(American 1823-1900)

View of Stoke Poges, signed lower right "J.F. Cropsey 1886", oil on canvas, 14 x 26 in.; fine period carved gilt wood frame, 25-1/4 x 36-1/4 x 3-1/4 in.

Provenance: Ortgies & Co., New York, March 31, 1887, lot 62, as The Curfew Hour, Stoke Poges, 14 x 26 in.; Kennedy Galleries, New York, by 1966, as Stoke Poges Church; Parke-Bernet Galleries, Inc., New York, January 28–29, 1970, lot, 89, as The Church at Stoke Pogis [sic], and dated 1863; Richard and Gloria Manney, Irvington, NY, 1970; Alexander Gallery, New York, 1978; Don Purdy, Wilton, CT, 1978; M.Knoedler &  Company, New York, 1978–79, as Stoke Poges; Hammer Galleries, New York; Spanierman Gallery, New York, as Stoke Poges; Sotheby’s, New York, November 30, 1989, lot 30, as View of Stoke Poges; Virginia F. White Interiors, Atlanta, Georgia, January 3, 1989, (accompanied by a copy of the receipt for $23,760); The Furnishings from Historic Iris Court: An Important Edward Vason Jones Interior

Literature: Cropsey, Jasper Francis, Kenneth W. Maddox, and Newington-Cropsey Foundation. 2013. Jasper Francis Cropsey : Catalogue Raisonné: Works in Oil. Edited by Anthony M. Speiser. Hastings-on-Hudson, NY: Newington-Cropsey Foundation, Volume III, NCF 253, as unlocated.; “Mr. Cropsey’s Pictures,” New York Times, March 31, 1887, p. 4; “In Search of the Picturesque,” The Kennedy Quarterly 6 (April 1966): 27, illus., as Stoke Poges Church.

Note: The New York Times, in its description of the Ortgies sale, noted that “there are two views of Stoke Pogis [sic] Church, near which Gray of the Elegy lies buried, both from the same side and both dated 1886. Yet
one [this painting's] has the old gray square tower by the church, while the other [Stoke Poges Churchyard, 1886 (NCF 209)] shows a steeple on the tower. No explanation of this change in the chief object of the landscape is vouchsafed by the catalogue.”