Gouache and oil on paper. Featuring a secretary receptionist posing in an office interior, portrait. Signed and attributed to Edward Hopper on the lower left corner. Stamped with gallery seal with notation on verso. 29 x 21 cm (11.4 x 8.3 inches). Edward Hopper was a seminal American artist famous for his oil paintings and watercolors of both rural and city life in the United States. Utilizing varied light conditions to create mood, in his iconic painting Nighthawks (1942), the artist portrayed a starkly lit Manhattan diner with all the drama of a film-noir. “There is a sort of elation about sunlight on the upper part of a house,†he once mused. Born on July 22, 1882 in Nyack, NY, he began his artistic studies sketching steamboats on the Hudson River from a young age. Hopper went on to train as a commercial illustrator before transferring to the New York School of Art, where he studied painting under William Merrit Chase and Robert Henri alongside George Bellows. In 1905, having graduated, Hopper worked at advertising agency as an illustrator of trade magazine covers—work which the artist famously detested, but maintained for many years out of financial necessity. After years of working as an illustrator, in 1923 he sold 6 watercolors to the Brooklyn Museum, enabling him to retire from illustration and devote himself to painting. From the late 1920s onward, he produced works which maintained a coherent style and mood, ranging from 1927’s Automat to Second Story Sunlight of 1960. Hopper died on May 15, 1967 in New York, NY. Today, his works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, and the Tate Gallery in London, among others. PROVENANCE: Private estate (Toronto, ON)

All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed .

All authorship of items in this catalog are described according to the following terms:

By [Artist Name] : In our opinion, the work is by the artist.

Attributed to [Artist Name] : In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : In our opinion, a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: In our opinion, a work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century : In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Bears signature : In our opinion, the signature on the artwork may be spurious.
Apocryphal : Of doubtful authenticity.