Frederic Edwin Church 1826 - 1900

Private Collection (sold: Sotheby Parke-Bernet, April 29, 1976, lot 34, illustrated)
Gloria and Richard Manney, Hastings-on-Hudson, New York (acquired from the above sale)
Berry-Hill Galleries, New York
Private Collection, West Hartford, Connecticut, 1995 (acquired from the above)
Gift to the present owners from the above

New York, Berry-Hill Galleries, American Paintings VII, 1994, p. 62, illustrated in color p. 63

This work is in good condition. The canvas is lined and there is slight frame abrasion at the lower left corner. Under UC: There are scattered pindots of inpainting throughout the mountain and sky, and one spot in the upper center sky.
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.

Frederic Edwin Church embarked on his first journey to South America in 1853, following in the footsteps of the naturalist Alexander von Humboldt. Captivated by the verdant foliage, snow-capped mountain peaks and thrilling atmospheric effects of light and color, the artist made numerous sketches during his travels, recording in almost scientific detail the many marvels he encountered. Upon his return, Church sought to visually capture the unique and majestic natural beauty he experienced in South America, and the lush panoramas that ensued are some of his most awe-inspiring works.

Church painted South American Landscape in 1856-57 by synthesizing his pencil drawings, oil sketches, and memories of the landscape. It has been suggested that the present work depicts the Ecuadorian volcano, Chimborazo, which Church considered to be a spiritual symbol of the joining of heaven and earth. Similarly, the mountain was likened by Humboldt to Michelangelo’s dome at St. Peter’s and described by Church’s contemporary William Giles Dix as “one of God’s noblest works” (Dr. Gerald L. Carr, In Search of the Promised Land: Paintings by Frederic Edwin Church, New York, 2000, p. 67).

Chimborazo fascinated Church and he revisited the subject on numerous occasions in oil and pencil, examining it from various distances, angles, and weather conditions. In South American Landscape, the mountainous volcano presides over a sun-lit lava plateau whose sparse vegetation contrasts with a lush and vibrant foreground. The rosy clouds in the cool blue sky, the peaceful precipice towards the left, and the serene surface of the snow on Chimborazo “impart an effect of preciousness to the entire scene” (Carr, p. 67). According to a letter from Dr. Gerald L. Carr, the present work is likely a preparatory study for a painting of corresponding title and subject now in the Thyssen-Bornemisza Collection. Carr notes in this letter, “That the painting was composed and completed just a few months before his second journey [to South America], in 1857, is interesting. Here, as with two or three other South American studio paintings by him of 1856-57, one can discern effects that prophesy the sweep and heightened drama of his works, both of North and South American subjects, of the late 1850’s and 1860’s. In this instance, the rugged geology, the strong silhouette of the [cliff] (crowned by a church) at the left, and the botanical richness of the foreground are noteworthy.”