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(after) Thomas MoranHudson River School, Luminism Oil Painting After Thomas Moran Venice Boatscirca 1900
circa 1900
About the Item
After Thomas Moran
Harbor, Venice
oil/canvas board signed LL
15.75 x 20 unframed, 24 x 28 framed
Good original as purchased condition in what looks to be a period frame? Possibly original. Signature looks similar to others found online. The last two photos are of similar signatures from two paintings listed in Brunks Auction in 2025. Small dent, lower center, under the two black objects as seen in photo. Might benefit from a light professional cleaning.
Purchased at Stair Auctions
Also shown here is a similar venetian painting by Moran sold at Shannons Auctioneers 2022 for $162.500 including premium showing a similar signature.
Biography
Thomas Moran was born 12 February 1837 in Bolton, England, not far from Manchester, the birthplace of the Industrial Revolution. Several generations of the Moran family had worked as handloom weavers in Bolton until the introduction of power looms radically changed the industry. In 1842/1843, seeking public education for his children and economic opportunity in a new land, Thomas Moran, Sr., journeyed to America. The following year his wife and children joined him and the reunited family settled in Kensington, a suburb of Philadelphia, where they became part of a well-established community of immigrant textile workers.
While still a teenager Thomas became an apprentice at the Philadelphia engraving firm of Scattergood and Telfer. After three years he withdrew from his apprenticeship and began working in the studio of his older brother, Edward, who had begun to establish himself as a marine painter. Serving, in effect, a second apprenticeship, Moran benefitted not only from the advice of his brother but also from that of James Hamilton (1819-1878), a well-known Philadelphia painter who had befriended Edward. Described by contemporaries as the "American Turner," Hamilton may have sparked Thomas Moran's life-long interest in the work of English artist J.M.W. Turner.
In 1861, after several years of studying Turner's work in reproduction, Thomas and Edward journeyed to London where they spent several months studying and copying Turner's work at the National Gallery. A decade later, when Thomas journeyed west to join Ferdinand Vandiver Hayden's expedition to Yellowstone, the watercolors he produced on site bore clear evidence of his debt to Turner.
Moran's trip to Yellowstone in 1871 marked the turning point of his career. The previous year he had been asked by Scribner's Magazine to rework sketches made in Yellowstone by a member of an earlier expedition party. Intrigued by the geysers and mudpots of Yellowstone, he borrowed money to make the trip himself. Numerous paintings and commissions resulted from this journey, but the sale of his enormous (7 by 12 feet) Grand Canyon of the Yellowstone (1872, National Museum of American Art) to Congress shortly after passage of the bill that set Yellowstone aside as the first National Park, brought Moran considerable attention.
In 1873, following up on his earlier success, Moran joined John Wesley Powell's expedition down the Colorado River through the Grand Canyon. Shortly after his return he set to work on a second canvas equal in size to his earlier Yellowstone painting. In 1874 Congress purchased Chasm of the Colorado (1873-1874, National Museum of American Art), which became the second of Moran's western landscapes to hang in the Capitol.
That same year Moran traveled to Denver and then north to see the Mountain of the Holy Cross--a massive mountain with a cross of snow on its side. The resulting painting became Moran's chief contribution to the Centennial Exposition in Philadelphia in 1876. Iconic in its union of wilderness and religion, the Mountain of the Holy Cross became one of Moran's best known works.
His reputation established, Moran continued to travel widely during the following decades. He returned to Europe several times again following trails blazed by Turner. In 1883 he journeyed to Mexico. In later years he returned to the Grand Canyon and traveled more extensively in Arizona and New Mexico, producing a number of striking works of the pueblos at Acoma and Laguna. Extraordinarily productive, both as a painter and an etcher, Moran continued to work well into his eighth decade. At his death in Santa Barbara, California, in August 1926, he was memorialized as the "Dean of American Landscape Painters."
Source: [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
SELLERS STATEMENTI have been in the art business as an artist and collector since the early 80's. I'm currently offering select paintings from my collection like this one. In order to collect new paintings, I must sell off some of my current collection.
For art that I have painted, it is derived in a variety of ways. I'm a responder. I respond to light, color, design, etc. and I love painting both outdoors on location and in the studio under a controlled environment. I try to convey an idea, mood or just simply a beautiful setting. I'm inspired by a wide variety of subject matter and styles of painting and do not adhere to just one way. My paintings have won numerous awards over the years and have been collected both nationally and internationally. They can be found in three museum collections, the White House Collection and many private collections.
- Creator:(after) Thomas Moran (1837 - 1926, American, English)
- Creation Year:circa 1900
- Dimensions:Height: 24 in (60.96 cm)Width: 28 in (71.12 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Chesterfield, NJ
- Reference Number:1stDibs: LU1254115129382
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