This lot consists of an oil painting on stretched canvas, done in the realist style of American painter, Clark Hulings (1922-2011). A hand-painted inscription at lower right corner reads, "Hulings". Unframed piece measures approximately 24.75" x 32".

This summery composition strikes a sweet and heartwarming chord, like a vibrant seaside memory that has been rendered into paint with the utmost sense of tenderness. Soft swathes of sandy beige, powdery white, and blush pink create the overall feeling of an idyllic day at the beach. Several young girls play lightheartedly at the foamy shore. Waves tumble and crash against a backdrop of hazy blue cliffs. This beautifully executed piece would make a handsome addition to any collection.

Reverse side of piece features hand-painted inscriptions in large strokes of vivid blue paint: "C. Hulings. CLARK HULINGS. 1935. No. 137."

Clark Hulings (American, 1922-2011) was a renowned Western and Realist painter who received his formal training at the Art Students League of New York. Hulings graduated in 1940, at which point his activity was severely restricted by the onset of tuberculosis. Due to this compromise in his health, Hulings was unable to enter college full-time, and instead retained a limited schedule of art classes with established educators like the painter Sigismund Ivanowski (Ukrainian-American, 1875-1944) and draftsman George Bridgman (Canadian-American, 1865-1943).

Clark Hulings would eventually obtain a degree in physics from Pennsylvania's Haverford College. Following graduation, Hulings was set to be a part of the legendary Manhattan Project in Los Alamos, New Mexico. However, in a seemingly unfortunate turn of events, Hulings' recurring ill health prevented him from acceptance into this major research program. Having already relocated to the Santa Fe area, Hulings opted to remain in the area for the duration of his convalescence. This turned out to be a critical and life-altering decision.

The landscapes and pastel portraiture that Hulings created from 1944-1945 would secure him his first one-man show at the New Mexico Museum of Fine Art. Shortly thereafter, Hulings temporarily moved to Baton Rouge, Louisiana, and was awarded another one-man show, this time at the galleries of the Louisiana Art Commission. Hulings then briefly drifted from landscape paintings into the world of design and advertisement illustration, but would ultimately make a grand return to landscapes as his world travels took him from the great cities of Europe to southern Egypt, the Arctic Circle, and beyond. Never without a paint set and his easel, it was not long before Clark Hulings once again began to draft his fantastic and much-celebrated landscapes. Hulings practiced his craft with a masterful and comprehensive devotion. He and his family would ultimately settle in Santa Fe, New Mexico, where the arid desert climes were supposed to be beneficial to his dormant - yet persistent - tuberculosis.

After a long and successful career, Clark Hulings passed away in 2011 at the age of 88. His work continues to be highly sought after by collectors, museums, and corporations who recognize Hulings' well-nourished artistic talent.

PROVENANCE:
Private Collection from Upstate New York

DIMENSIONS:
Unframed approx. 24.75" x 32".



Finger Lakes Auction has been commissioned to liquidate a once-in-a-lifetime fine art collection from an Upstate New York Estate. Pieces contained in this auction are some of the finest paintings ever to be offered through our Art Gallery.

PLEASE NOTE: Lots that do not carry established documented provenance nor any past auction record are described in this catalog as "in the style of". Authentication has not been established nor is it implied. Definition of "in the style of" is as follows:

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

Overall good condition. Little to no signs of aesthetic damage. No tears, stains, or major chips. Slight crackling evident upon close inspection. Some light wear is visible at outermost edges of the painting, perhaps where a frame used to sit. Minimal age-related toning and discoloration has occurred, mostly on reverse side of canvas. Evidence of repair can be noted at two places on reverse side of painting. Overall, the image remains bright and clear. Please see photos for further reference.