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Sanford Robinson Gifford
"Clay Bluffs on No Man’s Land" Sanford Gifford, 19th Century Luminist Landscape
1877

Name: "Clay Bluffs on No Man’s Land" Sanford Gifford, 19th Century Luminist Landscape
Brand: Sanford Robinson Gifford
Rating: 5 (16 reviews)

$60,000List Price

About the Item

Sanford Robinson Gifford A Sketch of Clay Bluffs on No Man’s Land, South of Martha's Vineyard, 1877 Stamp on verso of canvas: S. R. Gifford [estate] Sale Typed label on upper stretcher bar of verso: Clay [effaced] Man’s Land Oil on canvas 9 1/16 x 16 3/4 inches A Sketch of Clay Bluffs on No Man’s Land, not signed or dated, is the larger and later of two versions of the subject by Sanford Gifford that have recently come to light.[i] Gifford completed as many as six paintings, three dated 1877, one 1878, that must all stem from one recorded visit he made in October 1877 to the small, now uninhabited island today known as Noman's Land, three miles southwest of Martha’s Vineyard, Massachusetts.[ii] The artist’s primary objective may have been fishing, an avid pursuit of Gifford’s that he depicted in three of the paintings of Noman's Land. In two of those works, the artist essentially flipped the point of view, shifting the island’s eastern bluffs from left to right and silhouetting them in the glare of a visible sunset.[iii] In the handling of the terrain, the present painting is richly executed, with buttery strokes of pale earthen pink, tan, and buff pigments, in some places seemingly dashed onto the canvas, yet cohering marvelously to convey the solid yet friable nature of the mostly sedimentary geology, as well as the warmth imparted to it by the broad light of a clear late morning or midday sun. The beach, punctuated by large boulders, appears to mingle sandy and solid surfaces, up to which, at right, gentle ocean surf breaks ashore. Contrastingly, the sky is rendered mat with something like pointillist application: small, unmodulated daubs, blue gray above and grading into a dull rose at the horizon, akin to the warmth of the bluffs. The artist sketched in at least five rudimentary human figures, one nearest the viewer at far left, one most distant on the base of the bluff at right, and three at center, two standing and one seated in profile. Of the known paintings of Noman’s Land, the present work and another bearing the same title, signed and dated 1877, appear very closely related, as if done in succession, even possibly worked on the same day.[iv] It is easy to imagine the dated painting as dependent on the present one as a template, but embellished with a fisherman seated on a chair on an elevated dock, overlooking ranks of small breakers rolling to the shore, now nearly consumed by a risen tide. In the dated picture, the artist also broadened the point of view, setting the bluffs at a farther remove from the viewer and lending more picture space to the ocean horizon and the surf. In the present painting, what appears to be late morning or midday sunlight from high above the setting, in the dated picture becomes a low, late afternoon glare trending from the left, presumably west. It warms and saturates the tint of the bluffs even more than those in the present painting and casts slender cool shadows from the nearer bluff at left onto the farther. If the sequencing here can be only theoretical, the essential kinship between the present painting and the dated one looks undeniable. The whereabouts of the present painting were unknown when The Metropolitan Museum of Art and the National Gallery of Art mounted a major retrospective of Sanford Gifford’s work, in 2003. But the dated version of the subject that includes the fisherman, described above, was identified in the exhibition catalogue by the same title.[v] The titling undoubtedly originated in a reference in the 1881 memorial catalogue of Gifford’s known work: no. 656, “A Sketch of Clay Bluffs on No Man’s Land,” listed as “Not Dated,” dimensions 9 x 16 ½ inches, “Owned by the Estate.” [vi] Those are all features and circumstances consistent, less with the painting including the fisherman, than with those of the present work. The verso of the canvas bears a Gifford estate sale stamp: the painting is undoubtedly the “Clay’s [sic] Bluff on No Man’s Land. Not Dated. 9 x 16 ½,” sold at Kirby’s and Co. auctioneers at 845 Broadway, on Thursday, 28 April 1881, eight months after the artist’s death; the sale catalogue entry includes a reference to the memorial catalogue entry, no. 656, cited above.[vii] The dated painting of the same title that has been described by previous authors as no. 656 may well be Memorial Catalogue no. 659, “Bass-Fishing at No Man’s Land, a Study. Dated 1877.” According to the catalogue, that picture by 1881 had been sold to a private collector in Providence.[viii] As fine a work as the dated painting is, in the present one Gifford managed his most fully realized direct impression of what he found when he reached Noman’s Land in October 1877. The only other sketch in oils known, presumably preceding this one, is relatively raw, cramped and cursory, while the glowing, dated painting described above (probably “Bass-fishing at No Man’s Land, a Study”), betrays premeditated schemes, such as the converging perspective lines of the waves that mark the distance to the principal motif of the bluffs beyond. The synthetic impulse detectable in the dated painting became only stronger in what must be Gifford’s ultimate conception of the subject, the large Sunset on the Shore of No Man’s Land—Bass Fishing, dated 1878 (private collection). There, in familiar homage to his artistic exemplar, J. M. W. Turner (and, to a lesser extent, to his New York colleague Frederic E. Church), Gifford reached for the radiance and spatial breadth of what he termed his “Chief Pictures,” reversing the point of view toward the blinding sun, suspended above the ocean horizon, with the silhouetted bluffs towering above at right. In contrast, the newly revealed Clay Bluffs on No Man’s Land betrays the freshness, even strangeness, of discovery—of a virtually deserted isle in the Atlantic that, for Gifford, might have felt at first like another planet. [i] The other painting, No Man’s Land (private collection), shown to the author in 2016 and again earlier this year, is smaller and probably earlier, to judge from its more cursory execution; also alluded to below in the text. [ii] “Reopening the Studios,” New York Tribune, 13 October 1877, p. 2: “Mr. Sandford [sic] R. Gifford has found a new haunt on No Man’s Land, a dreary island, inhabited by three families, south of Martha’s Vineyard. What he has found there is still unknown; hence there will be the greater curiosity to see his new work.” In the twentieth century Noman’s Land, all of 612 acres, became completely deserted, and was used by the United State Navy as a bombing range until 1996. Today it is a wildlife sanctuary. For discussion of the site and some of Gifford’s paintings of it, see Ila Weiss, Sanford Robinson Gifford (1823-1880). Ph.D. diss, Columbia University, 1968. Rpt. New York: Garland Publishing, 1977, p. 347 and fig. IX I 4: a now unlocated study of a an escarpment with pine tree overlooking the sea, dated October 3, 1877, illustrated and discussed by Weiss as possibly a Noman’s Land subject is almost certainly not one, since it was made more than a week before the New York Tribune located the artist at Noman’s Land and two weeks before the artist dated his earliest recorded Noman’s Land subject, A Sketch of No Man’s Land, dated October 22d, 1877 (location unknown). The dated sketch is recorded in A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N. A. (New York: The Metropolitan Museum of Art, 1881), no. 655. Moreover, Weiss did not cite the study again in her 1987 monograph on Gifford, cited here: Ila S. Weiss, Poetic Landscape: The Art and Experience of Sanford R. Gifford (Newark: University of Delaware Press, 1987), pp. 310-311; Ila Weiss, “Reflections on Gifford’s Art,” in Sanford R. Gifford, exhibition catalogue (New York: Alexander Gallery, 1986), n.p. and no. 41; Kevin J. Avery and Franklin Kelly, eds., Hudson River School Visions: The Landscapes of Sanford R. Gifford, exhibition catalogue, The Metropolitan Museum of Art and the National Gallery of Art (New York and Washington, D.C., 2003), pp. 219-221; Kevin J. Avery, “The Enchantment of Sanford R. Gifford,” in Kevin J. Avery and Donald A. Christensen, An Artist’s Legacy and a Dealer’s Admiration: Paintings by Sanford Robinson Gifford from Important American Collections, exhibition catalogue (New York: Michael Altman Fine Art and Advisory Services, 2012), pp. 130-131.

Creator:
Sanford Robinson Gifford (1823-1880, American)
Creation Year:
1877
Dimensions:
Height: 9 in (22.86 cm)Width: 16.75 in (42.55 cm)
More Editions Sizes:
Unique workPrice: $60,000
Medium:
Canvas,Oil
Movement Style:
Hudson River School
Period:
1870-1879
Condition:
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1841215199312

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About the Item

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