Lot 240
George Thompson Pritchard Painting - Cityscape
George Thompson Pritchard Painting - Cityscape
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George Thompson Pritchard (New Zealand-American, 1878-1962). Autumn Cityscape. Oil on canvas, n.d. Signed at lower right. A luminous stillness settles over this riverbank cityscape, where delicate autumn trees and pale church spires dissolve into mist. Painted in soft tonal washes and warm earthen hues, the scene radiates a quiet lyricism that recalls the atmosphere-driven works of the Impressionists. George Thompson Pritchard, a lifelong student of landscape, captures not just a place but a mood - contemplative, fading, and gently luminous. His training in Paris at the Academie Julian likely informed the dappled palette and airy composition seen here. Like his French contemporaries, Pritchard was drawn to fleeting light and poetic silhouettes. Size of painting: 29.5" W x 24.5" H (74.9 cm x 62.2 cm); of frame: 34.5" W x 29.5" H (87.6 cm x 74.9 cm)
Rather than focusing on architecture or narrative detail, he renders the townscape as a memory, softened by distance and shadow, where the sharp lines of buildings and trees melt into the gentle blur of a reflective riverbank. The oil surface bears fine textural strokes, especially in the foliage, which animate the foreground with painterly vitality. Behind it, spires rise like whispered refrains, echoing the spiritual hush of an early morning scene. The tonal range - all misty greens, subdued pinks, ochres, and taupes - creates a mellow harmony, subtly orchestrated like a piece of chamber music.
Though best known for his California seascapes and his teaching career later in life, this work likely dates from an earlier period when Pritchard was actively painting in the eastern United States and absorbing Impressionist techniques. It reflects his preference for immersive natural scenes over bold theatricality - a mood piece more than a map. A lyrical ode to autumnal light and spatial memory, this work invites quiet attention, offering viewers the same serene retreat that may have drawn the artist to his easel in the first place.
About the artist: Born in 1878 in Havelock, New Zealand to Alfred and Emily Pritchard, George Thompson Pritchard would become a globe-trotting painter whose brush captured the lyrical spirit of land and sea. Though his early ambition was to become a violinist, a life-altering injury that cost him his left forearm redirected his passion wholly toward art. This loss, rather than halting his creative journey, intensified it.
Pritchard's formal training began at the Academy of Art in Auckland and continued at the Elam School of Art and the Melbourne Academy of Fine Arts. During his time in Australia, he supported himself by working in journalism, eventually rising to political editor of the Sydney Morning Herald. But painting pulled stronger than prose. In 1901, he traveled to Paris to study at the Academie Julian, immersing himself in European painting traditions just as Impressionism and Tonalism redefined the landscape genre.
He immigrated to the United States in 1906, arriving in post-earthquake San Francisco. There, amid the ruins of a shaken city, he began a new chapter, producing canvases of remarkable resilience and atmosphere. After three years he moved to Milwaukee, where he established an art school before pursuing further studies at the Vanderheldt Academy in Amsterdam.
By 1915, Pritchard had relocated to England, studied under Royal Academician Sir Alfred East, and married Valerie Lucy. They would have four children: Paul, Valerie, Gabrielle, and Vashti. During World War I, he worked as a production manager in a munitions factory, temporarily setting aside his art. He eventually resumed his practice and spent the 1920s moving between Canada, New York, and Virginia. While living in Richmond from 1925 to 1931, he lectured widely and saw strong sales through southern exhibitions.
During this period, he also painted commercially for New York art houses, creating still lifes and florals under the name Jane Wilcox for department store distribution. Known for blasting music from his Victrola while painting vivid figures in the basement of his home, he approached even commercial work with energetic dedication.
By the mid-1930s, he had settled in Southern California, where he founded studios in Glendale and Santa Monica. A beloved teacher, he remained active in the Glendale and Santa Monica Art Associations and numerous artistic circles in New Zealand, Australia, Holland, and across the United States. He retired from teaching in 1946, turning inward in his final years to paint and write privately. One of his late paintings, "Signing of the Bill of Rights," was donated to New Zealand's Parliament.
Pritchard's favored subjects were landscapes, riverscapes, and seascapes - scenes that fused memory with mood, often rendered in a tonalist palette with Impressionist sensitivity to light and air. His works evoke not only the forms of nature but the inner stillness it offers.
George Thompson Pritchard died in Reseda, California in 1962, a few weeks shy of his 84th birthday. He remains remembered as a painter of quiet depth, one who found poetry in atmosphere, resilience in beauty, and home wherever the light fell softest.
Provenance: private Grand Junction, Colorado, USA collection
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#195114
- Condition: Mounted in custom frame with suspension wire on verso for display. Some minor surface grime, but painting and frame are otherwise in excellent overall condition. Signed at lower right.
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