Attributed to Robert Arthur Goodnough, it does not have a COA. Medium: oil canvas. 21.5 x 17.5 inches. Provenance: private owner.

Biography: Robert Goodnough was born in Cortland, New York 1917. He earned B.A. degrees from Syracuse University, Ozenfant School of Fine Art, Hans Hofmann School of Art and an M. A. degree from New York University. While in the army, he painted portraits and murals, did art work for information and training manuals. While stationed in New Guinea he also did artwork for the daily publication CEBU. Goodnough taught painting (mostly portraiture) at New York University until 1953 and from 1953 to 1961 he taught part time at Fieldston School, New York.Unlike many painters, Robert Goodnough has not restricted himself to painting only on canvas. He has tried his hand at many other techniques and materials. Over the years he has sculpted in wood, metal and plaster; he has done stained glass; he has made drawings and gouaches. He has produced an impressively large number of collages, a medium for which he is particularly well known.In turning to print making, Goodnough brings the same aesthetic, the same stance as with other media. His image, his own characteristic style of work, endows the serigraphs as strongly as in the largest oils or sculptures.Goodnough's serigraphs are an extension of forms one has found over the years in his paintings. As a solution for the technique of silkscreen this is particularly apt since colors and shapes can be reproduced and registered with absolute precision. It is astonishing to see a serigraph so felicitous a simulation of collage; but even more surprising is the application of color. It is impossible to find any difference between Goodnough's prints and his collages.Perhaps Goodnough's refusal to "specialize" (the printmaker who makes prints, the sculptor who only models clay) has made possible freshness, a willingness to take risks, an extension of the range of expressive possibilities. This elegant self-hood, this sophisticated knowingness has made Goodnough perhaps one of the five or six finest American artists of the last four decades. One could not foretell what surprises this painter had in store for us. We can be certain, however, that whatever he turned his hand to, there would be no loss of integrity, the true basis for the Goodnough style.

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

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [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.

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

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

Circle of [Artist Name] : 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]: A work by a pupil or a follower of the artist (not necessarily a pupil).

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

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