Winslow Homer 1836-1910

Charles S. Homer, Jr. (bequest by the artist), 1910
Gift from the above to Arthur B. Homer, 1910
Bequest from the above to Carles L. Homer, 1916
William Macbeth, Inc., New York, 1936
Maynard Walker Galleries, New York, 1940 (sold: Parke-Bernet Galleries, May 8, 1941, lot 14)
Sheridan Art Gallery, 1941
Victor Spark, 1948
Wildenstein & Company, circa 1950
Allied Arts Association
Gift to the present owner from the above, 1952

Tucson, Arizona, University of Arizona, Yankee Painter: A Retrospective of Exhibition of Oils, Watercolors and Graphics by Winslow Homer, October-December 1963, no. 95 (as Portrait of the Artist's Wife)

William Howe Downes, The Life and Works of Winslow Homer, Cambridge, Massachusetts, 1911, p. 116
Lloyd Goodrich and Abigail Booth Gerdts, Record of Works by Winslow Homer, 1867 through 1876, vol. II, New York, 2005, no. 379, p. 140, illustrated

Condition Report from Simon Parkes Conservation: This painting has recently been in our studio where it received some conservation. While the painting looks better and is much improved as a result of the conservation, if requested, more small well placed retouches could be applied to further reduce the weakness in the paint layer. The canvas has been lined, not recently, using glue as an adhesive. The paint layer is clean. To the center of the figure a complete tear and loss has occurred which has been almost completely retouched and although slight surface inconsistencies are visible, this substantial structural damage has been, for the most part, eliminated. Homer himself appears to have first painted one figure, then over the top of this composition applied another other seated figure, which is what can be seen today. However, as so often happens in these cases, pentimenti have developed, some abrasion was caused and the two different arrangements became slightly confused as a result. Retouches have been applied to resolve some of the pentimenti. The sky and the background are generally in much better condition with comparatively few restorations. If a few more hours of well chosen, fine retouches were to be applied, the picture would become clearer still. Although very damaged, it is still a worthwhile work by this artist.
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.

Abigail Booth Gerdts writes: "William Howe Downes visited with Arthur B. Homer at Prout's Neck after Homer's death, and described some of the works which had come ino the possession of Homer's younger brother. Among them was this canvas: "[Homer] hung in the ground-floor rooms [of his cottage "Kettle Cove"] a few of his early oil paintings, which I saw when I was at Prout's Neck in the fall of 1910. There were among other canvases, all unframed... a study of a kneeling figure of a young woman, one arm and hand being left unfinished" (Record of Works by Winslow Homer, 1867 through 1876, vol. II, New York, 2005, p. 140).