Thomas Moran

Hammer Galleries, New York
Private collection (sold: Sotheby Parke Bernet, New York, December 6, 1984, lot 73, illustrated)
Alexander Gallery, New York (acquired at the above sale)
Acquired by the present owner from the above

East Hampton, New York, Guild Hall, The Moran Family Legacy, October 1997-January 1998

William Gerdts, "The Paintings of Thomas Moran: Source and Style," The Magazine Antiques, vol. 84, no. 2, February 1964, p. 204, illustrated 

This work is in good condition. The canvas is wax lined. Under UV: there are small areas of inpainting at the upper left edge and in the lower center sky. There are a few other scattered dots and thin lines of inpainting.
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.
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Thomas Moran designed and built a home and studio in East Hampton, New York, in 1884. East Hampton became his permanent residence thereafter and Moran often painted the scenic landscape at the eastern end of Long Island. In a letter discussing the present work, The artist wrote: "The subject was taken from a pond near the Village of Water Mill about ten miles from Easthampton, Long Island, my summer home (and) studio. It is eminently characteristic of the scenes at the far end of the island, (and) I esteem it among the best of my works." 

According to Phyllis Braff, “Moran’s reputation as a painter of resonant, luminous effects can be linked, in part, to the atmospheric conditions he included in his paintings of this region. The area’s low terrain adjacent to the Atlantic Ocean provided an opportunity for the artist to add dramatic, water-enhanced reflections for compositions with large unbroken skies."

Of the Long Island paintings, Braff continues, saying, “In his concerns with observing the time of day, or the seasons, he often implies symbolic readings for these themes. Moran had begun to address the challenge of translating atmospheric characteristics of art into pigment early in his early career."  Executed in 1901, Sunset on Long Island is one of several paintings that illustrate Moran’s interest in natural phenomena. The changing color of the sky at sunset, from fiery orange to violet, contrasts with the deep greens and browns of the vegetation, and is further emphasized by the sky’s reflection in the water. In Sunset on Long Island, sky, water, and land intersect, offering a glimpse into the unspoiled and romantic scenery of Long Island