At Duck Cove unsigned oil on canvas 29 x 24in overall: 34 x 29in
PROVENANCE: Collection of Ethel Rose's son Thence by descent through heirs of the Rose family to the present owner Private collection, Vermont
EXHIBITED: Los Angeles, California, Stendahl Art Galleries, Guy Rose, Memorial Exhibition, 1926, no. 77. The Stendahl Galleries label is attached to the reverse. The painting is listed as inventory number 1758.
LITERATURE: Stendahl, Earl, Guy Rose, Memorial Exhibition, Stendahl Art Galleries, Los Angeles, 1926, p. 55, no. 77, illustrated.
Duck Cove is located south of Wickford Village along the coast of Rhode Island. This landscape was painted some time after Guy and Ethel Rose returned to America from France in late 1912. For the next several months, the couple shared their time between New York and Rhode Island, probably enjoying the summers more in the latter.
The works Guy Rose exhibited during this period were described as French subjects or listed as untitled landscapes so it is not known how prolific he was during this time. A number of these paintings were shown in 1913 at the Macbeth Gallery in New York City. We know that he taught an outdoor sketching class during the summers of 1913 and 1914. These were held in and around the Narragansett area just south of Wickford.
In a letter written by Ray Redfern, of the Redfern Gallery, he states that "the painting was at one time owned by the son of Ethel Rose, who believes the scene was painted in the garden of his Grandmother's property. The painting was most likely painted in 1913 or 1914, along with two other major paintings titled Girl in a Wickford Garden, New England and Woman Sewing." The same wooden gazebo can be seen in each of these paintings.
At Duck Cove typifies the fresh influence that the French Impressionists had on Rose's paintings at this time, as the work is entirely made up of light, shadow and color. The foreground is restrained and masterfully composed of lavender tones with splashes of creamy yellows. This diffused light in the foreground is balanced equally by both the center glimpse of the cove and the treetops above. The scene could almost be mistaken for a corner of Monet's Giverny garden.
In the Memorial Exhibition catalogue of 1926, Earl Stendahl poetically describes the painting as "Pearly grey and luscious green. River and sky shadow provide delicious notes."
The work is stamped on the reverse with signatures by both Ethel Rose, the artist's wife, and Earl L. Stendahl of Stendahl Galleries.