M. FORD CREECH ANTIQUES


RICHARD HAYLEY LEVER

Australian/American, 1876-1958

 

“AUTUMN”  

(Marblehead Pool, c1925)


Oil on Canvas

Unsigned, with letter of authentication, and an accompanying essay by curator

and author Valerie Leeds, specialist in early 20th century American art,

the Ashcan School and Robert Henri

Housed in a 22K Custom Frame

Provenance: Corporate Collection, purchased through Kennedy Galleries,

New York City, and bearing Kennedy Galleries label verso

(Kennedy Galleries handled much of Lever's estate)

 

Museums: (29) including Metropolitan Museum of Art, Los Angeles County Museum of Art,

High Museum of Art, Fine Arts Museums of San Francisco, Yale University Art Gallery,

Pennsylvania Academy of the Fine Arts, Cheekwood Museum of Art (& others)

   

Books: (64) including Hayley Lever by Carol Lowrey

    

Periodicals: (3) American Art Review; Art & Antiques

 

The above painting by Australian-American painter Richard Hayley Lever, is a rich and lyrical landscape entitled verso "Autumn".  When purchased, we knew only that it had come from Lever's estate to New York's Kennedy Galleries, who handled much of the Lever estate.  It went thence to a corporate collection.  But we did not know when it was painted - or where After purchasing "Autumn", quite by accident, I happened upon the watercolor below, with the same Kennedy Galleries label, titled and dated "Marblehead Pool, 1925".  The watercolor is obviously of the same setting from a different vantage point, and most likely a study in preparation for this outstanding oil.

 

"Autumn", as said, is quite lyrical for Lever's larger works.  While many of smaller Lever's works are free and playful, some of the larger ones often become somewhat more structured and linear. In "Autumn", the branches' curved lines dominate the structure, rather than the straight lines he often favored - lending a quiet grace as opposed to angularity. With the oil paints, Lever mixed Damar Varnish, enabling each single brushstroke to build a dimensional layer of paint, providing not only linear motion to the stokes and what they depicted, but also a hint of sculpture  This same technique is used on Lever's painting, The Port of St. Ives, Cornwall, chosen by Carol Lowrey for the cover of her monolith Hayley Lever.  She describes this technique as applying "his pigment in a dense impasto to produce a crisp, tactile surface".  With this tactile surface, he combined a myriad of greens - olive to cobalt and viridian - played against earth tones, and complemented with triangles of  vibrant blue to the sky - all mirrored in the pool. The entire composition is unusual for Lever and extremely successful - so successful that Ashcan School and Robert Henri curator Valerie Leeds asked if I would like for her to write an essay on it. Ms. Leeds' essay is included along with both the watercolor and the oil "Autumn". 

 

The watercolor on paper (a link below) entitled "Marblehead Pool, 1925", depicts the same setting as "Autumn", but from a different vantage point.  The handling of the setting is similar, with the water reflections and sparing use of blue in the water.  If you look closely, you can see the change of vantage point from this image, to the artist's position in "Autumn" - across the pond, to the left of the two large trees, looking across to the small row of sketched trees and road on the right in this watercolor. 

 

It is an extreme pleasure to offer both of these paintings at the same time. Together, they show not only the thought process of the artist, but one of the better fully developed oil paintings available by Hayley Lever.

 

Stretcher size: 25” x 30”

 

SOLD

 

 Please Inquire

 

#6071

 

 

 

 

 

 

Offered also is a Hayley Lever 14" x 22" watercolor, similarly handled, and painted from a different vantage point,

signed and entitled "Marblehead Pool, 1925", also with Kennedy Galleries label verso - below

 

 

 

 

Other Paintings by Richard Hayley Lever:

 

Richard Hayley Lever, Springtime

 

 

 


 

LEVER, Richard Hayley (1876-1958)

 

Birth place: Adelaide, South Australia

Death place: Mt. Vernon, NY

Addresses: NYC; Mt. Vernon, NY

Profession: Painter

 

Studied: Prince Alfred Club, Adelaide; Art Students League; Paris; London.

 

Exhibited: Pennsylvania Academy of Fine Arts Annual;, 1913-32, 1940 (medal, 1917; gold medal, 1926);

Corcoran Gallery biennials, 1914-41 (12 times); National Arts Club  1914-15 (prizes); Pan-Pacific Expo,

1915; National Academy of Design, 1914, 1936, 1938 (prizes); NAC, 1914-16, 1922, 1940;

Philadelphia Watercolor Club, 1918 (prize); Sesqui-Centennial Expo, Philadelphia, 1926 (prize); Montclair

 Art Academy, 1930 (prize); New Rochelle Art Academy, 1941 (prize); Art Institute of Chicago; Society

of Independent Artists, 1920; Salons of America , 1934; Whitney Museum of American Art, 1922-46; Newark Art Club,

1936 (prize); Westchester Arts & Crafts, 1945 (prize); Macbeth, Rehn, Ferargil, Daniels, French & Co.,

Clayton, & other NYC galleries.

 

Member: National Academy of Design; American Painters & Engravers; National Arts Club; Connecticut Academy

of Fine Arts; Royal British Artists, London; Associate National Academy, 1925; National Academician, 1933;

Royal Institute of Oil Painters, London; Royal West of England Academy; Contemporary; New

Society Artists; Woodstock Art Association

 

Work: Pennsylvania Academy of Fine Arts; Metropolitan Museum of Art; Brooklyn Museum; Montclair

Art Museum; Boston Museum of Art; Corcoran Gallery of Art; White House, Washington, DC; Ft.

Worth Museum of Art; Dallas Museum of Fine Art; Los Angeles Museum of Art; Telfair Academy; Detroit

Institute of Art; Des Moines Art Museum; Woodstock Art Association; University Nebraska; Phillips Memorial

Gallery; Duquesne Club, Pittsburgh; National Arts Club; Adelaide (So. Australia) Art Museum; Sydney

(Australia) Art Museum; Whitney Museum of American Art; Syracuse Museum FA; Antioch College; City Art Museum

of St. Louis; Memphis Art Museum; Springville (Utah) Art Academy; Perth Amboy (NJ) Public Library;

Little Rock Art Museum; Salt Lake City University Museum; Lincoln (NE) University

 

Comments: Best known as a Post-Impressionist of marine scenes, he was active in St. Ives, England, beginning c.1895.

In 1911, Ernest Lawson persuaded him to emigrate to the U.S. After the Depression forced him to give up his

home in Caldwell, NJ, he became director of the Studio Art Club, in Mt. Vernon, NY. He spent his summers at

Gloucester, MA, for twenty years. In addition to Caldwell, NJ, he painted in Manasquan (NJ), Woodstock (NY),

 Nantucket, Vermont, and Monhegan Island (ME). In later years his palette became more vibrant.

Signature note: His signature was typically bold and slashing during the 1910s-20s, while his later signatures have fewer flourishes.

 

Sources: WW53; WW47; Curtis, Curtis, and Lieberman, 32, 184; Woodstock AA; Falk, Exh. Record Series.

 
This biography is drawn from “Who Was Who in American Art” , the reference book on the cultural life in the United States.

 

 

Museums: (30)

 

Addison Gallery of American Art

Art Gallery of South Australia

Butler Institute of American Art

Cheekwood Museum of Art & Botanical Garden

Colby College Museum of Art

Corcoran Gallery of Art

Everson Museum Of Art

Flint Museum of Art

Fine Arts Museums of San Francisco, MH De Young

Heckscher Museum

High Museum of Art

Los Angeles County Museum of Art

Museum of Art at Brigham Young University

Museum of the City of New York

Neuberger Museum of Art

New Jersey State Museum

Norton Museum of Art

Pennsylvania Academy of the Fine Arts

Sheldon Memorial Art Gallery

Spencer Museum of Art

Telfair Museum of Art

The Baltimore Museum of Art

The Brooklyn Museum of Art

The Corcoran Gallery of Art

The Detroit Institute of Arts

The Hudson River Museum

The Metropolitan Museum of Art

The Montclair Art Museum

The Phillips Collection

Yale University Art Gallery

 

 

Books: (64) including

 

Spanierman Gallery, Fine American Art from 1845 to 1960 

Spanierman Gallery, Art for the New Collector II, Re-Emerging American Artists

Lowrey, Carol, Hayley Lever 

Spanierman Gallery, Art for the New Collector 1840-2001

Steiner, Raymond J, The Art Students League of New York - A History (Teachers)

  Caldwell, Joseph S III & IV, Select Works: Fine American and European Paintings

Vose Galleries, Vose Art Notes - Art Collecting in America/A Timeline

Hopps, Walter (others) American Images/The SBC Collection of 20th Century American Art

Curtis, Jane/Will, F Lieberman, Monhegan - The Artists' Island

High Museum of Art, American Paintings at the High Museum of Art

Fresella-Lee, Nancy, The American Paintings (in the) Pennsylvania Academy of Fine Art

Geske, Norman/Karen Janovy, The American Painting Collection - The Sheldon Memorial Art Gallery

Preato, Robert/Sandra Langer, Impressionism & Post-Impressionism - Transformations 1885-1945

Berry-Hill Galleries, American Impressionist Paintings (Taylor Gallery exhibition, London)

Kennedy Galleries, Insights and Outlooks - American 20th Century Watercolors & Drawings

Brooklyn Museum, American Watercolors, Pastels, Collages/ Brooklyn Museum

Rodriguez Roque, Oswaldo, Directions in American Painting1875-1925

Maurice Sternberg, Galleries, The American Perspective 

 Brooklyn Museum, American Paintings/Brooklyn

Montclair Art Museum, The American Painting Collection of the Montclair Art Museum

Chambers, Bruce W, American Paintings in the High Museum of Art/Bicentenial Catalogue

Graham, F Lanier, Three Centuries...American Painting M H deYoung and Palace of Legion of Honor

Chapellier Galleries, American Art Selections - Turn of the Century

Everson Museum of Art, American Painting from 1830

Neuhaus, Eugene, The History and Ideals of American Art

Bryant, Lorinda Munson, American Pictures & their Painters

 

Periodicals: (3)

American Art Review, 2006 August, Born of Fire - The Valley of Work

Art & Antiques, March 2003, Gallery Watch

American Art Review, March 1996, Valley of Work: Scenes of Industry

 

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Richard Hayley Lever, Australian American, Autumn, Oil on Canvas