodge Martin. Murphy's late paintings, created after 1900, are regarded as some of his best. "Where Sunlight Lingers," which falls into his latter period, exhibits the tonal unity and warm but minimal palette of brown, soft greens and golden yellows for which he is known. Frame information - The frame on this painting is a carved and gilded American frame from the early 1900’s. The design is derived from the Lois XV style though interpreted through an American lens. The fine carving and rich, buttery quality of the gilded surface imply that the frame is from a Boston area maker such as Foster Brothers (frame description - courtesy Eli Wilner & Company Gallery Director, Suzanne Smeaton).

Overall very good condition. Some slight overall craquelure to canvas. Blacklighting flouresces two small spots in left tree area but examination under natural light does not indicate inpainting to these spots. Carved frame appears to retain the original gilding, minor losses to gilding on outer edge, age separations at miter joints of inner frame, shadow mark and holes from old round medallion label.