Signed lower right: ‘C.E.L. Green’. Two labels verso: ‘Brockton Art Center/Fuller Memorial/Cat. #19/C.E.L. Green:/Shore and Landscape/Painter of Lynn and Newlyn/Sept.9-Nov.1, 1980’; ‘Charles Edwin Lewis Green/(1844-1910)-American/Titled:/Farm House in Newlyn’. Inscription verso:’Perley’. In fine condition.
Exhibited: ‘C. E. L. Green (1844-1915) Shore and Landscape Painter of Lynn and Newlyn’: Essex Institute May 29-Sept. 1, 1980 and Brockton Art Museum-Fuller Memorial Sept. 11-Nov. 9, 1980.
Published: Frederick Alan Scharf and John Hardy Wright, ‘C. E. L. Green (1844-1915) Shore and Landscape Painter of Lynn and Newlyn’, Essex Institute, Salem, Massachuetts, 1980. Catalogue #19 p. 47, illus fig. 6. p. 28; D. Roger Howlett, ‘The Lynn Beach Painters’ Lynn, Massachusetts, 1998, p 56.
From the Sharf/Wright text: ‘Typical architecture of the fishing village of Newlyn consists of are whitewashed stone cottages usually enclosing a courtyard; long, horizontal roof shapes; and, steep stairs leading to the second floor. The name of one of Green’s sons, ‘Perley,’ was written in pencil on a stretcher of this painting, indicating ownership.’
According to Howlett in ‘The Lynn Beach Painters’ : Post Newlyn Green was back from Europe by the fall of 1890 and in February 1891 Chase’s Gallery held an exhibition of twenty-three of his paintings, mostly of Newlyn, St. Ives, and Penzance. ‘His experience in Newlyn had taught Green a new sophistication in composing his pictures,’ Greens biographers Sharf and Wright state … ‘His ‘Newlyn Fish Auction’ was largely composed in a triangle; his ‘Farmhouse in Newlyn’ was composed using the structure of the house to dominate the picture, thus keeping the eye of the viewer focused. He used both techniques in dealing with American subject matter after his return. The influence of Newlyn is also apparent in the many pictures of low tide in which the wet, sandy beach is an important focus of the artist’s attention. He had learned to deal with the sense of wetness while in Newlyn.’