American Fine Art Issue 33 May-June 2017

P R EV I EW I N G U P C O M I N G E X H I B I T I O N S , EV E N TS , S A L E S A N D AU C T I O N S O F H I S TO R I C F I N E A RT
ISSUE 33 May/June 2017

J ane P eterson : r hythmic a rrangements
Gloucester Harbor, oil on canvas, 24 x 30 1/4 inches, signed lower le: JANE PETERSON
Please join us for Rhythmic Arrangements, an exhibition featuring over a dozen works by the adven-
turous and independent Jane Peterson (1876 - 1965), an artist whose style - while often described as a
blend of Impressionism, Post-Impressionism, Expressionism, and Fauvism - truly defies classification.
The core group of paintings in this exhibition has resided in a private collection for the past fifty years.
Peterson’s extraordinary talent carried her to the center of New York art circles, to Europe and exotic
locales in Algeria, Egypt, Morocco, and Turkey, and finally to the walls of prestigious museums through-
out the country. Documenting one of her excursions, Peterson wrote, “Isn’t it strange – here I am alone,
going to the most fanatical town in Turkey, can’t speak a word of the language, on a cheap boat to an
unknown port, and I am not the least bit afraid!” Fearless in both her personality and her work, Peterson
pursued her chosen profession with zeal to become one of the most respected painters of her generation.
Rhythmic Arrangements will be viewable online and in the gallery May 20 - July 1, 2017.
VOSE GALLERIES LLC
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AMERICAN ART
AUCTION · May 23, 2017 Property from the Estate of

Richard J. Schwartz
VIEWING · May 20–22 · 20 Rockefeller Plaza · New York, NY 10020
Albert Bierstadt (1830–1902)
CONTACT · William Haydock · whaydock@christies.com · +1 212 636 2140 Twilight, Lake Tahoe (detail)
Painted c. 1870s.
Estimate: $3,000,000–5,000,000
Auction | Private Sales | christies.com
Christie’s Inc. License #1213717

N.C. WYETH
N.C. WYETH
N.C. WYETH
© N.C. Wyeth
N.C. Wyeth (1882-1945) Boulders, c. 1911/1912 Oil on Canvas 25 x 30 inches

© N.C. Wyeth
N.C. Wyeth (1882-1945) King Mark slew the noble knight Sir Tristram as he sat
N.C. Wyeth (1882-1945) Boulders,
harping before c.
his1911/1912 Oil on1917
lady la Belle Isolde, CanvasOil25
onxCanvas
30 inches
40 x 32 inches
N.C. WYETH | ANDREW WYETH |

Color illustration f. p. 190, Sidney Lanier, ed., The Boy’s King Arthur (New York: Charles Scribner’s Sons, 1917)
JAMIE WYETH
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T C Eakins
E N T U R Y AWinslow
M E R Homer
I C A N P A IMaurice
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Prendergast Andrew Wyeth
Mary Cassatt Childe Hassam Wolf Kahn John Singer Sargent Jamie Wyeth
Arthur B. Davies Martin Johnson Heade Jacob Lawrence John Henry Twachtman N.C. Wyeth
Jim Dine Hans Hofmann Edward Moran J. Alden Weir And more...
Breck’s Mill, 2nd Floor | 101 Stone Block Row | Greenville, Delaware 19807 | 302.652.0271 | info@SomervilleManning.com | SomervilleManning.com
Breck’s Mill, 2nd Floor | 101 Stone Block Row | Greenville, Delaware 19807
302.652.0271 | info@SomervilleManning.com | SomervilleManning.com
Breck’s Mill, 2nd Floor | 101 Stone Block Row | Greenville, Delaware 19807
AMERICAN ART INQUIRIES
Kayla Carlsen
Wednesday
AMERICAN May 24
ART INQUIRIES
+1 212 710 1307
New York May 24
Wednesday
Kayla Carlsen
americanfineart@bonhams.com
+1 212 710 1307
New York americanfineart@bonhams.com
ROBERT HENRI (1865-1929)
Portrait of Miss Mildred Sheridan
ROBERT HENRI
$150,000 (1865-1929)
- 250,000
Portrait of Miss Mildred Sheridan
$150,000 - 250,000
bonhams.com/americanpaintings
© 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Bond No. 57BSBGL0808
bonhams.com/americanpaintings
© 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Bond No. 57BSBGL0808
EDITOR’S LETTER
The force that drives…

O
MAY/JUNE 2017 Bimonthly
ne of the most interesting parts of my job is getting to know and
speaking with all the wonderful collectors out there who have made PUBLISHER Vincent W. Miller
acquiring American art their passion in life. Whenever I think about art
EDITORIAL
collectors and the passion and enthusiasm they have within them, I think of
this quote I once read from Robert Henri, who said: EDITOR Joshua Rose
The man who has honesty, integrity, the love of inquiry, the desire to see beyond, editor@AmericanFineArtMagazine.com
is ready to appreciate good art. He needs no one to give him an ‘Art Education’; he MANAGING EDITOR Rochelle Belsito
is already qualified. He needs but to see pictures with his active mind, look into them rbelsito@AmericanFineArtMagazine.com
for the things that belong to him, and he will find soon enough in himself an art DEPUTY EDITOR Michael Clawson
connoisseur and an art lover of the first order. ASSOCIATE EDITOR Erin Rand
I felt the same way after speaking with Frank Hevrdejs and reading CONTRIBUTING EDITORS John O’Hern, James D. Balestrieri,
the recent book, Two Centuries of American Still-Life Painting: The Frank and Jay Cantor
Michelle Hevrdejs Collection. The book serves as the catalog for the exhibition CONTRIBUTING PHOTOGRAPHER Francis Smith
of the same name that is currently traversing the country and is made up
ADVERTISING (866) 619-0841
on 65 still life paintings from Hevrdejs’ extensive collection of American
art. Frank and his wife, Michelle, have spent a better part of the last several TRAFFIC MANAGER Ben Crockett
decades acquiring American art. While this exhibition includes still lifes, traffic@AmericanFineArtMagazine.com
the collection is much more extensive, and also entails quality examples of PRODUCTION
impressionism, Hudson River School, portraits, and genre and figure scenes.
MULTI MEDIA MANAGER Adolfo Castillo
It truly encapsulates all that is good in American art.
ART DIRECTOR Tony Nolan
In an essay in the catalog, Hevrdejs states, “I have been collecting
GRAPHIC DESIGNER Audrey Welch
American art for more than 30 years, and this pursuit has been a very
rewarding passion-filled with many highs and lows and only a few regrets… JUNIOR DESIGNER Kevin King
So the collection continues to grow, I know it will take me to new places SUBSCRIPTIONS (877) 947-0792
I have not visited and lead me to new objects I have not seen.”
SUBSCRIPTIONS MANAGER Emily Yee
And that is what I believe drives these collectors to do what they do—it
service@AmericanFineArtMagazine.com
is a journey, an adventure, a continual drive of discovery fueled by emotion
ACCOUNTS RECEIVABLE Jaime Peach
and passion and a desire to bring these beautiful works of art into their lives,
jpeach@AmericanFineArtMagazine.com
even if just for a moment in time.
SUBSCRIPTIONS COORDINATOR Jessica Hubbard
admin@AmericanFineArtMagazine.com
Sincerely, Find us on:
Joshua Rose Copyright © 2017. All material appearing in American Fine Art
Magazine is copyright. Reproduction in whole or part is not permitted
without permission in writing from the editor. Editorial contributions
are welcome and should be accompanied by a stamped self-addressed
American Fine CollectArt @artmags AmericanFine
Editor envelope. All care will be taken with material supplied, but no
Art Magazine ArtMagazine responsibility will be accepted for loss or damage. The views expressed
are not necessarily those of the editor or the publisher. The publisher
P.S. We want to hear about your own personal collecting journeys. bears no responsibility and accepts no liability for the claims made, nor
for information provided by advertisers. Printed in the USA.
Also, when you purchase something from the magazine, let me know!
American Fine Art Magazine, 7530 E. Main Street, Suite 105,
I’m always interested in hearing from collectors. You can email me at Scottsdale,AZ 85251.Telephone (480) 425-0806. Fax (480) 425-0724 or write
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AMERICAN ART
Fall 2017 | Dallas | Live & Online
Now Seeking Consignments | Deadline: September 1, 2017
Birger Sandzén (American, 1871-1954)

Lake at Sunset, Colorado, 1921
Oil on canvas | 80 x 60 inches | Sold for: $670,000 | May 2016
WORLD AUCTION RECORD
Inquiries: 877-HERITAGE (437-4824)
Aviva Lehmann | ext. 1519 | AvivaL@HA.com | New York Alissa Ford | ext. 1926 | AlissaF@HA.com | San Francisco
Ariana Hartsock | ext. 1283 | ArianaH@HA.com | Dallas Ed Jaster | ext. 1288 | EdJ@HA.com | Beverly Hills
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Always Accepting Quality Consignments in 40 Categories
Paul R. Minshull #16591. BP 12-25%; see HA.com. 45373

1 Million+ Online Bidder-Members
Reputation matters.
Alfred Jacob Miller (1810 - 1874), Watercolor.

Selling at auction June 10, 2017.
WESTERN AMERICANA AUCTION

Saturday, June 10, 5:00 pm
Preview Hours:
Friday, June 9th: 9:00 am - 5:00 pm
Saturday, June 10th: 9:00 am - 4:30 pm
Purchase catalogs online:
OldWestEvents.com/catalogs
28TH ANNUAL SHOW & AUCTION

JUNE 10 - 11, 2017 | FORT WORTH, TEXAS WESTERN AMERICANA ANTIQUE SHOW
Weekend Shopping Event!
Dealers from across the nation
Saturday, June 10, 9:00 am - 4:00 pm
Authentic Western art and artifacts. Over 400 auction Sunday, June 11, 9:00 am - 3:00 pm
lots and a weekend-long vendor show. The most $10 good all weekend or purchase online and save:
anticipated western collecting event of the year! OldWestEvents.com/purchase-tickets
PH: 480-779-WEST (9378) | FAX: 855-779-WEST (9378) | ContactUs@OldWestEvents.com
OldWestEvents.com
REGINALD MARSH (1898-1954)
Perseus, Iron Steamboat Company, New York, 1932 14 x 20 inches, watercolor
Locomotive, Port Jervis, New York, 1930 13 1/2 x 19 1/2 inches, watercolor
D. WIGMORE FINE ART, INC.

730 FIFTH AVENUE, SUITE 602, NY, NY 10019 212-581-1657 DWIGMORE.COM
ANATOMY OF THE MAGAZINE
Editorial Coverage and Previews of Upcoming Events, Exhibitions and Auctions
American Fine Art Magazine is comprised of many different sections and features, all designed to
keep you informed on what’s happening in the market for historic American art.
UPCOMING
GALLERY SHOWS
Previews of upcoming shows of
historic American art at galleries
across the country.
UPCOMING
MUSEUM
EXHIBITIONS
Insight from top curators about
major exhibitions being staged at
key American museums.
EVENTS & FAIRS

Previews and reports of major
art fairs across the country for
you to attend.
AUCTIONS
Previews and Reports of major
works coming up for sale at the
most important auction houses
dealing in historic American Art.
IN ADDITION:
COLLEC TOR’S FOCUS COLLEC TOR HOMES MARKET REPORTS EX LIBRIS

Find out everything the In each issue you will Find out what’s happening Read about the best books
discerning collector needs to find a behind-the-scenes in galleries from New York recently published on
know about important and look into a coveted to California. topics ranging from
timely segments of the collector home. Hudson River School to
historic American art market. modernism to folk art.
Property from a Distinguished
Private Collection, Chicago
NORMAN ROCKWELL
First Flight (Old Woman Riding
Airplane), 1938
Estimate $800,000–1,200,000
American Art
Auction New York 23 May 2017
Viewing 20 – 23 May
1334 YORK AVENUE, NEW YORK, NY 10021
ENQUIRIES +1 212 606 7280
SOTHEBYS.COM/AMERICANART DOWNLOAD SOTHEBY’S APP
SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2017 FOLLOW US @SOTHEBYS
CONTRIBUTORS
James Balestrieri
James Balestrieri is director of J. N. Bartfield Galleries in New York

City. Jim has written plays, verse, prose and screenplays. He has degrees
from Columbia and Marquette universities, attended the American
Film Institute and has an MFA in playwriting from Carnegie Mellon.
He has an excellent wife and three enthusiastic children.
Jay E. Cantor
Jay E. Cantor started the American Art Department for Christie’s in the
late ’70s, is on the board of the Winter Antiques Show, the Art Committee
for The Century Association, the board of directors of The Century
Archives Foundation, and recently retired as the chairman of the
Collections Committee and a member of the Steering Committee for
Friends of American Arts at Yale University. He also served as the founding
president of the Georgia O’Keeffe Museum in Santa Fe, New Mexico.
John O’Hern
John O’Hern retired to Santa Fe, New Mexico, after 30 years in the museum
business, specifically as the Executive Director and Curator of the Arnot
Art Museum, in Elmira, New York. John was chair of the Artists Panel of
the New York State Council on the Arts. He writes for gallery publications
around the world, including regular monthly features on Art Market
Insights in American Art Collector and Western Art Collector magazines.
Francis Smith
The combination of art history studies done at Vassar and an abiding

fascination with American culture makes photographer Francis Smith
feel right at home shooting for American Fine Art Magazine. He is
further exploring his love for photography and United States history
through a new, independent project titled America by Another Name.
10
American Art &
DANIEL GARBER
(american 1880-1958)
“LONE SYCAMORE”
Pennsylvania Impressionists Signed ‘Daniel Garber’ bottom right, also signed

and inscribed with title verso, oil on canvas
56 x 52 in. (142.2 x 132.1cm)
Auction 06/04/17 In a Badura frame.
$400,000-600,000
Alasdair Nichol | 267.414.1211

anichol@freemansauction.com www.freemansauction.com
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G
by Jay Cantor
S
Previews of upcoming shows of historic
American art at galleries across the country.
E  B; 

61
B  E
A century of Andrew Wyeth, by James D. Balestrieri
At Paul Kasmin Gallery:

Max Ernst in his studio in Huismes, France fabricating stone
L I  versions of École de Tueurs. 1968. © Andre Morain, Paris. © Artists
Rights Society (ARS), New York, NY/ ADAGP, Paris, France.
This contemporary Washington state home features a collection
dedicated to American impressionism, by John O’Hern
14
MAY/JUNE 2017
I
American Fine Art Magazine is unique in its concept and presentation.
Divided into four major categories, each bimonthly issue will show you
how to find your way around upcoming fine art shows, auctions and
events so you can stay fully informed about this fascinating market.
UPCOMING UPCOMING
E  M
F E
Previews and reports of all the major art fairs Insights from top curators about the major
and events taking place across the country. exhibitions of historic American art
being organized at key American museums.
79 85
UPCOMING A   I:
Calendar 24
A Museum News

Art Market Updates
28
34
Major works coming up for sale at the most People & Places 36
important auction houses dealing in historic
American art. New Acquisition 37, 38, 40
Ex Libris 42
GETTING THE MOST OUT OF THIS MAGAZINE

• Each category has its own easy-to-find color-coded
107
section. Quickly turn to the section that interests
you the most.
• Each section lists dates and addresses for upcoming
events and activities so you don’t miss any important
shows or sales.
15
19th Annual Spring Art Auction
Friday, June 9 at 12 noon | Lone Jack, Missouri
Birger Sandzen (1871-1954) Oil on Canvas 30 x 40 Inches
Emile Gruppe (1896-1978)

Oil on Canvas James Fairman (1826-1904) Trew Hocker (1913-1963)
Oil on Canvas Oil on Paper, Frame
Made by the Artist, 1935
Eugene Daub
(American
born 1942),
‘Sacajawea’
16 x 27 Inches
A U C T I O N S
We b : S o u l i s A u c t i o n s . c o m
8 1 6 . 6 9 7. 3 8 3 0
Email: dirk@soulisauctions.com
George Wesley Bellows
(1882–1925)
Comber, 1913, oil on panel, 15 2 19H in.
In July of 1913, Bellows made his second trip to Monhegan Island, Maine, where he spent four
months painting the dramatic convergence of the rocky shoreline and crashing waves. The bright,
vibrant colors, broad brushwork, and intensely applied thick impasto of the present example reflect
a Modernist approach, resulting from the artist’s viewing of the Armory show a few months prior.
Debra Force fine a rt , i nc .

13 EAST 69TH STREET SUITE 4F NEW YORK 10021 TEL 212.734.3636 WWW.DEBRAFORCE.COM
WILLIAM TROST RICHARDS
Spring Auction Weekend

June 3 & 4, 2017 | 11 am
Fine Art | Mid-Century Modern | Antiques

Other featured artists: Carl Lawless, Frederick
Williams, Roger Winter, Jay Connaway, Frank Coburn,
Preview week: May 29 - June 2 Walt Kuhn, Ralph Du Casse, Andrew Bunner, Julian
Weir, Alexander Pope, Laurence Sisson, and more.
View catalog: thomastonauction.com

info@thomastonauction.com
207-354-8141
Bid In Person | By Phone/Absentee | Online
Live auction is held in our gallery at

51 Atlantic Highway. Thomaston, Maine 04861
KAJA VEILLEUX (ME AUC #902) • JOHN BOTTERO (ME AUC #1237)
CAROL ACHTERHOF (ME AUC #1517) J. T. HARWOOD ANTHONY THIEME
Thomaston Place Auctions.indd 1 4/5/17 3:44 PM
CONNER • ROSENKRANZ LLC

19th & 20th Century American Sculpture
John Flannagan (1895-1942)

BEGINNING, 1941
Bronze, 17 ¼ x 19 ½ x 7 ¼ inches
Reprising one of his earliest wood carvings, Beginning,
modeled and cast in 1941, is the ﬁnal work executed
by the artist before his death in January of 1942. This
cast is one of three known examples.
Also available are works by:
Diederich
Lachaise
Laurent
Manship
Schnier
Zorach
and others
19 E 74 St, NY 10021 (212) 517-3710
www.crsculpture.com by appointment
Conner RosenKranz.indd 1 4/5/17 12:02 PM

JACOB LAWRENCE
(American 1917-2000)
Seamstresses 1954
Men at War 1947 (Detail) Builders #2 1980 (Detail)
Four Decades of Art Advisory Services ■ Working with Private Collections and Museums
Specializing in American paintings from 1840-1940
A.J. KOLLAR FINE PAINTINGS, LLC

1421 East Aloha Street ■ Seattle, WA 98112 ■ (206) 323-2156 ■ www.ajkollar.com
Contact us to receive our 2016-17 catalogue of American paintings

By Appointment ■ Private Art Dealers Association ■ Independent Appraiser of American Art
AUG. 4-6, 2017
Aspen Ice Garden
Opening Night Preview
Thursday, August 3
Irina Zaytceva, courtesy of Duane Reed Gallery
art-aspen.com
GRACE HARTIGAN: A SURVEY
PAINTINGS AND WORKS ON PAPER 1951 – 2006
APRIL 27 THROUGH JUNE 3, 2017

Grace Hartigan Land and Sea, 1977 Oil on canvas 72 x 89 inches
GALLERY TALK WITH ROBERT S. MATTISON

SATURDAY, MAY 13, 12 - 2 PM
CATALOGUE AVAILABLE WITH AN ESSAY BY ROBERT S. MATTISON
ACA GALLERIES EST. 1932

529 West 20th Street New York, NY 10011 212-206-8080
acagalleries.com
Fine Art at auction
May 19 | 12PM | 63 Park Plaza, Boston, MA
Alexander Calder (American, 1898-1976) Untitled (Standing Mobile) c. 1953
three auctions annually consignments invited contact: 508.970.3206 paintings@skinneirnc.com
Boston | Marlborough | Miami | New York | www.skinnerinc.com

MA LIC. 2304
Your collection. Our family’s passion.
the
FINE &
DECORATIVE ART
N O W A C CAUCTION
EPTING
C O N S I G N M EMAY
N T24S |F2017
OR
SPRING 2017
CONTACT:
C O NofTA
Elizabeth Rhodes, Director C TArt
Fine :
Elaina Grinwald, Director of Consignments
emr@dallasauctiongallery.com
214.653.3900
info@dallasauctiongallery.com
214.653.3900
Maxfield Parrish
The Knave
Oil on panel, 1925
Initialed lower right “M.P.”
20.125”H x 16.375”W
$500,000 - $700,000
www.dallasauctiongallery.com • 12%-25% Buyers Premium • Jerry W. Holley #10262 • Scott H. Shuford #13769
the Best Fairs, exhibitions and Events Coast to Coast
MAY 2OCTOBER 29 THROUGH MAY 7 MAY 18JULY 16 MAY 26SEPTEMBER 8

Sanford R. Gifford Wild Spaces, Open Seasons: Vernon Smith: A New American Sculpture
in the Catskills Hunting and Fishing in Abstracting Naturalism PORTLAND MUSEUM OF ART
THOMAS COLE NATIONAL HISTORIC SITE American Art CAPE COD MUSEUM OF ART Portland, ME
Catskill, NY JOSLYN ART MUSEUM Dennis, MA www.portlandmuseum.org
www.thomascole.org Omaha, NE www.ccmoa.org
www.joslyn.org JUNE 130
THROUGH MAY 7 THROUGH MAY 21 After Hopper in Eastham
Lusha Nelson Photographs THROUGH MAY 14 From Homer to Hopper: ADDISON ART GALLERY
PHILBROOK MUSEUM OF ART No Jury, No Prizes: Experiment and Ingenuity Orleans, MA
Tulsa, OK The Society of Independent in American Art www.addisonart.com
www.philbrook.org Artists, 1917-1944 BRANDYWINE RIVER MUSEUM OF ART
Delaware Art Museum Chadds Ford, PA JUNE 9OCTOBER 7
THROUGH MAY 7 Wilmington, DE www.brandywine.org At Home and Abroad:
Cross Country: www.delart.org Works from the Marsden
The Power of Place in MAY 22 Hartley Memorial Collection
American Art, 1915-1950 THROUGH MAY 14 Just Off Madison BATES COLLEGE MUSEUM OF ART
HIGH MUSEUM OF ART American Watercolor in the BETWEEN 67th-79th STREETS AND Lewiston, ME
Atlanta, GA Age of Homer and Sargent FIFTH AND PARK AVENUES www.bates.edu
www.high.org PHILADELPHIA MUSEUM OF ART New York, NY
Philadelphia, PA www.justoffmadison.com
www.philamuseum.org
American
Art Week
NEW YORK, NY
May 22 Just Off Madison 4 to 7 p.m.
May 23 Christie’s American Art Auction 10 a.m.
May 23 Sotheby’s American Art Auction 5 p.m.
May 24 Bonhams’ American Art Auction 10 a.m.

IMAGE COURTESY CHRISTIE'S
24
Fine
Fine Books
Books &&
Manuscripts online
Manuscripts online
May 23—June 2 | www.skinnerinc.com
May 23—June 2 | www.skinnerinc.com
Andrew Wyeth (1917-2009) Archive of Forty-three Signed Autograph Letters and Notes with Sketches, August 1, 1937-March 24, 1939
Andrew Wyeth (1917-2009) Archive of Forty-three Signed Autograph Letters and Notes with Sketches, August 1, 1937-March 24, 1939
contact: Devon Eastland 508.970.3293 books@skinnerinc.com
contact: Devon Eastland 508.970.3293 books@skinnerinc.com

MA LIC. 2304
MA LIC. 2304
ART SHOW CALENDAR
Auctions
THROUGH JUNE 11 THROUGH JULY 9
Street Smart: Photographs Charles Sheeler:
of New York City, 1945-1980 Fashion, Photography,
BRUCE MUSEUM
Greenwich, CT
www.brucemuseum.org
and Sculptural Form
JAMES A. MICHENER ART MUSEUM
Doylestown, PA
at a Glance
www.michenermuseum.org
THROUGH JUNE 11 May 3 Heritage Auctions’ American Art: Dallas, TX
American Artists in Europe THROUGH JULY 9
THE HYDE COLLECTION Matisse in the Studio
Glenn Falls, NY MUSEUM OF FINE ART BOSTON
May 6 Rago Arts’19th and 20th Century American and European Art:
Lambertville, NJ
www.hydecollection.org Boston, MA
www.mfa.org
JUNE 17-JANUARY 7, 2018 May 12 Heritage Auctions’ Illustration Art: Dallas, TX
Marguerite Zorach: THROUGH JULY 18
An Art Filled Life Constructing Identity: May 13 Heritage Auctions’ Texas Art: Dallas, TX
FARNSWORTH ART MUSEUM Petrucci Family Foundation
Rockland, ME Collection of African
www.farnsworthmuseum.org American Art
May 19 Skinner Inc.’s American & European Works of Art: Boston, MA
PORTLAND ART MUSEUM
THROUGH JUNE 18 Portland, OR May 20 Brunk Auction’s Premier Auction: Asheville, NC
Matisse and American Art www.portlandartmuseum.org
MONTCLAIR ART MUSEUM May 20-22 Clars Auction Gallery’s May Sale: Oakland, CA
Montclair, NJ THROUGH JULY 23
www.montclairartmuseum.org Georgia O’Keeffe:
Living Modern May 21 Los Angeles Modern Auction’s Spring Auction: Los Angeles, CA
THROUGH JUNE 18 BROOKLYN MUSEUM
Marsden Hartley’s Maine Brooklyn, NY May 22 Dallas Auction Gallery's Fine and Decorative Art: Dallas, TX
THE MET BREUER www.brooklynmuseum.org
New York, NY
www.metmuseum.org AUGUST 4-7 May 23 Christie’s American Art: New York, NY
Art Aspen
JUNE 28-AUGUST 20 ASPEN ICE GARDEN May 23 Sotheby’s American Art: New York, NY
Master of the Maritime: Aspen, CO
James E. Buttersworth www.art-aspen.com
May 24 Bonhams’ American Art: New York, NY
CAHOON MUSEUM OF AMERICAN ART
Cotuit, MA THROUGH AUGUST 6
www.cahoonmuseum.org Wilson/Cortor May 24 Leslie Hindman Auctioneers’ American & European Art:
Chicago, IL
MUSEUM OF FINE ART BOSTON
THROUGH JULY 2 Boston, MA
Mediterranea: www.mfa.org Jun. 4 Freeman’s American Art & Pennsylvania Impressionists:
American Art from the Philadelphia, PA
Graham D. Williford Collection AUGUST 24-OCTOBER 15
BOCA RATON MUSEUM OF ART The Hoppers Jun. 9 Michaan’s Fine Art, Furniture, Decorative Arts & Jewelry:
Boca Raton, FL PROVINCETOWN MUSEUM OF ART Alameda, CA
www.bocamuseum.org Provincetown, MA
www.paam.org
Jun. 11 Grogan & Co.’s June Auction: Boston, MA
THROUGH SEPTEMBER 24
Thomas Hart Benton Jun. 15 Swann Auction Galleries’ American Art: New York, NY
and the Navy
CHRYSLER MUSEUM OF ART Jun. 17-19 Clars Auction Gallery June Sale: Oakland, CA
Norfolk, VA
www.chrysler.org
= Event
= Gallery
In every issue of American Fine Art Magazine, we publish the only reliable guide to all major upcoming fairs and = Museum
shows nationwide. Contact our associate editor, Erin Rand, to discuss how your event can be included in this calendar at = Sponsored by AFAM
(480) 246-3789 or erand@americanfineartmagazine.com.
26
the
Coeur d’Alene
Art Auction
Fine Western &
American Art
The 2017 Coeur d’Alene Art View select works featured in our 2017 sale and
purchase catalogs at www.cdaartauction.com
Auction will be held July 29
THE COEUR D’ALENE ART AUCTION
in Reno, Nevada. tel. 208-772-9009 info@cdaartauction.com
Thomas Moran (1837–1926), The Rio Virgin, Southern Utah (1917), oil on canvas, 20 × 16 in., Estimate: $600,000-900,000
MAY/JUNE 2017
DE YOUNG deyoung.famsf.org SAG HARBOR WHALING & VIRGINIA MUSEUM OF FINE ARTS
HISTORICAL MUSEUM vmfa.museum
www.sagharborwhalingmuseum.org
Louis Draper (1935-2002), Boy with paint

Mary Montes, Cool Blues. Charcoal and splatter. Gelatin silver print, 9⁄ x 6⁄
pastel on paper, 24 x 18 in. Courtesy The Sag in. Virginia Museum of Fine Arts; Arthur
Stuart Davis (1892–1964), The Paris Bit, 1959. Oil on canvas, 46⁄ x 60⁄ in. and Margaret Glasgow Endowment. Image
Whitney Museum of American Art, New York; purchase with funds from the Friends Harbor Whaling & Historical Museum.
© Louis H. Draper Preservation Trust.
of the Whitney Museum of American Art 59.38. © Estate of Stuart Davis/Licensed by
VAGA, New York Image courtesy of the Fine Arts Museums of San Francisco.
Artist Mary Montes will The Virginia Museum of Fine
curate an exhibition titled de Arts has been awarded a grant
In Stuart Davis: In Full Swing, the de Young, part of the Fine Arts Kooning and Friends at the Sag from the National Endowment
Museums of San Francisco, will hold the first major exhibition in 20 years Harbor Whaling & Historical for the Humanities, which will
dedicated to the artist. Davis was a key figure in American Modernism, Museum in Sag Harbor, New support the digitization and
and the exhibition will display 75 works. Beginning with the Davis’ York. The show is a display of preservation of the museum’s
earliest efforts to break through painting tobacco packages and moving Montes’ abstract expressionist archive of photographs, negatives
ahead five decades to his final work, the exhibit is all encompassing and figures of the New York School and other materials from Louis
highlights Davis’ habit of recycling earlier work for new compositions. In during the mid- to late-20th Draper. Richmond-born Draper
Full Swing will remain on view through August 6. century. Subjects in the show played an influential role in
include Willem de Kooning, capturing the vantage point
Andy Warhol, Jackson Pollock, of African Americans during
METROPOLITAN MUSEUM OF ART www.metmuseum.org Constantino Nivolo and Bob the 1960s and 1970s, and in
Rauschenberg, as well as the 1963 was a founding member
works of women in the same of the Kamoinge Workshop, a
circle, including Lee Krasner, collective of African-American
Elaine de Kooning and Ruth photographers.VMFA acquired
Klinsmann. The exhibition will Draper’s archive, which includes
be on view from May 5 to 22. 2,822 photographs and 42,116
negatives, in 2016.
BOSCOBEL HOUSE & GARDENS

www.boscobel.org
Boscobel House & Gardens, now in
its fifth decade as a historic house
Winslow Homer (1836-1910), Rainy Day in Camp, 1871. Oil on canvas,
museum, has opened its 2017 season
20 x 36 in. Gift of Mrs. William F. Milton, 1923. 23.77.1. with the feature exhibition Make-
Do’s: Curiously Repaired Antiques,
The Metropolitan Museum of Art in New York City has announced which focuses on historic attempts
that its public domain artworks will be available for free and unrestricted to reduce, reuse and recycle. On Boscobel House & Gardens in
use.To maximize the reach of the new initiative, the Met has partnered view will be everyday household Garrison, New York.
with Creative Commons,Wikimedia, Arstor, Digital Public Library of remnants, such as porcelain teapots
America, Art Resource and Pinterest.The museum has also welcomed with silver replacement spouts and a decanter riddled with staples
Richard Knipel as its first Wikimedian-in-Residence.The initiative was that was once owned by Washington Irving. The museum, located in
made possible through the support of Bloomberg Philanthropies. Garrison New York, offers tours six days a week.
28
BA
Important Fine Art, Jewelry & Decorations
Brunk May 19 & 20, 2017
Featuring Property from the Collection of
Auctions Marjorie S. Fisher, Palm Beach, Florida and the
Estate of June Montague Ficklen, Greenville, North Carolina
828-254-6846 • info@brunkauctions.com • NCAL 3095
MUSEUM NEWS
PROVINCETOWN ART ASSOCIATION AND MUSEUM DELAWARE ART MUSEUM

www.paam.org www.delart.org
The Provincetown Art Association and
Museum in Massachusetts is now presenting
three new exhibitions that opened in April:
Down the Road:Wellfleet Printmakers from the
20th Century, which continues through May
21; Ross Moffett from the Permanent Collection,
through May 7; and Art Reach, which is
an art immersion program for teens, that
continues through April 30. The Moffett
show will be of considerable interest to
Provincetown residents—the artist wrote a
definitive history of the Provincetown Art
Association in a 1964 book.
Ross Moffett (1888-1971), Back Street, Provincetown, 1917. Oil on canvas, 39¼ x 49¼ in. Courtesy Provincetown Art Association and Museum.
NATIONAL GALLERY OF ART www.nga.gov REYNOLDA HOUSE MUSEUM OF AMERICAN ART

www.reynoldahouse.org Parables and Tales by Thomas Gordon
Hake (London: Chapman and Hall, 1872),
Binding designed by Dante Gabriel Rossetti
(1828-1882), Helen Farr Sloan Library
& Archives, Delaware Art Museum.
The Delaware Art Museum

will present an exhibit
featuring transformations in
book publishing between 1860
to 1920, highlighting changes
in book design inspired by
technology, new marketing
Georgia O’Keeffe (1887-1986), Pool in the Woods, Lake George, 1922. Pastel on paper, strategies and shifting ideas
17 x 27½ in. Reynolda House Museum of American Art, Winston-Salem, N.C.; Gift of
Barbara B. Millhouse in memory of E. Carter, Nancy Susan Reynolds, and Winifred Babcock, about art. The Cover Sells
1984.2.9. Courtesy of Reynolda House Museum of American Art, affiliated with Wake the Book features more than
Forest University. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York. 50 books that highlight the
aesthetics and ideals of private
Georgia O’Keeffe: Living Modern, now up at the Brooklyn presses and the ways the ideals
Museum in New York, will travel to the Reynolda House were translated by commercial
François Boucher (1703-1770), Jeanne Antoinette Museum of American Art in Winston-Salem, North publishers. The exhibition
Poisson, Marquise de Pompadour, 1750, with later additions. Carolina, from August 18 to November 19. Reynolda draws from a 2009 donation of
Oil on canvas, 31⁄ x 25⁄ in. Harvard Art Museums/ House is the second location for the exhibition and the more than 3,000 books from
Fogg Museum, Bequest of Charles E. Dunlap.
only location south of New York. The exhibit includes Mary G. Sawyer and will be on
paintings by O’Keeffe alongside photographs of her and view from June 3 to August 27.
The National Gallery of Art in Washington, her homes by Alfred Stieglitz, Ansel Adams and others.
D.C., will showcase 18th-century French
paintings from across America in the West
NORMAN ROCKWELL MUSEUM www.nrm.org
Building in America Collects Eighteenth-Century
A new exhibition at the Norman Rockwell
French Painting. When Joseph Bonaparte,
Museum in Stockbridge, Massachusetts, will be
brother to Napoleon, fled to America in
the first to examine the cultural influence of
1815, he packed his collection of French
Norman Rockwell and Andy Warhol. Inventing
paintings and put the works on display in
America: Rockwell and Warhol will present 100
order to spread his native country’s culture
works that compare and contrast the artists,
across the United States. This caused a new
including portraits of the Kennedy family,
American fascination with French art, and
man’s first steps on the moon, and celebrities
masterpieces from all corners of the United
from the late 20th century.
States will be brought together for the first
time in this exhibition, on view from May 21 Norman Rockwell (1894-1978), The Final Impossibility: Man’s Tracks on the Moon (Two Men on the Moon),
to August 20. 1969. Oil on canvas, 42½ x 61½ in. Story illustration for Look, December 30, 1969. Collection of the National Air
and Space Museum, Smithsonian Institution. ©Norman Rockwell Family Agency. All rights reserved.
30
T HE J UNE A UCTION
SUNDAY, JUNE 11TH | 12 NOON
AUCTION PREVIEW
June 8th – 10th
INQUIRIES
info@groganco.com | 617.720.2020
Online catalogue available May 11th
WILLIAM JOSEPH MCCLOSKEY

(American, 1859–1941)
Valencia Oranges, 1889
oil on canvas, 11 x 24 in.
ESTIMATE: $80,000–150,000
GROGANCO.COM | 20 CHARLES STREET, BOSTON, MA 02114 | 617.720.2020

MUSEUM NEWS
THE IRVINE MUSEUM www.irvinemuseum.org

Now open at the Irvine Museum in California is Along El Camino Real, which explores the history
of California Missions. Over 20 missions were founded in California by the Spanish in the late 18th
century, but artists did not begin to portray them until California had become a part of the United
States and most missions had been abandoned. The earliest views of the missions are from a set of
etchings by Henry Chapman Ford created in 1883. Works from other California artists, including
Alson S. Clark, Alice Coutts, Edwin Deakin, William Lees Judson, Elmer Wachtel and William
Wendt will also be on display at the exhibit, which runs through May 18.
William Wendt (1865-1946), An Echo of the Past. Oil on canvas, 30 x 40 in. The Irvine Museum Collection at the University of California, Irvine.
REYNOLDA HOUSE MUSEUM OF AMERICAN ART www.reynoldahouse.org

Two masterpieces by Samuel F. B. Morse will be on display at the Reynolda House Museum of
American Art in Winston-Salem, North Carolina. One of the masterpieces is his massive work
Gallery of the Louvre, the result of months at the French museum copying Renaissance and Baroque
masterpieces in miniature. The second masterpiece is one of Morse’s early telegraph prototypes. The
painter and inventor was also the co-developer of Morse code, which bears his name. The works
will be on view at the museum through June 4.
Samuel F. B. Morse (1791-1872), Gallery of the Louvre, 1831-33. Oil on canvas, 73¾ x 108 in. Terra Foundation for
American Art, Daniel J. Terra Collection, 1992.51. Photography © Terra Foundation for American Art, Chicago.
NEW-YORK HISTORICAL SOCIETY TUCSON MUSEUM OF ART SMITHSONIAN AMERICAN DENVER ART MUSEUM
www.nyhistory.org www.tucsonmuseumofart.org ART MUSEUM www.denverartmuseum.org
www.americanart.si.edu
The James J. and Louise R. Glasser Gallery at Senator Kennedy’s return home to Barnstable Clyfford Still, by Erwin Blumenfeld. ©
Norman Rockwell’s Four Freedoms, the Tucson Museum of Art in Tucson, Arizona. Municipal Airport, Hyannis, Massachusetts, Yvette Blumenfeld Georges Deeton.
four separate pieces depicting Franklin July 1960. © Paul Schutzer. Courtesy The Courtesy Art + Commerce.
D. Roosevelt’s Four Freedoms. LIFE Picture Collection/Getty Images.
The Tucson Museum of Art
Norman Rockwell’s iconic and Historic Block in Tucson, The Smithsonian American Art In a collaborative work
Four Freedoms series will tour Arizona, has announced it has Museum in Washington, D.C., between the Denver Art
in a new exhibition titled begun the largest renovation will debut American Visionary: Museum and Clyfford
Enduring Ideals: Rockwell, to the museum campus since John F. Kennedy’s Life and Times Still Museum, paintings by
Roosevelt & the Four Freedoms. 2000.The renovation will also on May 3, just in time for the renowned contemporary artist
It is the first comprehensive reinstall all of the museum’s 100th anniversary of Kennedy’s Mark Bradford will be on
exhibition devoted to Rockwell’s exhibits.Work will take place birth on May 29.The exhibition view at the DAM alongside
depictions of Franklin D. through the summer of 2017 brings together images from the canvases by Clyfford Still. As
Roosevelt’s Four Freedoms: and include the main museum golden era of photojournalism an African-American painter,
Freedom of Speech, Freedom of building, as well as a pavilion that coincided with the Kennedy Bradford has been fascinated
Worship, Freedom from Want and courtyard.The museum has administration and includes images by Still’s extensive use of black.
and Freedom from Fear. The also announced it has received from Ed Clark, Ralph Crane, Shade: Clyfford Still/Mark
exhibition—organizedby the a $500,000 gift for naming Philippe Halsman, Sam Vestal and Bradford explores social activism
Norman Rockwell Museum in rights to the exhibition gallery, others.The exhibition is part of through art and the relationship
Stockbridge, Massachusetts— the James J. and Louise R. the John F. Kennedy Presidential between the two artists’ work.
will launch at the New-York Glasser Gallery. Other naming Library’s year-long celebration of The exhibition will be on view
Historical Society in June 2018. opportunities are available. Kennedy’s centennial. at DAM through July 16.
32
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EDWARD WILLIS REDFIELD (1869-1965)
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US $30 Canada $36
Traveling exhibition highlights Howard Pyle
and the Golden Age of Illustration
The National Museum of American exhibition showcases oil paintings, works on
Illustration has announced the traveling paper, and artifacts that highlight his work. In
exhibition Howard Pyle, His Students & 1894 Pyle founded the School of Illustration
the Golden Age of American Illustration. in American at Drexel Institute of Art,
The exhibit premiered April 3 at Drexel Science and Industry, now Drexel University,
University Pennoni Honors College in and in 1900 founded the Howard Pyle
Howard Pyle (1853-1911) in his studio. © 2017 National
Museum of American Illustration, Newport, RI. Photo Philadelphia. Howard Pyle is known as the School of Illustration. One of Pyle’s most
courtesy American Illustrators Gallery, New York, NY. “Father of American Illustration,” and the famous students was N.C.Wyeth.
Rakuko Naito, RN1468-64, 1964. Acrylic and

metallic acrylic on linen, 68 x 68 in. Courtesy
Norman Rockwell’s Boy Asleep with Hoe on David Rich Gallery.
Unknown artist, Taking a Profile, probably
display after it was recovered. The piece was 1832-1837. Oil on canvas. Museum Purchase,
stolen more than 40 years ago. 2008.100.5. Courtesy of the Art Museums of Naito and Kuwayama
Colonial Williamsburg
featured in show at
Stolen Norman Rockwell David Richard Gallery
painting returned American folk portraits
The 1960s paintings of married
Norman Rockwell’s Boy Asleep with celebrated in Virginia artists Rakuko Naito and Tadaaki
Hoe, which was stolen in 1976 from the Celebrating its diamond anniversary in Kuwayama are the subject of a show,
Grant family home in Cherry Hill, New 2017, the Abby Aldrich Rockefeller Folk Sizzle and Chill, at David Richard
Jersey, was recently discovered after four Art Museum, one of the art museums Gallery in Santa Fe, New Mexico.
decades missing. The painting has been of Colonial Williamsburg,Virginia, will Born and raised in Japan, they married
returned to the Grant family following launch a new long-term exhibition titled and moved to the United States in
a ceremony with Chubb, the Grant We the People: American Folk Portraits. 1958. Having both studied nihonga,
family’s insurance provider at the time Before the advent of photography, people the traditional form of Japanese
of the theft, and the FBI. Also known commissioned portraits from artists with painting on paper or silk using natural
as Lazy Bones or Taking a Break, the little or no academic training. Several pigments, the artists took similar
painting’s valued between $600,000 and recently acquired works will be on display, but distinct directions in their work
$1,000,000. The original claims payment, including paintings by Jacob Frymire in the 1960s. Naito created flat,
returned to Chubb by the Grant family, and Jefferson Gauntt, in addition to a optical paintings that explore visual
has been donated to the Norman highlighted work by John James Trumbull perception, while Kuwayama depicted
Rockwell Museum in Massachusetts. Arnold.The exhibition includes more large, geometric blocks using brightly
than 30 portraits of individuals, children, colored paints.
families and couples and opens May 6.
34
Bill Paxton and parents honored
at Nevada Museum of Art
Actor Bill Paxton, who passed away in February, will be
honored during a special exhibition of his parents’ art
collection at the Nevada Museum of Art. John and Mary
Lou Paxton promised a bequest of their art collection to
the museum in 2006—John died in 2011, and Mary Lou in
2016. The John and Mary Lou Paxton Collection: A Gift for the
Nevada Museum of Art opened February 26, one day after Bill’s
sudden passing. John Paxton became fascinated with art when
famous regionalist painter Thomas Hart Benton moved next
door.The Paxtons’ relationship with the Nevada Art Museum
began in 2003 and grew over a shared affinity for the West.
Gallery view of The John and Mary Lou Paxton Collection: A Gift for the Nevada Museum of Art.
Outsider artists at
Hirschl & Adler Modern
In a collaboration with Shrine Gallery,
Hirschl & Adler Modern’s new exhibition
Parallel Unknown showcases the work
of Hawkins Bolden, Edward Deeds William T.
Jr., Prophet Royal Robertson, Mary T. Williams,
Things
Smith, Bill Traylor,Valton Tyler, Frank Unknown,
Walter and David Zeldis. The New 1988-2003.
Mary T. Smith (1904-1995), Untitled (figure), ca.
York show explores the unintentional 1980s. Enamel paint on corrugated metal,
Acrylic on
canvas,
points of connections shared by the eight 25½ x 38 in. Courtesy of Shrine.
65 x 28½ in.
Outsider artists, who at first glance seem
to be unlikely matches. Parallel Unknown
demonstrates that the artists are united by even as their art stands alone. The show
their exploration of the human condition, remains on view until May 26.
Herbert W. Gleason Solo exhibition for

(1855–1937), A Snow-Banner, ca.
1911. Platinum print in William William T. Williams
Frederic Badè’s The Writings of John Michael Rosenfeld Gallery will present
Muir, The Mountains of California, pt.
1, vol. 4. New York: Houghton Mifflin its first solo exhibition for abstract
Co., 1916–1924. The Huntington painter William T.Williams titled Things
Library, Art Collections, and Unknown: Paintings, 1968-2017. Twenty-
Botanical Gardens
eight paintings from throughout the
artist’s five-decade career are on display,
beginning with geometric abstractions
such as 1968’s Harlem Angels to his more
John Muir’s writings acquired by the Huntington recent Evidence, 2016. In November 2016,
The Huntington Library, Art Collections, The collection was purchased at the it was announced that Michael Rosenfeld
and Botanical Gardens announced that Huntington’s annual Library Collectors’ Gallery would become the exclusive
it has acquired a unique 10-volume Council meeting, where the council representative of Williams, and the first
edition of The Life and Writings of John also purchased A Monograph on the to represent him since the 1970s. A fully
Muir. The set incorporates 260 original Genus Camellia, 1819, an outsize volume illustrated color catalog featuring an
photographs, many by Herbert W. containing hand-colored aquatint plates interview with the artist will accompany
Gleason, a nature photographer who after watercolors by English artist Clara the exhibition. Things Unknown will be
inspired the work of Ansel Adams. Maria Pope. on view through June 3.
35
ART MARKET UPDATES
COURTESY PHILADELPHIA MUSEUM OF ART

People & Places
Rendering of Philadelphia Museum of Art’s Frank Gehry-designed renovation.
The Pennsylvania Academy of the Fine Arts Phillips has appointed Miety Heiden as
has announced Brooke Davis Anderson deputy chairman and head of private
as the Edna S. Tuttleman Director of the sales. Previously at Sotheby’s as senior
Museum. Anderson most recently served vice president and head of contemporary
as executive director of Prospect New private sales for North America, at Phillips
Orleans and has more than 25 years of arts Heiden will develop the auction house’s
and cultural experience…Chad Alligood private sales and manage relationships
has been named the chief curator of Brooke Davis Anderson, with top collectors…Also at Phillips, Cheyenne Westphal,
PAFA. Photo by Phillips. © Monika
American art at the Huntington Library, Jay Potter. Cheyenne Westphal has started in her Hoefler..
Art Collections, and Botanical Garden. He new role as chairman. She previously
comes from the Crystal Bridges Museum served as the Worldwide Head of Contemporary Art at Sotheby’s...
of American Art, where he served as Walters Art Museum has appointed three new associate curators.
curator…The Philadelphia Museum of Lisa M. Anderson-Zhu will oversee the museum’s collection of ancient
Art has broken ground on a new Frank mediterranean art; Ellen Hoobler will serve as the museum’s first
Gehry-designed renovation…Director William B. Ziff, Jr., Associate Curator of Art of the Americas, 5000
and CEO of the Metropolitan Museum BCE-300 CE; and Christine Sciacca will be the Associate Curator of
of Art Thomas P. Campbell will step down European Art, 300-1400 CE. They join
from his position at the end of June. Daniel Chad Alligood, The the curatorial team led by the recently
Huntington. Photo
H. Weiss will serve as interim CEO and by Stephen Ironside/ promoted director of curatorial affairs
work with Campbell and the museum Ironside Photography. Amy Landau…Gail Andrews, longtime
leadership on a transition plan. Overall director of Birmingham Museum of Art, has
museum attendance has grown by 40 percent during Campbell’s announced her plans to retire in early fall.
tenure...Auction house Christie’s has launched a flagship gallery Andrews arrived at the museum in 1976
in Beverly Hills, California, significantly expanding the brand’s West as the first curator of decorative arts and Gail Andrews,
Coast presence…Carnegie Museums of Pittsburgh announced was appointed director in 1996…James D. Birmingham Museum
Patrick Moore as the director of the Andy Warhol Museum. Moore Julia has hired Scott Wentzell as the new of Art
has been with the museum since 2011, when he joined as the director director of marketing for the auction house…The Hyde Collection
of development. Previously, Moore spent 10 years at the Alliance for has announced two new members, Ellen-Deane Cummins and Sarah
the Arts in New York City, where he created and directed a program Parker Ward, to its board of trustees. Outgoing trustees are Milly Koh
addressing the impact of the AIDS crisis on the arts community… and Anne Herlihy…The National Gallery of Art has received a $1
Virginia Brilliant will join the Fine Arts Museums of San Francisco million grant from the Edmond J. Safra Foundation, which will support
as curator-in-charge of European paintings. Brilliant comes to the the Edmond J. Safra Visiting Professorship at the Center for Advanced
museums from the John and Mable Ringling Museum of Art… Study in the Visual Arts.
36
NEW ACQUISITION
Edward Mitchell
Bannister and Isaac
Scott Hathaway
BIRMINGHAM MUSEUM OF ART
Left: Edward Mitchell Bannister (1828-1901), Tending the Ground,, 1886. Oil on canvas. Collection of the Art Fund, Inc.
at the Birmingham Museum of Art; Purchase with additional funds given in honor of Norman B. Davis Jr. Right: Isaac Scott
Hathaway (1872-1967), Dr. Booker T. Washington, 1909-1915. Plaster and bronze paint, 10⁄ x 6¾ x 4 inches. Manufactured by the
National Afro-Art Company, Washington, D.C. (1910-1915). Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of
Patrick Cather, Shoal Creek, Alabama, in honor of his Shoal Creek neighbors, Joyce Crawford Mitchell and John Mitchell.
T he Birmingham Museum of Art has recently acquired

two pieces, both of which reflect the museum’s
history intertwined with the South’s Jim Crow laws.
As a department of the city of Birmingham, in the 1950s and
1960s, the museum only allowed black visitors one day a week.
race. The Rhode Island landscape served as his inspiration, and
Bannister painted with a soft, limited palette to capture the
subtle light of nature. The painting was purchased in part with
funds donated in honor of Norman B. Davis Jr.
A bust of Dr. Booker T. Washington, modeled by Isaac Scott
After Birmingham elected its first black city council member Hathaway, has also been recently acquired by the museum.
in 1971, it became part of the museum’s mission to create a Hathaway first found success creating small plaster busts of
more inclusive collection. African-American leaders and selling them for a dollar. This
The first of the two recently acquired pieces is Tending the particular bust was manufactured by the National Afro-Art
Ground by the black landscape artist Edward Mitchell Bannister. Company in Washington, D.C., from 1910 to 1915. Hathaway
Bannister was an active participant in the New England art later became instrumental in establishing ceramics and pottery
scene in the late 1800s, despite facing opposition due to his departments at black colleges and universities.
37
NEW ACQUISITION
The DuPont Donation

DELAWARE ART MUSEUM, BRANDY WINE RIVER
MUSEUM OF ART AND HAGLEY MUSEUM & LIBRARY
N.C. Wyeth (1882-1945), “Stand away from that girl!” repeated Frank Earle Schoonover (1877-1972), October Comes, 1948. Oil on canvas,
de Spain harshly, backing the words with a step forward, 1915 for 33½ x 37½ x 2½ in. (framed). Delaware Art Museum, gift of E. I. du Pont de Nermours
Nan of Music Mountain by Frank H. Spearman. Oil on canvas, and Company, 2017
39 ½ x 24 ½ x 2 in. (framed). Delaware Art Museum, gift of E. I.
du Pont de Nermours and Company, 2017E
D uPont has announced a substantial donation of works

of art to the Delaware Art Museum, Brandywine
River Museum of Art and Hagley Museum & Library.
The works, which include art from three generations of the
Wyeth family, Harvey T. Dunn and Helen Coolidge Woodring,
recently acquired pieces will be featured in the museum’s
upcoming exhibition of nature studies by Andrew Wyeth and
John Ruskin.
Among the works received by the Brandywine River
Museum of Art is N. C. Wyeth’s Island Funeral. The work was
come from Hotel du Pont in Wilmington, Delaware, built in painted at the artist’s studio in Chadds Ford, Pennsylvania,
1913. DuPont began the hotel’s art collection in 1940. which is now a historic landmark maintained by the museum.
“We are thrilled to receive this donation of works from the Thomas Padon, director of the Brandywine, says, “We’re
Hotel du Pont; these works add to our strength in representing deeply grateful to DuPont for this remarkable donation, which
the artists of Wilmington and the Brandywine Valley, including is emblematic of DuPont’s decadeslong commitment to the
Edward Loper, Frank Schoonover, and members of the Wyeth rich artistic heritage of the area.”
family,” Sam Sweet, executive director and CEO of the Approximately 400 pieces of additional artwork, which
Delaware Art Museum, says. “The Delaware Art Museum is include oil paintings, watercolors and prints that were
pleased to assist in keeping these works within the community previously displayed at various DuPont sites, will be sold to
where they’ve been enjoyed for generations.” Some of the benefit the United Way of Delaware.
38
N.C. Wyeth
(1882-1945),
Island Funeral, 1939.
Egg tempera and
oil on hardboard,
44½ x 523/8 in.
Courtesy
Brandywine
River Museum.
Jamie Wyeth
(b. 1946), White
House. Courtesy
Brandywine River
Museum.
39
NEW ACQUISITION
Gaston Lachaise, Agnes

Pelton, Charles Reiffel and
Henrietta Shore
T H E H U N T I N G T O N L I B R A R Y, A R T C O L L E C T I O N S ,
A N D BOTA N IC A L G A R D E N S
Gaston Lachaise (1882-1935), The Peacocks, 1918. Bronze, 22½ x 57 x 10 in. The Huntington Library, Art Collections, and Botanical Gardens. Purchased
with funds from the Virginia Steele Scott Foundation Acquisition Fund for American Art in honor of Jessica Smith.
T he Huntington Library recently acquired paintings by three California

painters—Charles Reiffel’s Bit of Silvermine – The Old Farm House,
Henrietta Shore’s Clivia and Agnes Pelton’s Passion Flower—as well
as Gaston Lachaise’s Art Deco masterpiece The Peacocks. The pieces all help
further the Library’s mission of building out its American art collection. “One
of our biggest weaknesses was women, particularly modernist women, and it’s
critical to have an encyclopedic collection,” says Kevin Salatino, Hannah and
Russel Kully Director of the Art Collections.
Reiffel, Pelton and Shore were all painters that trained in New York before
heading to California. “What we want to demonstrate in our collection is the
progressive East Coast environment where there was radicalism everywhere,
alongside what was going on in California, which was radical in a different
way,” Salatino says. “With these artists, you get the hybrid of the artists that
studied in New York and then came out West.”
A prime example of that East Coast radicalism is Lachaise’s The Peacocks. The
sculpture joins the Library’s collection of early 20th-century modern sculpture,
including works by Lachaise’s teacher Paul Manship.
“One of Henry Huntington’s hopes was that one day the Library would have
an American art collection as big as its European collection,” Salatino says. With
these recent acquisitions, the Library is one step closer to that goal.
Agnes Pelton (1886-1961), Passion Flower, ca. 1945. Oil on canvas, 24 x 16 in.
The Huntington Library, Art Collections, and Botanical Gardens.
40
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couse-sharp.org
T AOS, NEW MEXICO
JUNE 10 | LECTURE by PETER HASSRICK

Director Emeritus and Senior Scholar, Buffalo Bill
Center of the West, on The Studios of Joseph
Henry Sharp at The Harwood Museum of Art
JUNE 10 | BIENNIAL GALA AUCTION & FUND-

RAISER Silent and live auctions, wine, hors d’oeuvres,
Designed to provide collectors of historic gourmet dinner and live music at El Monte Sagrado Resort
American paintings, sculpture and drawings
with all the necessary information they need JUNE 11 | J.H. SHARP STUDIO OPENING The Life
and Work of an American Legend –an exhibit featuring
to aquire new works of art. significant artwork, personal ephemera, correspondence,
www.AmericanFineArtMagazine.com/subscribe and selected Native American artifacts collected by Sharp
JULY 1 | LUNA CHAPEL EXHIBIT OPENING
Seldom Seen: Archival Stories illustrating the important
role archives play in the research and interpretation of the
Taos Society of Artists (TSA). The exhibition, including
artwork by TSA members, will run through Oct 28, 2017.
JULY 1 | BOOK SIGNING by author E. JANE BURNS

of Volume Two of The Record, The Couse Collection of
Pueblo Pottery
In each 148 page bi-monthy issue, we take
you inside the studios of the world’s best AUGUST 5 | LECTURE by CHRISTINA E. BURKE
artists. They tell you the thought process Curator of Native American and Non-Western Art at
the Philbrook Museum of Art, presents A Pictograph is
behind their creative methods and reveal
Worth A Thousand Words: Reading Native Pictography
their painting techniques. at The Harwood Museum of Art
www.InternationalArtist.com/subscribe
SITE TOURS by Appointment . LUNA CHAPEL Exhibition
LECTURES . OPEN HOUSE 1st Saturdays, July-Oct
EX LIBRIS
One
Collector’s
Passion
Two Centuries of American for an exhibition of the to be featuring their home
Still-Life Painting: The same name. The exhibition in a future issue of the
Frank and Michelle opened in January at the magazine.) For this book,
Hevrdejs Collection Museum of Fine Arts, legendary American art
By William H. Gerdts (Yale Houston and recently scholar William H. Gerdts
University Press, February 14, traveled to the Memphis has written an essay on the
2017). 288 pages, 92 color Brooks Museum of Art history of American still
illustrations, $75
before ending at the Tacoma life painting using examples
One of the more interesting Museum of Art for the from the collection as sign
books recently published remainder of 2017. posts, beginning with works
on American art has to be The exhibition is by Raphaelle Peale and
Yale University Press’ Two centered around 65 still life James Peale and continuing
Centuries of American Still- paintings from the Hevrdejs’ all the way to contemporary
Life Painting: The Frank and expansive collection of artists such as Scott Fraser,
Michelle Hevrdejs Collection, American art. (American Donald Sultan and Bill Scott.
which serves as the catalog Fine Art Magazine is proud An unexpected bonus
Georgia O’Keeffe (1887-1986), From Pink Shell, 1931. Oil on canvas. John Frederick Peto (1854-1907), The Writer’s Table—A Precarious
The Frank and Michelle Hevrdejs Collection. Moment, 1892. Oil on canvas. The Frank and Michelle Hevrdejs Collection.
42
in the book is a short
introductory essay titled
“Collecting American Art: a
Brief History.” To me, this is
required reading for anyone
involved in the market of
historic American art. In
the essay, Gerdts begins by
discussing the early roots
of family portraiture in
the late 17th and early 18th
centuries, follows it through
the establishment of the
academies in the early part
of the 19th century, and
then ends it with collectors
who began in the 1950s
when, he notes, “a number
of commercial art galleries
Richard Edward Miller (1875-1943), The Scarlet Necklace, 1914. Oil on canvas.
began to offer exhibitions The Frank and Michelle Hevrdejs Collection.
devoted to historical
American still life.”
Gerdts states, “Whereas
those collectors who started such as California, Indiana, formed not according ‘to a very classical definition
in the 1950s usually were Texas and Florida, had often the books’ (although study of space, forcing the viewer
individuals of limited found dozens of champions and learning is a major to appreciate his masterful
means, the next decade (who sometimes formed factor in the decision to use of color, geometry and
saw more well-to-do organizations to advocate acquire)—but expressing, light. The painting is about
collectors throughout the their causes), while other like other great American objects, not idealized, but used
country beginning to amass regions and states such as collections, the passion of without too much regard for
magnificent collections Illinois elicited minimal the collectors.” their future. Peto was not a
of earlier American art. interest in their artistic Frank Hevrdejs also has wealthy man, and his life was
Some spanned the range heritage. Some of the penned an essay for the book, a struggle. This outstanding
of the nineteenth century; regional organizations in and in it he both thoughtfully work is imbued with tension,
others concentrated on turn prompted local public and passionately discusses struggle, and a touch
Impressionism or Ashcan institutions to increasingly his love of American art of emptiness.”
Realism. Toward the end emphasize more local and in general and the still life Other artists with works
of the twentieth century, regional art and also to court genre in particular. One of in the exhibition include
the passion for earlier art those collectors.” his favorite pieces in the Martin Johnson Heade,
had spread to collectors of For Gerdts, the beauty collection is The Writer’s William Michael Harnett,
regional art, a wildly uneven of the Hevrdejs collection Table—A Precarious Moment, by William Merritt Chase,
spread so that earlier art of still life paintings is that John Frederick Peto. Of the Thomas Hart Benton,
produced in the South or the collection is “a private piece Hevrdejs writes, “Peto’s Georgia O’Keeffe and
the Southwest, or in states and individual one— composition also draws on Andrew Wyeth.
43
MY VIEW
GEORGIA IN MY MIND
By Jay E. Cantor
I t’s not that big. Probably no larger than

an ample two-story suburban house.
With about 5,000 square feet of gallery
space, the Georgia O’Keeffe Museum in
Santa Fe must be one of the smallest art
museums in the country. Yet its reach
and impact have been enormous. As the
museum readies itself to celebrate the 20th
anniversary of its opening in July of 1997,
it has participated in a major retrospective
of the artist’s work and several other
special exhibitions that have introduced
a new generation of museumgoers in
far-flung locations to the quiet enormity
of O’Keeffe’s 60-year career and the
surprisingly supple way in which she
transformed deeply felt responses to nature
into a resonant language that moves with
nuanced precision between observation
and abstraction.
Through much of her career, O’Keeffe
was a deeply private yet widely recognized Georgia O’Keeffe Museum Opening Day, 1997. Photo by Paul Slaughter. © Georgia O’Keeffe Museum.
public presence in the American artistic
landscape. While capable of integrating Wisconsin and who ultimately straddled north of Santa Fe, and to distribute
the innovative pictorial strategies of the continent with one foot in NewYork, a that portion of her estate that had been
husband Alfred Stieglitz’s revolutionary center of modernist experimentation, and assigned to the foundation.
photography and those of contemporaries the other in the tradition-bound world O’Keeffe had, in fact, bequeathed
Paul Strand and Ansel Adams, she probed of the high desert of New Mexico. It was works to museums around the country,
her own emotive responses for her there that she began visiting in earnest including the Museum of Fine Arts,
vocabulary of image making. She absorbed in 1929 and finally settled 20 years later. Boston, the Metropolitan Museum of Art,
varying influences and, in That landscape has become the Museum of Modern Art, the Brooklyn
fact, seems to have never inextricably linked with her Museum, the Philadelphia Museum of Art,
stopped looking at the identity. Yet when she died the Art Institute of Chicago, the National
newest artistic strategies in 1986 at the age of 98, Gallery of Art and the Cleveland Museum
while building on what there were only a couple of of Art. (Her 1979 will also included non-
went before in her own paintings by her in a public specific bequests to the Museum of Fine
work. In the process, collection in New Mexico. Arts, Santa Fe and the University of New
she continually reframed In the aftermath of the legal Mexico’s art museum.) Such largesse to
the dialogue between battle surrounding her estate, art institutions around the country was
her painting and her a foundation was created to not unusual for her. In fact, following
observations of nature. promote her reputation, the death of Stieglitz, who had been
This was no small ensure the completion of both her husband and her dealer, she had
achievement for a woman a definitive catalog of her made occasional gifts of her art to select
Anne Marion, Georgia
born into the rural world O’Keeffe Museum founder work, secure her house in museums, to be designated as a part of an
of late-19 th -centur y and chair emeritus. Abiquiu, a village 45 miles Alfred Stieglitz Collection.
44
While we might admire the prescience organizations. Anne has been especially of 94 works on which to build. (When
of American art museums for their early active in the Fort Worth art community the O’Keeffe Foundation closed in 2006
acquisitions of significant works by as a trustee of the Kimbell Art Foundation at the end of its defined term limit, its
O’Keeffe, it was, in fact, largely through and a trustee and sometime chairman of the remaining inventory of art, research papers,
her own initiative that those institutions Modern Art Museum of Fort Worth. (It is archival materials and O’Keeffe’s personal
came to own and exhibit her work. worth noting that she chaired the building possessions and home in Abiquiu passed
The only museum that seems to have committee of that museum while they were to the O’Keeffe Museum, bringing the art
consistently acquired her work was the building their new Tadao Ando museum collection to 2,989, of which 1,149 works
privately curated Phillips Collection in at the same time she was developing the were by O’Keeffe—a little more than half
Washington, D.C. A rare early major O’Keeffe Museum.) of her lifetime production.)
museum purchase of an O’Keeffe was In 1995, she was approached by the Through Stanley Marcus, I joined the
made in 1934 by the Metropolitan Museum of Fine Arts in Santa Fe in hopes development committee of the museum
Museum when it bought the 1930 of expanding their small collection of in January and was enlisted in March to
canvas Black Flower and Blue Larkspur. O’Keeffe works through the loan or gift become one of the founding team of the
(So much for the regular criticism of of paintings and donation of funds for museum, serving as president during the
the Metropolitan for indulging in the the same purpose.This prompted Anne to institution’s infancy. I came across my
acquisition of contemporary art.) In 1945, think seriously about a more compelling remarks made at the opening ceremony
the Museum of Modern Art purchased project. Through conversations with and repeat them here in part, as I think
a significant painting, Farmhouse Window and the encouragement of fellow Santa they capture the mood of that moment:
and Door, 1929, just prior to the one- Fe denizen, the merchandising genius “Until today, the problem with Georgia
artist exhibition they gave O’Keeffe in Stanley Marcus, Anne determined that O’Keeffe was that she was, in a sense, a name
1946, the first in the museum’s history what was needed in town was an entire without a place. The song would perhaps have
organized for a woman artist. museum dedicated to O’Keeffe. In her been better titled ‘Georgia in My Mind.’There
While the Museum of Fine Arts in words, she “walked the town” in search of was nowhere to go to see the broad sweep of her
Santa Fe could now boast a small core of an appropriate and well-located building
O’Keeffe’s work, it was hardly enough suited for a small museum. She discovered
to satisfy the interest and enthusiasm an ideal site, a former Spanish Baptist
of the nearly 1.5 million visitors to the church that had already been renovated
fabled northern New Mexico town.That for the Allene Lapides Gallery. Successful
was not lost on Anne and John Marion negotiations led to the acquisition of the
who began spending time in Santa Fe in building, which was conveniently located
1988, two years after the artist’s death. a few blocks from the central plaza of
The Marions immersed themselves in Santa Fe and close to the Museum of
the artistic culture of the community Fine Arts.
and by 1993 had become a significant The choice of New York architect
philanthropic presence. According to Richard Gluckman was a natural. A
press reports at the time of the O’Keeffe celebrated designer, he was especially
Museum opening in 1997, they had adept at producing stunning and highly
already given, through Anne Marion’s acclaimed exhibition spaces in existing
Burnett Foundation, $1.5 million to the buildings. His work on the Andy Warhol
Santa Fe Art Institute, $6.1 million to the Museum, the then Whitney Museum of
College of Santa Fe for the Anne and American Art, the DIA Art Center and
John Marion Center for the Photographic SITE Santa Fe had garnered credits in
Arts, and a little over $2 million to SITE the art and architectural communities.
Santa Fe, a contemporary arts center. The most daunting aspect of the project
The Marions are a true art power was the timetable. Construction began
couple. Anne Marion, a native of Fort in January of 1997 and the opening was
Worth, Texas, traces her wealth to family set for July.
interests in ranching, oil and consumer Anne assembled an inaugural collection
technology and played an active role in for the museum, buying 33 works from
several of those business interests. John is the the Georgia O’Keeffe Foundation and,
Georgia O’Keeffe Museum Opening Sign and
retired chairman of Sotheby’s. Each served with additional purchases and gifts from Ribbon, 1997. Photo by Paul Slaughter. © Georgia
on the boards of numerous arts-related several private collectors, created a core O’Keeffe Museum.
45
MY VIEW
marvelous accomplishment. Now all that has recently at the Tate Modern in London not Eurocentric and male dominated.
changed…While it may have been a long time and Bank Austria Kunstforum in Vienna, O’Keeffe in some ways seemed an ideal
in coming, it has been a remarkably short time will be at the Art Gallery of Ontario, its candidate, especially as the interpretation
in happening. The fact that this museum has only North American venue, from April of her art has, according to many, been
emerged and taken shape in less than two years 22 to July 30. troubled by a long-standing tradition of
is a tribute to both a vision and a hard-working Having heard about the reception viewing her as a woman artist. Stieglitz
reality…belonging principally to Anne Marion, of O’Keeffe abroad from the museum’s is credited with having originated this
whose motivation and energetic resolve pushed new chair, Roxanne Decyk, I thought paradigm, which, like much conventional
this project forward with determination, love, it interesting to look at the European thinking, became attached and continued
and amazing grace.” response to O’Keeffe. That proved a bit through successive generations, despite
For the ensuing two O’Keeffe’s own regular
decades, Anne served as repudiation of the sexual
chairman of the museum “content” of her art. Indeed, at
board, a position she has the time of the opening of the
just vacated after ensuring O’Keeffe Museum, Michael
the museum and its related Kimmelman, then the New
Georgia O’Keeffe Museum York Times art critic noted:
Research Center were on “Mr. Cantor says that the
a solid footing and poised ultimate goal of his institution
to continue a tradition is to stress O’Keeffe’s work, not
of engaging exhibitions, her biography. O’Keeffe enjoyed
ser ious scholarship and publicity, clearly, but she also
effective outreach for a broad understood the problem of having
community.The achievements her work overshadowed by her
of the past two decades have life, which is one reason she
been manifold and are told, to vehemently denied against all logic,
some degree, by the numbers the obvious sexual interpretation
listed on the museum’s website, of her various paintings of
www.okeeffemuseum.org. Of flowers and clams: combined
special note is the fact that with Stieglitz’s photographs, the
since 1997, the museum has pictures became ammunition for
welcomed 3,150,649 visitors. critics who wanted to dismiss
Last year it showed 277 her as a woman.” (“A New
works in Santa Fe and has Museum Holds O’Keeffe’s
made 910 O’Keeffe works Imagery and Image,” NewYork
and 4,342 archives available Times, July 17, 1997)
online. It has also received Twenty years later, the Tate
plaudits in the form of 44,626 Gallery listed dispelling the
Facebook likes! The museum clichés about O’Keeffe as one
also regularly loans art to of the five reasons to visit
exhibitions both nationally Maria Chabot, Georgia O’Keeffe at the Black Place, 1944. Photographic their exhibition. The critics
print. Gift of Maria Chabot. Georgia O’Keeffe Museum (RC.2001.002.107c).
and internationally. In the © Georgia O’Keeffe Museum. apparently did not pay heed
last issue of this magazine, an to this. Articles variously
article featured the exhibition titled “Georgia O’Keeffe
Georgia O’Keeffe: Living Modern, on view in more difficult than I imagined. The last at Tate Modern review-the sensuous
Brooklyn, New York, until July 23. A view major show of her work in London was and the dust dead,” “Georgia O’Keeffe
of O’Keeffe in the context of her Australian at the Hayward Gallery in 1993. The Tate and the gender debate: Can a woman
contemporar ies: O’Keeffe, Preston, exhibition was an opening feature of the be great, or only a great woman?” and
Cossington Smith: Making Modernism, can newly expanded facility and was shown “At Tate Modern, an attempt to Free
be seen at the Queensland Art Gallery in the just-completed addition by Herzog Georgia O’Keeffe’s Art from an Erotic
in Brisbane, Australia, until June 11 and and De Meuron. Great expectations were Interpretation,” whether by male or
continues on in Sydney from July 1 to attached to this facility as enabling an female critics seemed to reach the same
October 2. The major retrospective seen expanded art historical view that was conclusion, mirroring Kimmelman of
46
two decades earlier:
She had remained true to the “things in
her head” that were hers and hers alone, and
through which she viewed the world around
her. Indomitable to the end, she refused to be
pigeonholed either by her predominantly male
associates in the 1920s or by later generations
of feminist artists. It was this determination
and independence of spirit that made her refuse
any sexual reading of her work, even though
the body is powerfully present in so much of
what she produced.” (Louise Buck,“Georgia
O’Keeffe at the Tate Modern: more than
flesh,” The Telegraph, July 8, 2016).
Is it possible to talk about an exhibition
that I have not seen? Reading the reviews,
it seems the critics, while recognizing
her innovations and importance in the
story of modernism, felt that the show
of more than 100 works was too big, a
problem that besets many monographic
Georgia O’Keeffe Museum exterior. InSight Foto Inc., 2016. © Georgia O’Keeffe Museum.
exhibitions.They focused on her strength
with color but at times lamented a certain
lack of painterly engagement. Noting a corollaries available in their collections if Gallery of Art in Washington, “Touching
consistency of approach in her image not in the exhibition itself. the Centre: Georgia O’Keeffe and Alfred
making, some commentators heralded The more than 60 photographs in Stieglitz’s Artistic Dialogue.” O’Keeffe
the excitement of her later works that the exhibition by Stieglitz, Strand and museum director of curatorial affairs,
seemed to rekindle her creative energies. Ansel Adams would likely further the Cody Hartley, provides an interesting
In the writings of the English critical reading of the exhibition as a bio- discussion of the multiple locations of the
community, I did not detect any suggestion epic. So, I am left with the catalog, artist’s life, travels and work. The varied
of provincialism. Having worked for a document presumably meant to landscapes that inspired her unfold in his
Christie’s, the English auction house, for enlighten the museum visitor unfamiliar essay “Location and Dislocation in the
20 years, I am accustomed to hearing the with the artist’s work and serve as a Life and Art of Georgia O’Keeffe.” His
pejorative nuance of seemingly neutral lasting document of a major museum account is important in understanding
commentary on American art. installation. Yet even here, if I tried how the range of travels impacted her
The critical observations seem not to to construct an all-around picture of aesthetic sensibilities thus countering the
have resonated with the Tate’s audience O’Keeffe and her stunning achievement, impression of a more rooted existence.
that, judging by the numbers, were avid I am somewhat stymied. The book does The remaining essays are devoted to
viewers. The show was seen by 342,406 contain a check list of the exhibition more specialized topics perhaps better
visitors, approaching the total number of but no reference to illustrations of the seen in a scholarly journal. Exhibition
visitors who came to the Georgia O’Keeffe exhibited works except a citation to catalogs today can take on a life of their
Museum during its inaugural year. the entry in the 1,198-page O’Keeffe own, using an exhibition as a springboard
One wonders whether an exhibition Catalogue Raisonné, which the typical to explore art historical themes that
can communicate the historical and indeed museum visitor is unlikely to possess. might be of less interest to the visitor
revolutionary importance of an artist While there is a chronology of O’Keeffe’s and are not readily evidenced in the
without showing the artist’s works in some life in the catalog, it is illustrated with exhibition itself.
context of his or her contemporaries.With photos of the artist. I will try to forget everything I have
only one added painting by John Marin The essays are another story. There read about the exhibition however since
and one by Marsden Hartley I assume the is an infor mative overview by the it will be opening in Toronto in mid-April
Tate visitor would have had to depend on exhibition’s curator Tanya Barson, and and I look forward to seeing it there. I shall
discursive labels to get the point at least an exploration of the O’Keeffe-Stieglitz relish the opportunity to look at O’Keeffe
intellectually if not visually. American artistic relationship by Sarah Greenough, in Canada with American if not totally
museums would have the advantage of curator of photography at the National uneducated eyes.
47
E A RT H
into Body
B O DY
into Earth
Andrew Wyeth (1917-2009), Winter, 1946, 1946. Tempera. © 2017 Andrew Wyeth / Artists Rights Society (ARS). North Carolina
Museum of Art, Raleigh. On view in Andrew Wyeth: In Retrospect at the Brandywine River Museum of Art.
48
A CENTURY OF
ANDREW
WYETH by James D. Balestrieri
I
n my mind, for as long as I can remember, there has been a connection between
the paintings of Andrew Wyeth and the poems of Robert Frost. I’m sure I’m
not the only one to feel this, nor even the first, and I’m equally sure that some
scholar out there would quite easily find the cracks in this connection I feel—
or is it see?—and the bridge I have built between Wyeth and Frost would
crumble. It’s something about the muted colors in Frost’s verses and Wyeth’s canvases,
something about what seems on the surface of each to be a straightforward, four-
square approach to their subjects, their passions, their intentions, something about
the secrets that lie beneath or just beyond those surfaces. It’s something about the
spindly woods, about how it always seems to be winter, even in July, something about
the earth, the mud, and light that is cold and hard and white, light that blinds rather
than illuminates. It’s how every color seems to start from a base of steel gray, how
every line and shape and space is somehow haunted by a presence that rarely reveals
itself as either benevolent or malign, and is all the more haunting for its reticence.
It’s how present the poems and paintings are, and yet, how the past—in the forms of
indifferent local ghosts—resides in and is ever present in each.
Andrew Wyeth (1917-2009), Alvaro and Christina, 1968. Watercolor on paper.

Farnsworth Museum of Art. © 2017 Andrew Wyeth / Artists Rights Society (ARS).
On view in Andrew Wyeth at 100 at the Farnsworth Art Museum.
49
One hundred years ago this year, Andrew Wyeth was born. As the son of N.C.
Wyeth—the famous artist, illustrator and an exacting taskmaster as a father—it would
not have been surprising if Andrew had veered as far away from art as possible. He
didn’t, though it might be said that his art veered away from his father’s, taking its
own course into introspection, isolation and an alliance forged at the intersection of
realism and abstraction.
Andrew Wyeth: In Retrospect, at the Brandywine River Museum of Art, and Andrew
Wyeth at 100, at the Farnsworth Art Museum, take this centennial moment to
reconsider and reappraise Wyeth’s work and place in American art.
In thinking about this essay you are reading, I discovered that N.C. Wyeth used to
read Frost to his family, that Andrew was moved by Frost’s verse, and that, when Frost
was named America’s poet laureate, Andrew Wyeth presented him with a painting.
This surprised me less than you might imagine.
Andrew Wyeth was born in 1917, the year the United States entered World
War I. As Christine Podmaniczky and Henry Adams write in their excellent essays
for the Brandywine catalog, young Andrew Wyeth was captivated by images of
trench warfare and was especially moved by what came to be his favorite film: King
Vidor’s World War I epic, The Big Parade (still a great film, by the way). Portraits of
Karl Kuerner, who had been a German soldier, in his uniform, and Ralph Cline,
who had fought in the American army, in his, attest directly to Wyeth’s interest.
Andrew Wyeth (1917-2009), Alvaro on Front Doorstep, 1942. Watercolor on paper. Marunuma Art Park. © 2017
Andrew Wyeth / Artists Rights Society (ARS). On view in Andrew Wyeth at 100 at the Farnsworth Art Museum.
50
Andrew Wyeth (1917-2009), Evening at Kuerners, 1970. Drybrush watercolor. © 2017 Andrew Wyeth / Artists Right Society (ARS).
Private collection. On view in Andrew Wyeth: In Retrospect at the Brandywine River Museum of Art.
Deeper than that are the connections to be made between the mud of the European
battlefields and trenches, the saturating presence of death in the textures of the
earth, and the ghosts of the past, the layers of history, that seep up from the hills
and dunes as Wyeth painted them.Vidor’s film, battles with toy soldiers, stereoscopic
images of World War I battles, a book of paintings by Claggett Wilson—the artist
and veteran whose raw, and influential, watercolors of the war I recently wrote
about in these pages—created Wyeth’s “war memory,” a memory that, in turn,
shaped both his philosophy and his style. Podmaniczky writes, “…[T]he ground
held infinite stories, and so did the grasses and ground he painted as a mature artist.
Working in tempera, Wyeth would have been inspired, indeed excited, by the very
pigments he preferred—the ochres, umbers, and siennas, natural earth colors ground
from rocks and soil—which held stories only he could imagine.”
Winter, 1946, one of the artist’s greatest works, painted during an incredibly
fruitful period that gave rise to Christina’s World, has a no man’s land feel, something
of Macbeth’s “blasted heath” about it. Wyeth saw the boy, whose name was Allan
Lynch, racing down this hill, Kuerner’s Hill, and joined him in his games.
But death haunted this place. At the base of Kuerner’s Hill, only a year earlier,
N.C. Wyeth and his grandson—Andrew’s nephew—had been killed in an automobile
accident. This very boy, Allan, “had guarded the body until firefighters came to cut
it loose,” and had “pushed away the fierce dogs that had gathered to lick the blood,”
writes Adams. In the painting, Lynch seems terrorized by his own shadow, pursued
by some ghost, perhaps time itself. Despite the skill with which Wyeth captures the
boy’s downhill acceleration, his isolation and desolation arrest him in time. He and
his shadow are part of the land, chthonic beings, organic statuary. As Wyeth said to his
51
Andrew Wyeth (1917-2009), Snow Hill, 1989. Tempera. © 2017 Andrew Wyeth / Artists Rights Society (ARS).
biographer, Richard Merryman, “The boy was me at a loss, really. His hand, drifting
in the air, was my hand almost groping, my free soul.” At the same time, the hill
where his father had died, became, in Wyeth’s mind and through the alchemy of his
brush, his father. Wyeth claimed that “when he was painting the hill, he could almost
hear his father breathe.”
In Robert Frost’s poem Birches, the poet/narrator sees birch trees bent by ice and
says: “I should prefer to have some boy bend them/ As he went out and in to fetch
the cows—/ Some boy too far from town to learn baseball,/ Whose only play was
what he found himself,/ Summer or winter, and could play alone…” The poem
concludes with a wish to spring away from the world and return, set down gently.
The boy might be Allan Lynch—or Andrew Wyeth. In the end it’s just an old man’s
wish for a second chance.
Andrew Wyeth’s pictorial language is poetic. Soil, snow, white light, brown grasses,
shades of gray: he imposes limits on his subjects and his palette, shaping himself,
through his work, into a genius loci—a presiding spirit over rural Pennsylvania and
coastal Maine who is himself bound to those places. He derives his power from them;
they reward him through his art.
This idea, that the people Wyeth painted were part of the land, and that the land—
along with objects that individual people used routinely in their daily lives—not
only defined the people, but were those people, is the spiritual substratum beneath
the artist’s mature work; it is an aesthetic transubstantiation. Instead of water and
wine as body and blood, Wyeth transforms the earth into the figures he paints and
the figures he paints into the earth they know as home.
52
Of Christina’s World, still one of the best known and most reproduced American
artworks, “Wyeth once mused: ‘If I was really good, I could have done the field in
Christina’s World without her in there. The less you have in a picture, the better the
picture is, really.’” Considering how many people love that painting, how much
meaning they find in it, it is truly remarkable for Wyeth to say that it would be
improved by the absence of the figure.
Andrew Wyeth continues to be of the most popular American artists, not only here
in the United States, but in Europe and Asia. But in looking at his temperas of the
Kuerners and Olsons, his paintings of African-Americans and especially the Helga
series,Wyeth is the absolute antithesis of, say, Norman Rockwell. Rockwell’s homespun
nostalgia, in Wyeth, becomes the tattered lace of a curtain blowing in the open window
of house haunted by its inhabitants. The sense of community that is almost always
present in Rockwell, even when one of his figures—a soldier returning home, for
example—harbors some darkness, is absent from Wyeth.The continuity that you find in
Grant Wood’s agrarian Iowa translates as a hardscrabble, punishing existence in Wyeth.
There is relief, at times, in Wyeth’s watercolors, especially those he did in Maine.Yet even
these run congruently with Robert Frost’s sea verse, as in Neither Out Far Nor In Deep:
The land may vary more; They cannot look out far.
But wherever the truth may be— They cannot look in deep.
The water comes ashore, But when was that ever a bar
And the people look at the sea. To any watch they keep?
Andrew Wyeth (1917-2009), Pentecost, 1989. Tempera. © 2017 Andrew Wyeth / Artists Rights Society (ARS).
53
Andrew Wyeth (1917-2009), Her Room, 1963. Tempera on panel. Collection of the Farnsworth Art Museum. © 2017 Andrew Wyeth / Artists Rights Society
(ARS). On view in Andrew Wyeth at 100 at the Farnsworth Art Museum.
Andrew Wyeth (1917-2009), Two Figures in a Dory, 1937. Watercolor. © 2017 Andrew Wyeth /
Artists Rights Society (ARS). Brandywine River Museum of Art, anonymous gift, 2013.
On view in Andrew Wyeth: In Retrospect at the Brandywine River Museum of Art.
54
Andrew Wyeth (1917-2009), Airborne Study, 1996. Watercolor on paper. The Andrew and Betsy Wyeth Collection. © 2017 Andrew Wyeth
/ Artists Rights Society (ARS). On view in Andrew Wyeth at 100 at the Farnsworth Art Museum.
The truth? Rockwell and Wyeth represent strains of the American character: community
versus solitude; garrulous sociability versus flinty subsistence. People who need people,
as the song goes, versus people who don’t (or think they don’t). This opposition
permeates our history, our philosophical outlook, our politics. Wyeth worked these
themes into paintings that ride the knife edge between realism and abstraction. We see
the rime-frosted land, the figures turned inward and away, the haunted houses and hills,
knowing full well that they mean something else. But this one-to-one correspondence
between surfaces and meanings breaks down; the transubstantiation twists once more
when the landscape that is the person and the person that is the landscape begin to
reflect our inner doubts and deepest fears. Those people in those paintings—Andrew
Wyeth’s paintings—live the desolations we all feel.
April 15-December 31 June 24-September 17

Andrew Wyeth at 100 Andrew Wyeth: In Retrospect
Farnsworth Art Museum Brandywine River Museum of Art
16 Museum Street 1 Hoffman’s Mill Road
Rockland, ME 04841 Chadds Ford, PA 19317
t: (207) 596-6457 t: (610) 388-2700
www.farnsworthmuseum.org www.brandywine.org
55
Lasting
Impressions
This contemporary Washington state home features a collection dedicated
to American impressionism By John O’Hern | Photography by Francis Smith
H igh in a modern
condominium in Bellevue,
Washington, is a collection
of American impressionist paintings
that is right at home in the sleek,
smaller but more open space where they
can see every piece every day. There
are no longer back bedrooms where a
painting might hang unnoticed for days.
When the couple purchased the
explains. “We weren’t afraid of blue
because we had seen it in Allan Kollar’s
gallery. We have lots of paintings with
blue skies!” she says with a laugh. The
furniture is contemporary, too. “It was
light-filled space. Its former home was condo, the walls were a soft green and time for something new,” she says.
darker and traditional—and the art fit the interior structural columns were “When we moved to Seattle in
right in as well. painted purple. Today the space is a 1988,” she continues, “we thought
However, in their new home, the uniform pale blue, a perfect backdrop we’d make art a focus of our home.
collectors are experiencing it more for gilt frames and bright impressionist My husband’s parents collected Indiana
intimately since it is gathered into a colors. “Blue is our favorite color,” she impressionists so we thought we’d
56
Opposite page: Fruit Still Life, oil on panel, by Severin Roesen (1815-1872) hangs in the kitchen.
On the far wall is The Stream, oil on panel, by Eliot Candee Clark (1883-1980). Above: The Sun Worshippers,
circa 1911-1915, oil on canvas by Abel G. Warshawsky (1883-1962), hangs above the fireplace.
57
Above the credenza in the entry is Connecticut Barn, circa 1915, oil on canvas, by Wilson Henry Irvine (1869-1936). Next to it is The Stream, oil on panel,
by Eliot Candee Clark (1883-1980). Just visible through the doorway is September Afternoon, 1913, oil on canvas, by Charles Courtney Curran (1861-1942).
On the side wall is Pont Neuf Leading Over the Seine to the Île de la Cité, circa 1930, by Abel George Warshawsky (1883-1962).
collect Washington impressionists. above the fireplace. “There’s a soft gives the names of the boys and the
We soon learned there hadn’t been a romanticism to the painting,” she says. roles their fathers played in the village.
significant art community here. “You can stand close and look at the That provided a date for the painting,
“At about that time,” she explains, brushstrokes and the lavender, yellow which was actually seven years earlier
“we met Allan Kollar, who has since and green that make up the rock that than Allan had thought.
become a good friend. He asked ‘Why dominates the foreground. When you “Some people whose collections
not American impressionism?’” Their step back the whole painting has an we see in American Fine Art have other
collection had found its focus. ethereal feeling.” collections as well, such as antique
“Both individually and as a couple,” He says, “The Sun Worshipers is furniture,” he continues. “We seek out
he says, “impressionism has always been her favorite painting. We were aware and collect rare books and catalogs on
what we liked. We’re not drawn to that Warshawsky had written an each of our artists. We learn so much
contemporary or earlier work.” autobiography. He had slipped on the more about the artists that way. Several
She comments that in their new rocks and crushed his leg. During his have been inscribed by the artist or his
environment they can relate more recovery he decided to write about wife. When we sell or trade a painting,
intimately to the paintings. Abel his life up to that time. In the book the books go with it.”
Warshawsky’s The Sun Worshipers hangs he describes painting this painting and The couple had gone to hear a
58
Left: In the entry is Pont Neuf Leading Over the Seine to the Île de la Cité, circa 1930 by Abel George Warshawsky (1883-1962). Next to it is Street Carnival,
1948, oil on panel, by Everett Shinn (1876-1953). To the right is Poppies and Lupines under the Oak, watercolor, by Percy Gray (1869-1952).
Right: Winter Sun, oil on board, by Percy Moran (1862-1935).
lecture by Kollar at the Seattle Art

Museum and stayed late to meet him.
“He is the only significant dealer here
dealing in older American paintings,”
the husband explains. “We frequented
his gallery and he was gracious with
his information and teaching. We’ve
known him for close to 30 years.
“Allan and his daughter, Colleen
Zorn, are incredible father-daughter art
dealers. Allan will tell us this in an ‘A’
painting by an artist. He is so confident
in anything he sells he’s willing to take it
back or buy it back. We sometimes sell or
trade to get something we like better.”
Although the couple concentrates
on impressionism, they sometimes
surprise themselves. “When Allan gets
new paintings,” she says, “we’ll go by
to look. We were in the gallery one day
and independently kept going back to
Summer Flowers, circa 1930, oil on canvas, by Carl Graf (1892-1947), is in the master bedroom.
one painting. It was a still life by Severin
Roesen. It was older than anything we
59
owned and it was not impressionist. We
ended up in front of it at the same time,
looked at each other, and to Allan’s
surprise, we bought it.”
Roesen’s bright, crisply painted still
lifes are often much larger than the
painting in their collection. But this one,
in its original frame, has a presence that
commands its place in the collection.
The collectors learned early to “find
a mentor.” They found that in Kollar
and, later on with Zorn. Not only can
mentors point out “A” paintings rather
than “C” paintings, they can advise on
its proper presentation.
The husband comments,
“Occasionally we will buy a work
from Allan and he will say the frame
doesn’t do it justice. We’ve had several
reframed. The large Warshawsky is
the latest. Richard Boerth at Atelier
Richard Boerth has hundreds of
antique frames and found one for us
that was carved in 1916-1917 and
reconditioned it.” In the entry are Boats at the Jetty, oil on canvas, by Charles Gruppé (1860-1940), Poppies and Lupines
She comments on another advantage under the Oak, watercolor, by Percy Gray (1869-1952) and the couple’s cat Monet.
of having a mentor early on. “We
weren’t art experts. We bought a few
paintings from another dealer. Gallery
owners are salespeople and that time
the salesman won out. One of the
paintings turned out to be good and
the others weren’t. Find someone you
can trust.”
Both collectors agree with the
truism that you need to buy what you
love. She says, “Figure out a way to do
it. When you begin it feels like a big
monetary sacrifice, and it is. But, it will
always have value to you.”
He advises, “Buy the best quality you
can—an ‘A’ or a ‘B.’ Quality counts. We
haven’t bought with the intention that
they will appreciate. I know that they do
having done this for many years.
I attribute this to the guidance from Late Afternoon Snow, watercolor, by James Milton Sessions (1882-1962), and Sunset on a Country
Allan and Colleen. They don’t present us Road, 1893, by John Joseph Enneking (1841-1916), are in the master bedroom.
with a ‘C’ painting. They tell us that these
are the paintings that will increase in Cassie for Marie Cassatt and Sarge for She comments, “I’ve become
value as the artist becomes more widely John Singer Sargent. especially aware of art when I’m
known. It’s always better to have an ‘A’ “It’s not about being encyclopedic someplace where there isn’t any. In the
painting by a less well known artist than and having a piece from every condominium I’m more aware of the
a lesser painting by a big name. important artist,” he continues. “It has to art than I was in the traditional house.
They know that their cat Monet is be something to fall in love with. We’d I can get up close and personal. The
the only Monet they’ll ever own. For rather live with it than without it. The paintings are the underpinning of my
the same reason, their other cats are decision is from the heart not the head.” daily life.”
60
Gallery Shows
Previews of upcoming shows of historic American art at galleries across the country.
Jane Peterson (1876-1965), Boats in Harbor, Gloucester. Oil on canvas, 29½ x 39½ in., signed lower right: “JANE PETERSON’. On view at Vose Galleries.
62 Powerful Emotions
Somerville Manning Gallery hosts exhibition in
72 Survey of Modernism
New exhibition at Menconi + Schoelkopf
celebration of Andrew Wyeth’s 100th birthday narrates the evolution of American modernism
66 Monumental Triad
Max Ernst’s sculptural ensemble Teaching
76 Ethereal Nature
Work from throughout Grace Hartigan’s
Staff for a School of Murderers is on career on view at ACA Galleries
display at Paul Kasmin Gallery
68 The Grand Tour

Images from home and abroad to be
61
featured in new Jane Peterson exhibition
at Vose Galleries in Boston
GALLERY PREVIEW: GREENVILLE, DE
Powerful Emotions
Somerville Manning Gallery hosts exhibition in celebration
of Andrew Wyeth’s 100th birthday
viewer to experience his painting in

June 6-July 29 the light and atmosphere from which
it was painted.” Opening June 6, the
Somerville Manning Gallery
Breck’s Mill, 2nd Floor exhibition continues through July 29.
101 Stone Block Row Wyeth painted the people and places
Greenville, DE 19807 he was most familiar with and loved the
t: (302) 652-0271 most near his homes in the Brandywine
www.somervillemanning.com River Valley of Pennsylvania and the
coast of Maine. He said, “I put a lot of
things into my work which are very
T he 100th birthday of Andrew

Wyeth (1917-2009) is July 12.
It is a good time to re-examine
one of the most popular and one of the
most vilified American artists.
personal to me. So how can the public
feel these things? I think most people
get to my work through the back
door. They’re attracted by the realism
and they sense the emotion and the
Large retrospective exhibitions and abstraction—and eventually, I hope,
smaller, more intimate exhibitions will they get their own powerful emotion.”
take place over the next few months At the time of a major retrospective
approaching the artist and his work of his work at the Metropolitan Museum
from the perspective not only of the in 1976, the museum’s director, Thomas
passing of time but also the passing of Hoving, had to take over final planning of
some of his harshest critics. the exhibition because the curator, Henry
Somerville Manning Gallery Geldzahler, pulled out, claiming, “My
in Greenville, Delaware, began its clique wouldn’t like having me associated
association with the Wyeth family in with Wyeth.” Critic Dave Hickey wrote
the 1980s when it began representing that Wyeth painted with a palette of
the estate of N.C. Wyeth (1882-1945), “mud and baby poop.” Robert Hughes
Andrew’s father. It has since shown expounded that the paintings embodied
Andrew’s work as well as that of his “a frugal, bare-bones rectitude, glazed by
son Jamie. The gallery notes, “Wyeth is nostalgia but incarnated in real objects,
a pivotal artist in the international art which millions of people look back upon
scene who maintained his own form of as the lost marrow of American history.”
realism during a shift from modernism Wyeth’s work was also suspect among
to abstract expression. In the face of art the art intelligentsia because it was
world criticism that favored the current popular and, perhaps worse, populist.
mode of abstraction Wyeth steadfastly Populism, especially today, is a difficult
painted his own mind and style, using concept for some, especially when it
representationalism to express his results in knee-jerk reactions as narrow as
deep innermost feelings and emotion. those of Geldzahler, Hickey and Hughes.
Careful examination of his subject and At the time of the Met exhibition,
a multitude of studies was his style.” Wyeth had just finished Corn and
The exhibition will include works in Grist, which will be in the Somerville
watercolor, drybrush and egg tempera Manning exhibition. In an interview
displayed in “an old textile mill on with Hoving, he described his technique:
the Brandywine River, allowing the “I work in drybrush when my emotion
62
Andrew Wyeth (1917-2009), Corn and Grist. Watercolor on paper, 21½ x 29½ in., signed in ink
lower left: ‘Andrew Wyeth’; identified and dated ‘1976’ on a label from Nicholas Wyeth, Inc., New York,
affixed to the frame backing. © 2017 Andrew Wyeth / Artists Rights Society (ARS), New York.
63
Andrew Wyeth (1917-2009), Blowing Leaves, 1980. Watercolor, 20 x 27 in. © 2017 Andrew Wyeth / Artists Rights Society (ARS), New York.
64
gets deep enough into the subject. So
I paint with a smaller brush, dip it into
color, splay out the brush and bristles,
squeeze out a good deal of the moisture
and color with my fingers so that there
is only a very small amount of paint left.
Then when I stroke the paper with the
dried brush, it will make various distinct
strokes at once, and I start to develop
the forms of whatever object it is until
they start to have real body…Drybrush is
layer upon layer. It is what I would call a
definite weaving process.You weave the
layers of drybrush over and within the
broad washes of watercolor.”
Within the description are words
that are key to understanding the artist
himself—“when my emotion gets deep
enough into the subject…” At another
time he wrote, “Really, I think one’s
art goes only as far and as deep as your
love goes.” And again: “You can have
all the technique in the world and can
paint the object, but that doesn’t mean
you get down to the juice of it all. It’s
what’s inside you, the way you translate
the object—and that’s pure emotion.”
Wyeth painted the mundane and the
weathered both in the environment and
among the people with whom he shared
it. In Corn and Grist the landscape is as
bleak and as monochromatic as it really
is at the end of winter. It is a fact of life.
Wyeth wrote, “I prefer winter and fall,
when you feel the bone structure of the
landscape. Something waits beneath it;
the whole story doesn’t show.”
Also in the exhibition is a watercolor,
Blowing Leaves, a representational
abstraction of the built and natural
environment in a brief moment of
change. Shadows of the scarred trees
move across the grass and the facade of
the sturdy shuttered building as leaves
are driven by the wind.
Wyeth’s paintings of blowing leaves,
curtains in open windows, fishing nets
and the winter wash on a clothesline
capture a breath of fresh air.
Hoving wrote that Wyeth “has
always painted for himself.” Wyeth
wasn’t that different from the rest of
us. If we pause to look at his paintings
we will “sense the emotion and the
abstraction—and eventually…” get our
own powerful emotion.
GALLERY PREVIEW: GREENVILLE, DE 65

GALLERY PREVIEW: NEW YORK, NY
Monumental Triad
Max Ernst’s sculptural ensemble Teaching Staff for a School of Murderers
is on display at Paul Kasmin Gallery
Through May 13
Paul Kasmin Gallery
515 W. 27th Street, New York, NY 10001
t: (212) 563-4474, www.paulkasmingallery.com
I n the Hebrew bible, the prophet Isaiah had

a vision of seraphim, as the highest order of
angels, surrounding the throne of God and
singing praise, “Holy, holy, holy, is the LORD of
hosts: the whole earth is full of his glory.” In the
Book of Genesis, after the apple was eaten, God
placed cherubim to guard the Tree of Life against
Adam and Eve.
Big Brother is not in the Bible.
Max Ernst’s sculptural ensemble, Corps enseignant
pour une école de tueurs (Teaching Staff for a School of
Murderers), 1967, brings the three together—flanking
Big Brother are Séraphine Cherubin and Séraphin
le Néophyte. The sculptures are on view at Paul
Kasmin Gallery in New York through May 13. The
gallery explains that the ensemble is “comprised of
three monumental bronze figures, the sculptures
synthesize Ernst’s iconic use of language and
sharp witticism that in turn transcend personal
significance and make pointed commentary on the
modern social and political climate.”
Big Brother, 5 feet tall, is a large head with
prominent eyes peering out from the shade of a
flat cap, the epitome of covert surveillance. Ernst
was inspired by George Orwell’s novel 1984
in which the citizens of the totalitarian state of
Oceania are under constant surveillance and are
warned, “Big Brother is Watching You.”
He is flanked by the two angelic figures, over
6 feet tall, singing constant praise and preventing
access by the rabble.
Ernst was born in Germany and studied art
there. He was drafted into the army in WWI
and was traumatized by the event and by the
politics that brought it about. He wrote, “On the
first of August 1914 M[ax].E[rnst]. died. He was Max Ernst (1891-1976), Séraphine Cherubin, 1967. Bronze, 79 x 30 x 31 in. © 2017 Artists
resurrected on the eleventh of November 1918.” Rights Society (ARS), New York / ADAGP, Paris. Photo by Christian Baraja.
66
Max Ernst in his studio in Huismes, France, fabricating stone versions of École de Tueurs, 1968. © Andre Morain, Paris.
© Artists Rights Society (ARS), New York, NY / ADAGP, Paris, France.
He became an iconoclast, creating some pretentious instruction book to

nonrepresentational works that justify their existence will never again
challenged tradition. He was interested find their way to the German people.”
in the artwork of the mentally ill and He fled Europe for the United States
in the dream theories of Sigmund in 1941 and, with other exiles such as
Freud, which he used to delve into his Duchamp, Mondrian and Chagall, had
subconscious and the source of his own a profound influence on a younger
creativity. He became a pioneer of the generation of American artists.
Dada movement that rebelled against The gallery notes, “Ernst’s body
the conformity in politics and society of work demonstrates his persistent
that had brought about the violence of engagement with culture, especially
WWI. The poet Tristan Tzara wrote, in terms of the social and political
“The beginnings of Dada were not the climate. His subjects range from ancient
beginnings of art, but of disgust.” André mythology to literature to theory, often
Breton’s First Surrealist Manifesto was imbued with undertones of the artist’s
published in 1924 and Ernst became biting humor. While varied, Ernst’s work
one of the principal proponents of also exhibits consistency in the recurring
surrealism. scenes of highly incongruent and
Ernst’s paintings were among those disorienting groups of figures and objects
accumulated by Hitler for an exhibition that often display striking disruptions of
of Degenerate Art held in Munch in scale, invoking an overwhelming sense
1937. Before the exhibition, Hitler of anxiety. For Ernst, art was a device by Max Ernst (1891-1976), Big Brother, 1967.
Bronze, 60 x 37 x 39 in. © 2017 Artists Rights
said “works of art which cannot be which the nightmarish realities of the Society (ARS), New York / ADAGP, Paris. Photo
understood in themselves but need world could be reflected.” by Christian Baraja.
67
GALLERY PREVIEW: BOSTON, MA
The Grand Tour

Images from home and abroad to be featured in new Jane Peterson
exhibition at Vose Galleries in Boston
May 20-July 1
Vose Galleries
238 Newbury Street
A fter an extended stay in Turkey
in 1924, painter Jane Peterson
came to Boston with more
than 50 new works that were exhibited
the following year in a massive show
says Vose Galleries director Carey Vose.
“He began showing their work as
early as 1913, and since that time Vose
Galleries has presented nearly 100 one-
woman exhibitions. Peterson’s work has
Boston, MA 02116
t: (617) 536-6176 mounted by Robert C.Vose and Vose been a favorite of all of the past four
www.vosegalleries.com Galleries. “Championing women artists generations of our family, especially my
was not new to my great-grandfather,” parents who have owned a wonderful
Jane Peterson (1876-1965), Boats in Harbor, Gloucester. Oil on canvas, 29½ x 39½ in., signed lower right: “JANE PETERSON’.
68
Jane Peterson in her New York studio, circa
1928. Courtesy J. Jonathan Joseph.
which shows her careful balance of

light and shadow on both sides of a
canal in the famous Italian city.
Peterson was born in Illinois in 1876.
In 1895, with a $300 loan from her
mother, she left for the Pratt Institute
in Brooklyn, New York, where she
studied under Arthur Wesley Dow.
After she graduated in 1901, she began
a rewarding career of teaching art in
Brooklyn and then later in Elmira,
New York, as well as in Boston and
Baltimore. By 1907, with her initial
loan repaid and money saved, Peterson
began her travel abroad, with visits to
the Holland, Italy and other European
Jane Peterson (1876-1965), Canal, Venic, Italy, ca. 1907. Oil on canvas, 40 x 30 in.,
destinations. These trips eventually led
signed lower left: “JANE PETERSON’.
to her further studying under greats
such as Frank Brangwyn in London,
Gloucester street scene by the artist for says. “The estate sale of Jane Peterson Jacques-Émile Blanche in Paris, Joaquín
many years.” was to be held at her summer home in Sorolla y Bastida in Madrid, and also at
Ninety-two years after first showing Ipswich, Massachusetts, later that month, the Art Institute of Chicago. Later trips
her work,Vose Galleries will once with paintings starting at bids as low as abroad took her to Turkey and North
again host an exhibition for Peterson: $20. The ad went on to state that, ‘If Africa, where she painted among the
Rhythmic Arrangements opens May 20 at you miss this sale, you will miss one of bazaars and other places that might
the Boston gallery. The show will feature the really great opportunities to acquire be dangerous to an American woman
a variety of works, including many from great art!’ Luckily our clients heeded traveling alone. “Isn’t it strange,” she
her adventures around Europe, as well as this warning, and we are very pleased to wrote, “here I am alone, going to the
images from New England. offer these stellar fresh examples for the most fanatical town in Turkey, can’t
“The majority of the paintings in first time in over 50 years.” speak a word of the language, on a
our current exhibition come from a Works in the show include two cheap boat to an unknown port, and
local private collection, which we have stunning harbor scenes—Boats in I am not the least bit afraid.”
been appraising since 1974. O. Rundle Harbor, Gloucester and Fishing Boats in “Peterson was fearless and
Gilbert Auctioneers ran a classified ad Gloucester, both of which display her independent in both her work and
in the used furniture section of the fluid brushstrokes and delicate use of her personality, expanding her studies
Boston Globe in early August 1966,”Vose color—as well as Canal, Venice, Italy, abroad beyond the typical ‘Grand Tour’
69
Jane Peterson (1876-1965), Larkspur. Oil on canvas, 321⁄8 x 321⁄8 in., signed lower left: “JANE PETERSON’.
of Europe to visit and paint in such reproduce what I see, but to present impressionistic and early modernist
exotic locales as Turkey, Algeria, Egypt it in terms of the fundamentals of techniques and bright colors in her
and Morocco,”Vose says. “In a review balance and rhythm. Sizes, shapes, tireless quest to translate the natural
of our 1925 show, she explained her colors are thought out, arranged world onto the canvas in scintillating
approach to painting: ‘Each time I go carefully to balance each other off, and and fresh ways.”
abroad, I establish a new problem for established, and fit into the picture in Other works in the show include
myself, and proceed to work upon a rhythmic arrangement.’ Her style has still lifes and quiet outdoor scenes
it as a basis. I do not paint merely to never been easily classified, as it blends such as Larkspur, depicting a close-up
70
Jane Peterson (1876-1965), Fishing Boats at Gloucester. 24 x 301⁄8 in., signed lower right: “JANE PETERSON’.
of several flowers and the field that

stretches behind them, and Zinnias, a
more classical still life with a simple
arrangement of zinnia flowers in a
striped vase with what appears to be
animal silhouettes on it.
A highlight from the show is Old
House, Bursa, Turkey, which shows her
line work that forms the anchoring
bedrock for the watercolor and gouache
color that spills beautifully into each
charcoal-ringed shape that forms the
abstract superstructure of the work.
Rhythmic Arrangements will be on
view at Vose Galleries through July 1.
Jane Peterson (1876-1965), Old House, Bursa,

Turkey. Watercolor, gouache and charcoal on
paper, 18 x 237⁄8 in., signed lower right:
‘JANE PETERSON’.
GALLERY PREVIEW: BOSTON, MA 71

Survey of Modernism
New exhibition at Menconi + Schoelkopf narrates the
evolution of American modernism
American Modernism, which will

May 8-31 display up to 15 examples of these
works to highlight the unique aspects
Menconi + Schoelkopf
13 E. 69th Street of the genre.
New York, NY 10021 “The essential thread that we’re
t: (212) 879-8815 trying to draw out is there is this
www.msfineart.com strong connection between turn
of the century art, Ashcan work
and what becomes New York
School abstract expressionism,”
T he definition of American
modernism is one that can
have varying perspectives,
as it developed out of a number
of artistic styles and influences.
says Jonathan Spies, director of the
gallery. “In addition to that, there
is this great polyphony of voices
of what American modernism
is going to be. Between 1913
Roughly dating from the 1913 and 1941, no one has real claim
Armory Show to the end of World to what [American modernism]
War II, the movement saw the is, but by the 1950s it seems to
emergence of distinct groups of be tidied up and answered from
artists—such as the Stieglitz Circle— another historical perspective. We’ll
to those working independently. This have hits from the Stieglitz Circle,
May, Menconi + Schoelkopf in New independent artists and just some
York City will present the exhibition real oddballs.”
Marsden Hartley (1877-1943), New Mexico Landscape, 1918-19. Pastel on paper, 17 x 28 in.
Joseph Stella (1877-1946), Landscape, 1934. Pastel on paper,

19 x 25 in., signed and dated lower right: ‘Joseph Stella / 1934’.
72
73
Above: Joseph Stella (1877-1946), Untitled (Swans, left). Oil on canvas, 28 x 18 in., signed lower right: ‘Jos. Stella’. Right: Alfred H. Maurer (1868-1932), Fauve
Landscape with Tree and Road, ca. 1925-30. Oil on board, 21½ x 18 in., signed indistinctly lower center: ‘A. H. Maurer’; signed verso lower left: ‘A. H. Maurer’.
Included in the exhibition will be styles in an attempt to find his artistic birds—means creation but without
pieces by Alfred H. Maurer, Joseph voice. These two works are examples being sullied by sin. He was deeply
Stella, Stuart Davis, Marsden Hartley, of Stella’s journey. into the iconography about virtue and
Oscar F. Bluemner and Paul Manship. “Among other things, he really artistic creation and what that meant.”
Stella is represented by two distinct believed turning to nature, looking In Stella’s Landscape, a figure in gold
works of art: the 1934 pastel on at flowers and animals, is going to is pictured at the edge of a wooded
paper Landscape and the oil on canvas be the way to reveal his inner spirit,” area. “The iconography is a little
Untitled (Swans, left). One of the artist’s says Spies, who explains animals such less clear, but it’s almost certainly a
most famous early works was Brooklyn as bulls and swans often appear in landscape he viewed in the Bronx
Bridge, painted around 1920, and from Stella’s work. “He goes into depth in where he worked freely,” Spies explains.
there he worked in several different his journals that the swan—these great Another artist who had a dynamic
74
Oscar F. Bluemner
(1867-1938), Color
Psychology, ca. 1933.
Gouache on paper,
45/8 x 5¾ in., inscribed
with title verso.
Oscar F. Bluemner
(1867-1938), Untitled
(Red House), 1926.
Watercolor and other
media on paper, 3¼
x 2¾ in., signed with
monogrammed initials
lower right: ‘OFB’.
trajectory with his art is Maurer, who says Spies. “[Its] explosive color, broken These two, Spies says, are typical of
in the late 19th century worked as lines are pointing away toward not the artist’s more mature period and
a traditional realist painter until he necessarily abstraction, but toward an show a common theme in his work
adopted a more Fauvist style in the expressionism that hadn’t really found a of buildings glowing with inner light.
mid-1900s that continued until the voice in America yet.” Spies adds, “With him, these were
1930s. His painting Fauve Landscape with Two small-scale works by Stieglitz deeply and emotionally connected to
Tree and Road, circa 1925 to 1930, will Circle member Bluemner also will be his internal state.”
be on view on the show. “We know this on view in the exhibition: Untitled (Red American Modernism will hang at the
[painting] is probably from the ’20s, but House), 1926, and from circa 1933, Color gallery from May 8 to 31, and will be
still it is one of the most radical things Psychology. Similar to Stella, Bluemner’s on view during the Just Off Madison art
being made in the U.S. at the time,” works had personal connections. walk on May 22 from 4 to 7 p.m.
GALLERY PREVIEW: NEW YORK, NY 75

Ethereal Nature
Work from throughout Grace Hartigan’s career on view at ACA Galleries
April 27-June 3
ACA Galleries
529 W. 20 Street,
th
I n 1953, Grace Hartigan made a
name for herself when her work
was featured in the Museum
of Modern Art’s Twelve Americans
exhibition. From April 27 to June 3, a
broke with the abstract movement,
adding figuration back into her work,
much to the dismay of powerful
art critic Clement Greenberg, who
thought the change made her work
New York, NY 10011
(212) 206-8080 retrospective of Hartigan’s work from seem too old fashioned. The change
www.acagalleries.com the 1950s to 2000s will be on view at also temporarily alienated her from
ACA Galleries. close artist friends, including Robert
During the mid-1950s, Hartigan Goodnough and Joan Mitchell.
Grace Hartigan (1922-2008), Hollywood Interior, 1993. Oil on canvas, 66 x 78 in.
76
Grace Hartigan (1922-2008),
I Remember Lascaux, 1978. Oil on
canvas, 77 x 118 in.
Grace Hartigan (1922-2008),

Blood and Wine, 1975. Oil on
canvas, 78 x 96 in.
77
“Hartigan’s expressive figuration
resulted from deep emotional and
psychological identifications with
her subjects and a re-evaluation of
her painting procedures,” Robert
S. Mattison, Marshall R. Metzgar
Professor of Art History at Lafayette
College, writes in an essay for the
exhibit’s catalog. “Her investigations
into the areas between figuration and
abstraction became a lifelong drive
for her art. Hartigan sought to invest
everyday objects and occurrences with
allegorical meanings that captured her
view of modern existence.”
ACA Galleries curator Mikaela
Sardo Lamarche says, “The show
doesn’t focus too much on the early
years, but instead it uses the early
pieces as a lens to interpret the later
work, which hasn’t received as much
attention.”
Flower Pot, on view at the exhibition,
was painted in 1954, shortly after her
break from abstraction. “People are
expecting totally abstract pictures, and
even though it has abstract qualities,
the image is definitely a still life,”
Lamarche says.
Tatiana is Hartigan’s own
interpretation William Shakespeare’s
character from A Midsummer’s Night
Dream, and the painting reflects her
view of feminism. “Hartigan’s Tatiana
is a figure of both dignity and fantasy.
The queen of the fairies dominates
the picture surface with her powerful
presence and direct gaze,” Mattison says
in his essay. “These features are balanced
her fantastic feathered costume and
wings. The rich blue washes of pigment
suggest her ethereal nature.”
An opening reception will take place
Saturday, April 29, from 2 to 4 p.m., and
Mattison will give a gallery talk about
Hartigan’s work Saturday, May 13, from
2 to 4 p.m.
Top: Grace Hartigan (1922-2008), Follies of 1927,

1989. Oil on canvas, 78 x 60 in.
Left: Grace Hartigan (1922-2008), Study for
Montauk Highway, 1957. Collage on paper.
22 x 28 in.
78
Events & Fairs
Coverage of all the major art fairs and events taking place across the country.
Edward Hopper (1882-1967), Study for the Painting “Portrait of Orleans”, 1950. Pencil on paper, 10½ x 16 in. Courtesy David Tunick, Inc. Available at Just Off Madison, May 22.
REPORTS PREVIEWS
80 Strong Turnout
The ADAA’s 2017 Art Show drew large crowds
82 Open House
Over a dozen private New York City galleries open
their doors during American Art Week
79
EVENT REPORT: NEW YORK, NY
The Art Show’s opening gala drew 2,400 guests.
Strong Turnout
The ADAA’s 2017 Art Show drew large crowds
K icking off New York Arts

Week, The Art Show welcomed
2,400 guests to its opening gala
on February 28. The 2017 event was
strongly attended, with approximately
“One of the most fulfilling parts of
being an art dealer is connecting
with people who are interested in
learning more about art, and The Art
Show always attracts people who are
15,000 visitors throughout the five- enthusiastic about talking with dealers
day run. Seventy-two members of the and looking closely at the works on
ADAA exhibited at the show, which view,” says Meredith Ward, founder of
took place at the Park Avenue Armory. Meredith Ward Fine Art.
“The Art Show 2017 vibrantly As a part of this year’s show, the
reflected the renowned expertise and ADAA Foundation sold the Alexander
unparalleled quality that define the Calder sculpture The Clove through a
ADAA, our members and the artists silent bidding process. The work had
they represent,” says Adam Sheffer, not been on public view since 1937,
ADAA president. “As a fair organized and the proceeds from the sale helped
by a national community of art dealers, the foundation support curatorial
The Art Show’s emphasis is on fostering research and exhibition development.
the most effective environment for A silent auction was held to benefit Steve Martin and Anne Stringfield.
engaging closely with works of art from the Henry Street Settlement, with
the 19th century to today. We’re very ADAA member galleries donating raised $1.2 million for Henry Street
pleased to continue to mount a fair that works from prominent artists such as Settlement, which provides social
serves as such a strong platform for our Tal R, Andy Warhol and Ryan Sullivan. services, arts initiatives and healthcare
members to share their artistic programs The proceeds from the gala preview, programs to residents of New York’s
with visitors from around the world.” admission and the silent auction Lower East Side.
80
1 2 3
4 5 6
7 8 9
1. Patty Smyth and John McEnroe. 2. Agnes Gund and

Craig Start. 3. Dominique Lévy,Dorothy Berwin and guest.
4. Oliver Herring, Joyce Pensato and Marilyn Minter.
5. Jessica Morgan and Nathalie de Gunzburg. 6. A silent
auction raised $1.2 million for Henry House Settlement.
7. Adam Sheffer and Kay WalkingStick. 8. Tracy Emin.
9. Collectors view works at one of the 72 dealer booths.
10. Approximately 15,000 visitors attended the event over
five days. Photos by Ben Lozovsky, BFA Images.
10
81
EVENT PREVIEW: NEW YORK, NY
Open House
Over a dozen private New York City galleries open their doors during American Art Week
Side venues offer a different kind of Menconi + Schoelkopf will have its
May 22, 4-7 p.m. gallery experience, where visitors can American Modernism show on view
see art works in a quiet, more home- during the open house. The highly-
Just Off Madison
New York, NY like environment. The quality of the curated exhibition includes work from
www.justoffmadison.com works in these galleries is consistently Alfred Stieglitz, Marsden Hartley and
strong, and offers great variety to Joseph Stella, and chronicles early
collectors.” The gallery will be showing modernism in the United States,
works from Oscar Bluemner, Louis beginning with the 1913 Armory Show.
D uring the biannual Just Off

Madison event, the galleries
and dealers of Manhattan’s
Upper East Side will open their doors
to visitors without an appointment.
Lozowick, Hans Burkhart and Alfred
Maurer during the event.
David Tunick, Inc. has been located
just off Madison for 45 of its 50 years
Art lovers can float from among the

13 participating spaces in this spring’s
event, which takes place in the middle
of American Art Week on May 22.
Participating galleries and dealers,
including Jonathan Boos, Hollis Taggart
Galleries, Betty Krulik Fine Art, David
Tunick, Inc., Conner • Rosenkranz,
Menconi + Schoelkopf and more, will
be open from 4 to 7 p.m.
“American Art Week provides
a wonderful opportunity for the
esteemed American painting and
sculpture dealers of the Upper East
Side gallery community to showcase
their best offerings and exhibitions,”
say Abby Taylor and Cameron Shay
of Taylor | Graham. “This May, we
turn our focus toward acclaimed
American women artists.” On view at
the gallery will be the stain paintings
of Vivian Springford, sculpture from
Elizabeth Catlett and a series of abstract
expressionist works from Corinne
Michael West.
Hollis Taggart Galleries is a new
participant in the event, having just
opened up a space on the Upper East
Side. “We are happy to join our many
friends and colleagues who live in the
neighborhood,” owner Hollis Taggart
says. “These more private Upper East Robert Henri (1865-1929), Coleen, 1926. Oil on canvas, 23½ x 19¾ in. Courtesy Debra Force Fine Art.
82
HOW TO FIND US
1. TAYLOR |
GRAHAM: 32 E. 67th
Street, New York,
NY 10065
2. Debra Force Fine
Art, Inc.: 13 E. 69th
Street, Suite 4F,
New York, NY 10021
Menconi +
Schoelkopf:
13 E. 69th Street,
Suite 2F
New York, NY 10021
David Tunick, Inc.:
13 E. 69th Street, New
York, NY 10021
7 3. Lois Wagner Fine
Arts, Inc.: 15 E. 71st
Street, Suite 2A,
6 New York, NY 10021
5 Kraushaar Galleries:
15 E. 71st Street,
Suite 2B, New York,
NY 10021
4. Betty Krulik
Fine Art, Ltd.: 50 E.
72nd Street, Suite 2A,
New York, NY, 10021
Richmond Barthé (1901-1989), Black Madonna, 1961. Painted terra cotta
on original wood vase, 5½ x 3/ x 3/ in., signed at rear: ‘Barthé’. Courtesy 3 4 Avery Galleries:
Conner • Rosenkranz. 50 E. 72nd Street,
Apt. 2A, New York,
NY 10021
5. James Reinish
& Associates:
25 E. 73rd Street,
2nd Floor, New York,
NY 10021
2 6. Meredith Ward
Fine Art: 44 E. 74th
Street, Suite G,
New York, NY 10021
7. Conner •
Rosenkranz, LLC:
19 E. 74th Street,
New York, NY 10021
8. Jonathan Boos:
18 E. 64th Street, 4th
Floor, New York, NY
10065
1 Hollis Taggart
Galleries:
18 E. 64th Street, 3F,
New York, NY 10065
8
Alfred H. Maurer (1868-1932), Fauve Landscape with Tree and Road, ca. 1925-
30. Oil on board, 21½ x 18 in., signed indistinctly lower center: ‘A. H. Maurer’;
signed verso at lower left: ‘A.H. Maurer.’ Courtesy Menconi + Schoelkopf.
83
in business, and two of the galleries that share its
building, Debra Force and Menconi + Schoelkopf,
also participate, so the event is a natural fit. “What
I like about Just Off Madison is the exposure it
gives us to a large group of serious collectors who
are focused on American art,” David Tunick says.
“We’ve always had American prints and drawings in
stock, but our reputation as dealers was mostly for
European Old Masters, even though the lion’s share
of our turnover for many years has been modern,
much of it American.”
As always, African-American art will be in focus
at Conner • Rosenkranz. “In previous seasons of
Just Off Madison we exhibited works by William
Artis, Edmonia Lewis, Elizabeth Catlett, Richmond
Oscar Bluemner (1867-1938), Fall River Theatre, 1922. Watercolor and gouache on
Barthé, Augusta Savage among others,” says Mark paper, signed with monogramed initials lower left: ‘OFB’; dated ‘Fall River Je 17-2’
Ostrander, director of Conner • Rosenkranz. “This and inscribed with notation on verso. Courtesy Betty Krulik Fine Art.
year we have widened our field to include works
by Romare Bearden, Beauford Delaney, Mike
Bannarn and Norman Lewis.”
James Abbott McNeill Whistler (1834-1903), Nude Reclining, 1893-1900. Colored

pastel and black chalk on brown wove paper laid down on card, 7 x 10/ in., artsit’s
butterfly monogram in chalk upper right. Courtesy David Tunick, Inc.
Elizabeth Catlett
(1915-2012), Sister in
the Wind. Bronze,
11½ x 3 x 3¼ in.,
initialed with
monogram at base.
Courtesy Taylor |
Graham.
Oscar Bluemner (1867-1938), Untitled, ca. 1914-15. Watercolor on paper, 5 x 6¾ in.

Courtesy Hollis Taggart Galleries.
84
Museum Exhibitions
Insights from top curators about the major exhibitions of historic American art
being organized at key American museums.
Marsden Hartley (1877-1943), The Lighthouse (detail), 1940-41. Oil on Masonite-type hardboard, 30 × 40¹/8 in. Collection of Pitt and Barbara Hyde. On view at the Metropolitan Museum of Art.
PREVIEWS
98 Beauty and Power
86 Connecting with the Land
Twenty paintings of the Catskills by
A new exhibit at the National Gallery of Art
captures mid-century urban life
Sanford Robinson Gifford to exhibit at

the Thomas Cole National Historic Site
102 Across the Pond

American artists in Europe is the focus of a
90 The Painter from Maine

Marsden Hartley’s Maine at the Met Breuer
new exhibition at the Hyde Collection in
Glens Falls, New York
explores the artist’s fascination with his place

of origin
104 Worldly Views

Seventy paintings focusing on the sights
94 A New American Sculpture of the Mediterranean region are on display
85
at Boca Raton Museum of Art
Approximately 60 works by Lachaise, Laurent,
Nadelman and Zorach highlight exhibition
devoted to their impact on American sculpture
MUSEUM PREVIEW: CATSKILL, NY
Connecting with the Land

Twenty paintings of the Catskills by Sanford Robinson Gifford to exhibit at the
Thomas Cole National Historic Site
May 2-October 29
Thomas Cole National
Historic Site
218 Spring Street
Catskill, NY 12414
t: (518) 943-7465
www.thomascole.org
by James D. Balestrieri
O ne of the many cool aspects

of Sanford R. Gifford in the
Catskills, a new exhibition at
the Thomas Cole National Historic Site
in Catskill, New York, is the “walking-
and-driving experience” that allows
visitors to see the very views that
inspired Hudson River School painters
like Cole and Gifford. Having seen
many of these views firsthand—the
Hudson Valley is my bailiwick—what is
remarkable is not only what has changed
in the last 150 years, but what remains
the same. If you’re there at dawn or dusk,
or when the weather is one of its Lenape
or Dutch moods: fog hung, or with
clouds building to thunder, or with the
sun breaking through after a storm, you
can see what inspired Gifford or Cole
(or Church, or Bierstadt, or Cropsey, or
Durand). More importantly, you can feel
Sanford Robinson Gifford (1823-1880), Going Sketching in the Catskills, 1866. Oil on canvas,
what they felt, a feeling that we in the art
11½ x 93/8 in., signed and dated lower right: ‘S.R. Gifford, 66’. Barrie and Deedee Wigmore.
biz are generally too staid and academic
to discuss—joy, unbridled joy.
And once you understand joy, as the exhibition at the Cole House has a encouraged his artistic endeavors, Gifford
Sanford Gifford expressed it through number of 1860s works that demonstrate studied with John R. Smith in New York
landscape, you can apprehend the the range of emotions that Gifford and Henry Ary, a neighbor of Cole’s who
conflicting emotions—despair and experienced and sought to convey in art. moved from Catskill to Hudson. Gifford
grief—buttressing other canvases he Sanford Robinson Gifford grew up trained to be a portrait artist but fell
painted while serving in the Union Army in Hudson, New York, on the east side under the spell of Cole and his Hudson
during the Civil War—prospects of dark, of the Hudson River, north of Catskill, River companions. He began to exhibit
brooding, fiery and fire-scarred scenes in which is on the west side of the river. at the National Academy of Design in
his same beloved Catskills. Fortunately, Born into a relatively affluent family who 1847 and journeyed to Europe in 1855 to
86
Sanford Robinson Gifford (1823-1880), A Sketch of Hunter Mountain, Catskills, 1865. Oil on canvas, 101/8 x 167/8 in. Private collection.
Sanford Robinson Gifford (1823-1880), Mount Merino, 1861. Oil on canvas, 11 x 22 in., signed and dated lower left: ‘S R Gifford, 1860’. Private collection.
87
Sanford Robinson Gifford (1823-1880), Ledge on South Mountain, in the Catskills, ca. 1861-62. Oil on canvas, 127/8 x 10¾ in. Harvard Art Museums/Fogg
Museum. Gift of Sanford Gifford, M.D., 2006.1. Photograph: Imaging Department, President and Fellows of Harvard College.
further his studies. J.M.W. Turner’s work evolution from Hudson River School it is a small work, exemplifies the sort
and a meeting with Turner’s champion, practice. When he returned from Europe, of joy Gifford would have already
John Ruskin, inspired him to pursue and Gifford took a studio in the famous Tenth missed while he was in uniform. In the
push the effects of light on landscape. Studio Building in New York, beside painting, under a soft sun, a climber,
Gifford’s mature style would locate him Bierstadt and Church. having reached the ledge, waves his
among the “luminists,” whose softened, Painted circa 1861-62, Ledge on hat to two companions who are still
limited palette marked the first real South Mountain, in the Catskills, though scrambling up the rocky slope. He
88
beckons them to join him, to share cicatrice, suggestive of hope and of the like Monet. For me, you have to get to
in the vista that stretches down into promise of a rebirth after the conflict. Van Gogh before you find the depth
a river valley and out into the milky In the felled trees, Gifford makes an of feeling that Gifford creates in his
pastel distance. accommodation between civilization landscapes. To get back to Tuckerman
Henry Tuckerman, in his 1867 and nature, between progress and for a moment, something he wrote in
edition of Book of the Artists—an preservation, but at least the figure in 1867 hints at this. After listing Gifford’s
incredible, highly readable and all- the white shirt has paused from his mastery of the different aspects of
but-forgotten resource for American labors to appreciate the scene. landscape, he mentions “local effects
art scholars—praises Gifford for his A year later, in Going Sketching in which have so much to do with the
skill at reproducing “the effects of a the Catskills, Gifford show us his back impression that awes and pleases the
misty atmosphere so often witnessed as he heads into a welcoming womb, spectator at the same time; and yet
by summer travelers in the mountains; under the Promethean arches, into the which are so rarely effective in a picture.
when the thick vapor which sometimes, primordial cathedral of the forest in This trait of Gifford’s landscapes has
at early morning, shrouds their lofty autumn. The artist is small, aware of his won for them a class of warm admirers
summits from view, is partially dissolved own insignificance even as he is aware of who discover a subtle charm therein
by the sun, the thinned fleecy moisture nature’s majesty. Gifford would continue that compensates for the less-highly
expands, and clings in half-dense, half- to master the panoramas and lofty views, finished details which is the distinctive
luminous wreaths…” Tuckerman goes in Europe and South America as well as merit of so many of our artists.”
on to say that Gifford’s upbringing in in the Catskills and White Mountains of Gifford moves away from realism
the Catskills, his familiarity with his own New Hampshire. But forest interiors such in order to create an “impression.” His
backyard, allowed his gifts to flourish. as Going Sketching balance those noble, “details are less-highly finished.” Say
During the war, however, Gifford towering views with a kind of humility. that with a French accent. Look at the
had to leave home. He was stationed in Because they often studied in paintings again. Sound familiar?
Washington and Baltimore and never Germany and adapted some of I don’t hear Wagner when I look
saw action, but one of his brothers the approaches to paint handling at Gifford. Nor Beethoven. Schubert?
committed suicide when the war broke that characterize High German Maybe in some of his songs. But move
out while another brother lost his life Romanticism—think Caspar David ahead to the generation of composers
in battle. Profoundly moved, not only Friedrich—the Hudson River School that come after Gifford’s death and
by these events, but by what he saw are often grouped with the Romantics. listen to them when you look at the
as a darkness that had settled over the But after spending some time with paintings. Listen to Debussy, Ravel,
promise of America, Gifford made this Sanford R. Gifford, I think I could Mahler. Listen to American composers
darkness visible in his landscapes. make a good argument for placing like George Chadwick, Amy Beach
In works like the 1861 masterpiece, him among—and ahead of, in many and Charles Ives.You will, I believe,
Twilight in the Catskills, Gifford wrestles ways—the Barbizon painters, like Corot, have a new or renewed appreciation for
luminosity to serve a feeling that is and the first wave of impressionists, Sanford Robinson Gifford.
anything but joyous. An oily river, a
river the likes of which you will not see
again until Charles Burchfield begins to
forge his feelings about the First World
War into landscapes, moves through
a burned and blasted valley. Tolkien’s
Mordor could not be more ominous
and forbidding. Above, the sun sets
under a sky the color of the flayed flesh
of an open wound. Immaculate nature,
as the Hudson River School envisioned
it, here becomes barren, a wasteland.
By the fall of 1865, with the war
having just concluded, Gifford was
back in his beloved Catskills. Under
a waxing crescent moon in a benign
lemon sky, night falls on a settlement
nestled in a shallow valley in A Sketch
Sanford Robinson Gifford (1823-1880), Twilight in the Catskills, 1861. Oil on canvas, 27 x 54 in. Yale
of Hunter Mountain, Catskills. The soft University Art Gallery, gift of Joanne and John Payson in memory of Joan Whitney and Charles
blue mountain that dominates the Shipman Payson, Class of 1921, and in honor of Joan Whitney Payson, B.A. 2009, 2007.178.1.
center of the picture is like a healed Images courtesy Thomas Cole National Historic Site.
MUSEUM PREVIEW: CATSKILL, NY 89

MUSEUM PREVIEW: NEW YORK, NY
The Painter from Maine

Marsden Hartley’s Maine at the Met Breuer explores
the artist’s fascination with his place of origin
by John O’Hern School of Art and later studied at the

Through June 18
The Met Breuer
945 Madison Avenue
New York, NY 10021
M arsden Hartley (1877–1943)
was a peripatetic painter.
Born in Maine, he received
a scholarship to study at the Cleveland
Museum of Art that, in turn, awarded
National Academy of Design from 1900
to 1904. He also came under the
influence of avant-garde artists from
Europe, notably Cézanne, whose work
was becoming known there. In the
t: (212) 923-3700
www.metmuseum.org him a stipend to study for five years in summers, he painted in Maine.
New York. In 1889-90 he studied with Following successful exhibitions
William Merritt Chase at the New York in 1909 and 1912 at Alfred Stieglitz’s
Marsden Hartley (1877-1943), Mt. Katahdin (Maine), Autumn #2, 1939-40. Oil on canvas, 30¼ x 40¼ in. The Metropolitan Museum of Art, Edith and Milton
Lowenthal Collection, bequest of Edith Abrahamson Lowenthal, 1991.
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Marsden Hartley (1877-1943), Lobster Fishermen, 1940-41. Oil on hardboard (Masonite), 29¾ x 407/8 in. The Metropolitan Museum of Art,
Arthur Hoppock Hearn Fund.
291 Gallery, he was able to travel to Subject of Nativeness: A Tribute to Maine,

Europe. His restlessness brought him he wrote that he wanted to be known
back to New York and again back as “the painter from Maine.”
to Europe, with stints in Bermuda, He wrote, “I say to my native
Mexico and Nova Scotia. continent of Maine, be patient
He was invited to Taos, New and forgiving. I will soon put my
Mexico, in 1918 by the influential art cheek on your cheek, expecting the
patron Mabel Dodge Luhan and went welcome of the prodigal, and be
there with the purpose of developing glad of it, listening all the while to
a modern American art, independent the slow, rich, solemn music of the
of European influences. He Androscoggin, as it flows along.” After
continued to work on the pastels and his death in 1943, his ashes were
experiments in oil that he produced strewn over the Androscoggin.
in Taos when he returned to New Hartley worked to establish himself
York in 1919. When he returned, yet as “the painter from Maine” choosing
again, to Europe, he worked on his subjects that were popular and with
New Mexico Recollections series while which he could be identified.
living in Berlin. The complexities of Hartley’s role
Marsden Hartley (1877-1943), Church at Head Tide,
During the Depression, American in modernism and regionalism as
Maine, 1938. Oil on commercially prepared eyes turned toward regionalism and well his relationship to his “native
paperboard (academy board), 281/8 x 221/8 in. expressions of rural American life continent” are explored in the
Colby College Museum of Art, Waterville,
and against the ideas of the European exhibition Marsden Hartley’s Maine at
bequest of Adelaide Moise.
modernists. Hartley’s eyes turned the Met Breuer in New York, through
to Maine. In his 1937 essay On the June 18.
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The museum notes, “With the artist’s
place of origin as its focus, the exhibition
will trace the powerful threads of
continuity that run through Hartley’s
work and underlies many of his greatest
contributions to American modernism.
To Hartley, Maine was a springboard
to imagination and creative inspiration,
a locus of memory and longing, a
refuge, and a place for communion
with earlier artists who painted there,
especially Winslow Homer, the most
famous American artist associated
with the state.”
Donna Cassidy, a co-curator of the
exhibition and Professor of American and
New England Studies and Art History at
the University of Southern Maine, wrote
in an earlier essay of Hartley’s “lifelong
fascination with mountains as sacred
places.” Maine’s highest peak, Mount
Katahdin, was an icon.
In her essay On the Subject of Nativeness:
Marsden Hartley and New England
Regionalism, she noted, “Katahdin’s wilds
shaped perceptions of Maine; for many, it
was Maine. Hartley sought to connect his
public identity with the mountain.”
Mt. Katahdin (Maine), Autumn #2,
1939-40, displays the reductive
composition of his entire Mount
Katahdin series—four bands of lake,
trees, mountain and sky. The clouds
appear as weighty as the mountain but
continue to float above it.
Hartley’s returning over and again to
the subject of Katahdin echoes Cézanne’s
series inspired by Mont Sainte Victoire.
Cézanne was drawn to the aesthetic
qualities of Mont Sainte Victoire and by
his emotional response to it. Hartley’s
motivation, despite his identification with Marsden Hartley (1877-1943), Canuck Yankee Lumberjack at Old Orchard Beach, Maine, 1940-41.
the mountain and its spiritual associations, Oil on Masonite-type hardboard, 401/8 x 30 in. Hirshhorn Museum and Sculpture Garden,
Smithsonian Institution.
was more practical. He wanted to be
known as its “official portrait painter.”
He was also concerned with the towers heroically over the scene… is Elizabeth Finch, Lunder Curator of
people of his home state, as solid and Hartley allowed the board support to American Art at the Colby College
earthy as the landscape. show through the thin layers of paint, Museum of Art, Waterville, Maine.
Commenting on Lobster Fishermen, accentuating the picture’s crude, almost The influence of Cézanne is evident
1940-41, co-curator Randall Griffey unfinished quality, a feature that registers in his late Maine paintings, especially
writes that Hartley “presents a carefully as ‘honest’ in its lack of finesse. The in his paintings of male figures, which
crafted expression of authenticity support is, furthermore, appropriate to Griffey describes as “a fraternity of
and unpretentious grandeur…The the subjects: hardy, plebian fishermen.” stoic, often solitary, rural hunks—lobster
manly gathering is anchored by a Griffey is curator in the Met’s fishermen, lumberjacks and athletes.”
dis-proportionately large figure in an department of modern and Canuck Yankee Lumberjack at Old
attention-grabbing hot-pink shirt who contemporary art. The third co-curator Orchard Beach, Maine, 1940-41, is laden
92
with symbols. In her book Marsden writes about Hartley’s male figures,
Hartley: Race, Region and Nation, “Aggressively asserting their physical
Cassidy points out the confluence vitality while at the same time
of muscular, erotic men with the projecting a saint-like divinity, they
nationalism that Hartley witnessed in call to mind Walt Whitman, whom
Germany in 1933-34. She comments, the painter described, together
“By appropriating a masculine with Cézanne, as among the great
identity, gay men like Hartley could liberating voices in the arts.”
remain invisible in a culture that still Hartley, although concerned
identified male homosexuality in with the worldly recognition of
terms of effeminacy.” his place at the head of the artists
She notes, too, “masculinity of Maine, kept his awareness of the
stood for racial ideals in the early transcendent. Whitman would have
20th century.” On this painting she admired the statement Hartley made
comments, further, “The lumberjack- to his friend the Irish-American
bather’s expanded chest is even poet Shaemas O’Sheel, “My work
inscribed with mystical signs as the embodies little visions of the great
chest hair forms a firey crucifix, intangible...Some will say he’s gone
echoing the cross and anchor on the mad—others will look and say he’s
sand, while the white clouds that looked in at the lattices of Heaven Marsden Hartley (1877-1943), Summer, Sea, Window,
Red Curtain, 1942. Oil on Masonite, 401/8 x 30½ in.
surround him seem to form a halo.” and come back with the madness of
Addison Gallery of American Art, Phillips Academy,
In his catalog essay, Griffey splendor on him.” Andover, MA, museum purchase.
Marsden Hartley (1877-1943), Log Jam, Penobscot Bay, 1940-41. Oil on Masonite, 30 x 407/8 in. The Detroit Institute of Arts, gift of Robert H. Tannahill.
MUSEUM PREVIEW: NEW YORK, NY

93
MUSEUM PREVIEW: PORTLAND, ME
A New American Sculpture

Approximately 60 works by Lachaise, Laurent, Nadelman and Zorach highlight
exhibition devoted to their impact on American sculpture
May 26-September 8
Portland Museum of Art
7 Congress Square
A diverse and oftentimes
intersecting web of influences
has helped shape and form the
landscape of American art. For three-
dimensional art, everything from pop
America,” delves into the overarching
notion of what it meant to be an artist
in America between the two wars.
“What was important in the
exhibition, as we started thinking
Portland, ME 04101
t: (207) 775-6148 culture to classic European techniques about it was really the sculpture and
www.portlandmuseum.org have blended to create unique and the forms and the formal language of
purely American styles. The upcoming their art that spoke to us as curators—
exhibition A New American Sculpture, myself and Shirley Reece-Hughes
1914-1945: Lachaise, Laurent, Nadelman, from the Amon Carter,” says Andrew
and Zorach, co-organized by the Eschelbacher, the Susan Donnell and
Portland Museum of Art and the Amon Harry W. Konkel Assistant Curator of
Carter Museum of American Art, European Art at the Portland Museum
reveals the confluence of inspirations of Art. “We saw all the similarities into
for these four European-born artists as the way they approached sculpture
well as their roles within the history of both formally and thematically. From
American art. that is where this group of four came
The show, which will first be on together.”
view at the Portland Museum of Among the works in the show is
Art in Maine from May 26 to Gaston Lachaise’s Standing Woman
September 8, is divided into [Elevation] from the Philadelphia
four themes that capture the Museum of Art. “One of the reasons
trajectory of these preeminent I love this cast specifically—one of his
artists. “A New Past” explores most iconic sculptures—is if you look
the idea of the artists breaking at the chest in this work, you see where
free from academic traditions but he actually finished it himself,” says
still being rooted in the past. “A New Eschelbacher. “There’s great archival
Movement” brings to light the cultural information where he took his file to it
influences of dance, circus performers and wanted to do something different
and entertainment from the 1920s to the surface.”
America, and the energy and forms Lachaise was interested in the
it brought about in their figurative technologies that were available for
sculptures. Another element to their sculptors and how different materials
work was an interest in what materials could be used. Two of his works in the
can be used and how they can be show were created with electroplating,
shaped to create a sculpture, which including the the nickel-plated bronze
is the focus of “A New Technique.” Woman Seated.
The last theme of the show, “A New Robert Laurent was known for his
Left: Elie Nadelman (1882-1946), Man in the Open Air, ca. 1915. Bronze, 54½ x 11¾ x 21½ in. The
Museum of Modern Art, New York. Gift of William S. Paley (by exchange), 259.1948. © Estate of Elie
Nadelman. Digital image © The Museum of Modern Art / Licensed by SCALA / Art Resource, N.Y.
Opposite page: William Zorach (1889-1966), Mother and Child, 1922. Mahogany, 31 x 12 x 12½ in.
Portland Museum of Art, Maine. Anonymous loan, 2.2002. © Reproduced with permission of the
Zorach Collection, LLC. Photo by Bruce Schwarz.
94
95
direct carving method, with works
such as Daphne on view in the show.
Eschelbacher says that as the piece is
the largest directly carved sculpture
in the round, Laurent seemed to be
“showing off how well he can do it
and how well he understands what it
means to be a direct carver.” One of
his first bronze casts, Kneeling Figure,
from the 1930s, also highlights his
knowledge and mastery of the direct
carving method. “He doesn’t use it as a
technique, but he has turned the direct
carving style into an aesthetic as a
bronze,” Eschelbacher explains.
Also included in the show will be
Laurent’s small-scale carving Acrobat
from 1921. “It’s very much connected
with 20th-century American popular
culture,” Eschelbacher explains. “In
terms of the carving style, it evokes the
folk art he was interested in.”
Elie Nadelman also was inspired
by the folk art aesthetic and his work
was reflective of the times. From
Gaston Lachaise
(1882-1935), Two
Floating Nude
Acrobats, 1922. Bronze
11½ x 2¾ x 7½ in.
Private collection,
courtesy Gerald
Peters Gallery.
© Gaston Lachaise
Foundation.
William Zorach (1889-1966), Waterfall, 1917. Butternut, 15¾ x 7½ in. Lent by the
Estate of Dr. Samuel and Adele Wolman. © Reproduced with permission of
the Zorach Collection, LLC. Photo by Bruce Schwarz.
circa 1915 is one of the artist’s most of the power it communicates.”

recognized sculptures, Man in the Open According to Eschlebacher, the
Air, which appears in the show from showstopper of the works by William
the Museum of Modern Art. The piece Zorach on view is Spirit of the Dance,
marks a time when the artist was still a sculpture of a kneeling woman
looking toward classic references, but measuring 77 inches high. He is also
updated it in form and context by represented by his very first sculpture,
adorning the figure with a bow tie. Waterfall from 1917. Eschelbacher
“It really is a sculpture that jumps says, “In addition to being his first
up and speaks to the vivacity and sculpture and having that historical
joyousness of that 1915 period for importance, you have this great artistic
Nadelman,” says Eschelbacher. “It melding of these cubist traditions as a
being very casual in terms of its painter in Paris but also the influence
pose and being dynamic in terms of African art and Oceanic art.” From
96
Gaston Lachaise (1882-1935), Woman Seated,
modeled 1918, cast 1925. Bronze with nickel
plate, 12 in. Amon Carter Museum of American
Art, Fort Worth, TX. Purchase with funds
provided by the Council of the Amon Carter
Museum of American Art, 2007.8. © Gaston
Lachaise Foundation.
1922 is his mahogany sculpture Mother

and Child that moves away from these
outside influences to a more intimate
familial scene.
In total, there will be approximately
60 works in the show, which
Eschlebacher says “really captures the
spirit of how these four artists born
in other countries—not necessarily
American by birth, but American by
assimilation—found their place in new
society.”
Robert Laurent (1890-1970), Acrobat, 1921.

Wood, 20½ x 10½ x 8 in. Bernard Goldberg Fine
Arts LLC, New York. © Estate of Robert Laurent.
Photo by Bruce Schwarz.
MUSEUM PREVIEW: PORTLAND, ME 97

MUSEUM PREVIEW: WASHINGTON, DC
Beauty and Power

A new exhibit at the National Gallery of Art captures midcentury urban life
Through August 6
National Gallery of Art
6 Street & Constitution Avenue NW
th
D uring the past decade, the
National Gallery of Art has
acquired prints from the Reba
and Dave Williams Collection, the
Corcoran Collection, and the collection
a lithograph by Armin Landeck titled
View of New York. “It’s the most grand,
beautiful, awe-inspiring view from
40 stories up,” says Charlie Ritchie,
associate curator at National Gallery of
Washington, DC 20565
t: (202) 737-4215 of Bob Stana and Tom Judy. A selection Art. “It’s a fantastic view of the solitude
www.nga.gov of 25 of these prints will make up the of New York. The city is filled with
gallery’s latest exhibition, The Urban Scene: crowds, but 40 stories up you feel like
1920-1950. All in black-and-white, the you’re alone, struck by the marvels of
prints interpret the beauty and power of the architecture.”
urban life in the mid-20th century. Nine of the 22 artists in the exhibit
One of the show’s centerpieces is took part in federal arts programs
Martin Lewis (1881-1962), Yorkville Night, 1948. Drypoint, 107⁄8 x 14¾ in. National Gallery of Art, Washington, Corcoran Collection (bequest of Frank R. Bristow).
98
Armin Landeck (1905-1984), View of New York, 1932. Lithograph, 271⁄8 x 23½ in. National Gallery of Art, Washington,
Reba and Davis Williams Collection, gift of Reba and Dave Williams.
during the Great Depression, such as line of people waiting for their allotment darkest prints in the exhibition, and it’s
the Works Progress Administration, and of food, with skyscrapers shining in the an anomaly for Leighton. She primarily
many of the works have an element of background. Of the image, Ritchie says, depicted country scenes and did very
social concern in them. A 1931 wood “The city may look like it is promising few images of the city.”
engraving by Clare Leighton, titled wealth and opportunity, but these people Three works by printmaker Martin
Breadline, depicts a seemingly endless are not seeing any of that. It’s one of the Lewis will appear in the show, including
99
Lawrence Kupferman (1909-1982), Victorian Mansion, 1938. Drypoint, Clare Leighton (1898-1989), Breadline, 1931. Wood engraving,
141⁄16 x 1213⁄16 in. National Gallery of Art, Washington, Reba and 11¾ x 77⁄8 in. National Gallery of Art, Washington, Reba and
Dave Williams Collection, gift of Reba and Dave Williams. Dave Williams Collection, gift of Reba and Dave Williams.
Louis Lozowick (1892-1973), Allen Street, 1929. Lithograph, 7½ x 11¼ in. National Gallery of Art, Washington, gift of Jacob Kainen.
100
Victoria Hutson Huntley (1900-1971), Lower New York, 1934. Lithograph, 613⁄16 x 87⁄8 in. National Gallery of Art, Washington, gift of Bob Stana and Tom Judy.
one of his later works, Yorkville Night,

from 1948. “His career never really
recovered after the stock market crash
and he wasn’t really working, and his
works weren’t selling,” Ritchie explains.
“His star has risen lately, but at the
time, abstract expressionism was really
taking over.” Yorkville Night portrays
New York’s elevated rail line, shortly
before it was dismantled.
The Urban Scene will be on view
at the National Gallery of Art’s West
Building through August 6. Of the
display, Ritchie says, “I want to pull these
artists into the mainstream with this
exhibition. Print collectors might know
them, but most of the general public
might not, and I hope visitors will carry
these names away with them.”
Asa Cheffetz (1879-1965), Monday (The

American Scene), 1932. Wood engraving,
7 x 10 in. National Gallery of Art, Washington,
gift of Bob Stana and Tom Judy.
MUSEUM PREVIEW: WASHINGTON, DC 101

MUSEUM PREVIEW: GLENS FALLS, NY
Across the Pond

American artists in Europe is the focus of a new exhibition
at the Hyde Collection in Glens Falls, New York
and other art destinations across the why the artists went to Europe. First,
Through June 11 continent. American Artists in Europe: students going to learn, where we have
Selections from the Permanent Collection two works by Frank Duvenek, who
The Hyde Collection
161 Warren Street will feature prominent American went to Munich to study but eventually
Glens Falls, NY 12801 artists, such as Childe Hassam, but established his own school, and two
t: (518) 792-1761 also American artists who were often works by one of his pupils, Theodore
www.hydecollection.org regarded as more international forces, Wendel,” Canning says. “Secondly, we
such as James Abbott McNeill Whistler. have artists who went to broaden their
Jonathan Canning, director of horizons, including works by Winslow
A new exhibition now on

view at the Hyde Collection
in Glens Falls, New York,
examines the European works of
American artists who ventured across
curatorial affairs and programs at the
Hyde, says the exhibition offered a great
occasion to dive into the permanent
collection to bring out some masterful
etchings and engravings, photographs,
Homer, who spent 20 months at
Cullercoats [England], and one of our
best examples by Childe Hassam, who
lived in Paris for three years, showed
at the Paris Salon of 1889 and there
the Atlantic to learn, grow and settle bronze sculpture and oil paintings. developed his American version of
in places such as Paris,Venice, Munich “I identified three explanations as to French impressionism.”
Elihu Vedder (1836-1923), San Gimignano, 1858. Oil on paperboard, Frank Duveneck (1848-1919), Munich Professor, ca. 1879. Oil on
175⁄8 x 145/16 in. The Hyde Collection, Glens Falls, New York, Gift of Joseph canvas, 161⁄8 x 12 in. The Hyde Collection, Glens Falls, New York,
Jeffers Dodge, 1996.10.21, Photograph by Joseph Levy. Bequest of Charlotte Pruyn Hyde, 1971.15.
102
Canning continues: “Finally, we include
artists who decided to settle into the
European scene, artists like expatriates
Elihu Vedder, who married a local girl
from Glens Falls, which is why his work
is in the collection; and Janet Scudder,
who mainly lived in Paris,” he says. “Few
American artists, Mary Cassatt being one
of them, really fit in with the European
crowds, and even fewer became as
internationally respected as artists such as
[John Singer] Sargent and Whistler.”
The Whistler on view is an 1899
coastal view, The Sea, Pourville, No. 1,
which was painted on the Normandy
coast, in a place that Claude Monet
was fond to have painted. “When he
was in Normandy, he would do these
simple slip-in-your-pocket images of
the sea. This one has three horizontal
bands: one of the shore, the water and
the sky. It’s very freshly painted and the
motion of the brush in the oil replicates
the breaking waves,” Canning says. “It
normally hangs in the [Hyde] house in
a decorative arrangement, so we were
excited to be able bring it out to give
it some space and light and give it a
prominent place on the wall.”
Another star of the exhibition,
and one of the prized works in the
collection, is Hassam’s Geraniums from
around 1889. The curator says, “What
everyone enjoys is how the red of
geraniums pops from the painting. We
Childe Hassam (1859-1935), Geraniums, 1888-89. Oil on canvas, 18¼ x 1215⁄16 in. The Hyde Collection, hang it in a small downstairs bedroom
Glens Falls, New York, Bequest of Charlotte Pruyn Hyde. 1971.22. Photograph by Michael Fredericks.
normally and it draws everybody
through the room—it’s a bright and
cheerful red.”
Other works include a Venetian
engraving and oil portrait by
Duvenek, three gelatin silver prints
by photographer Leonard Freed, two
etchings and a wood engraving by
Homer, an etching of Venice by Thomas
Moran, and two works by Vedder, an oil
on paperboard of the Italian town of
San Gimignano and a chalk on paper of
a wine cellar entrance.
The exhibition will be on view at the
Hyde Collection through June 11.
James Abbott McNeill Whistler (1834-1903), The

Sea, Pourville, No. 1, 1899. Oil on panel, 7 x 103/16 in.
The Hyde Collection, Glens Falls, New York,
Bequest of Charlotte Pruyn Hyde, 1971.58.
103
MUSEUM PREVIEW: BOCA RATON, FL
Worldly Views
Seventy paintings focusing on the sights of the Mediterranean region
are on display at Boca Raton Museum of Art
Through July 2
Boca Raton Museum of Art
501 Plaza Real
I n the late 19th century, after the
Civil War, there was a growing
interest in Americans to travel
to the Mediterranean. With the
advent of the steamship, the region
critiques of the culture and society
in places such as the Holy Land, the
Papal States and Rome.
American artists also were motivated
to visit the Mediterranean and
Boca Raton, FL 33432
t: (561) 392-2500 had become more accessible and its capture in paint their experiences.
www.bocamuseum.org culture and history were captivating Many of them, painting in the late
to tourists. Among the most famous 19th and early 20th centuries, depicted
Americans to visit these locales was culturally significant sites, the people
Mark Twain, whose travel book The and architecture. Through July 2, Boca
Innocents Abroad, published in 1869, Raton Museum of Art will present the
chronicled his observations and exhibition Mediterranea: American Art
104
Elihu Vedder (1836-1923), Windswept Olive Trees, Bordighera, 1872.
Oil on canvas. Courtesy the Jean and Graham Devoe Williford Charitable Trust.
from the Graham D. Williford Collection, and more.

curated by Mark White, Ph.D., One of the highlights is Vedder’s
Wylodean and Bill Saxon Director of Windswept Olive Trees, Bordighera from
the Fred Jones Jr. Museum of Art at the 1872. “Vedder was, by that time, an
University of Oklahoma. expatriate. He was living in Italy full
The show features 70 works of time, having visited on a number of
art from the late Williford, who occasions,” explains White. “Vedder is
had collected pieces by American very interested in the mystery of Italy.
expatriates who studied in Europe On one hand, you have depictions of
and were among those that partook the local landscape, like [Windswept
in the travels. Many times, as White Olive Trees, Bordighera], but he’s also
shares, the works appealed to the thinking about the rich history of the
population of upper class Americans area, which goes back to the Etruscan,
who were “seeking some sort of Romans, then you have Christianity. It’s
reminder of the experiences they had very rich history.”
while traveling the Mediterranean. With Windswept Olive Trees, in
For many of these artists being there particular, White says, “the olive tree
was a bit of a business decision; they becomes a prominent symbol because
wanted to capture the sites that would olives were grown readily in Italy,
appeal to those that were traveling Greece and so on.You didn’t necessarily
this region.” find them worldwide…but the olive
Included will be pieces by Elihu itself is a cultural marker at this point.”
Vedder, William Merritt Chase, Other works on view include
Charles Caryl Coleman, Caleb Arnold Coleman’s Vintage Time in a Capri
Slade, Ernest Wadsworth Longfellow Garden, which highlights the artist’s
Charles Caryl Coleman (1840-1928), Vintage Time in a Capri Garden, 1889. Oil on panel.
Courtesy the Jean and Graham Devoe Williford Charitable Trust.
105
William Merritt Chase (1849-1916), Latin
Boy. Oil on canvas. Courtesy the Jean and
Graham Devoe Williford Charitable Trust.
fascination with vague antiquity

through an image of a woman
in preparation for, or has
already finished, a bacchanalian
celebration. There is also Slade’s
San Giorgio Venice that, as White
describes, is a painting of a “scene
that had already been painted by
Claude Monet” and is “one of
these popular picturesque views of
the Venetian lagoon.”
Irvin Lippman, the executive
director at Boca Raton Museum
of Art, says, “I was particularly
keen that we look at the work
of the artists who traveled to
Venice. As you know, Addison
Mizner used Venice as the point
of inventing Boca Raton. So
you’ll find these Venetian traits
throughout this town.”
The museum has organized
the show by place, and it also
hangs concurrently with the
exhibition Glasstress Boca Raton,
which features 25 to 30 glass
installations by contemporary
artists in collaboration with
the international organization
Glasstress, Venice and the artists of
Berengo, Murano. Lippman says
hanging the Mediterranea show
was a wonderful complement to
the glass exhibition and touches
upon the idea of how travelers—
past and present—often seek out
remembrances of their voyages.
Caleb Arnold Slade (1882-1961), San

Giorgio Venice. Oil on canvas. Courtesy
the Jean and Graham Devoe Williford
Charitable Trust.
106
Auctions
Major works coming up for sale at the most important auction houses dealing in historic American art.
Childe Hassam (1859-1935), California (detail), 1919. Oil on canvas, 24 x 43 in. Courtesy Christie’s Images Ltd. 2017. Estimate: $80/120,000 Available at Christie’s.
PREVIEWS
126 Select Offerings
108 Into the West
Western paintings and bronzes play a significant
High-quality examples cross the block at
Freeman’s June 4 American Art and Pennsylvania
Impressionist sale
role in Christie’s May 23 sale in New York City
114 Strength at Many Levels 130 Joint Auction Previews

Buoyed by strong London and international sales,
Sotheby’s brings important American works to
auction May 23 in New York REPORT
118 Stellar Examples 133 Joint Auction Reports

Fresh to the market paintings by Moran,
Rockwell and Sandzén among highlights of
Heritage Auctions’ May 3 sale 134 Record-Setting Works
John Moran’s California and American Fine Art
auction yielded $860,000 in sales from many
private collections
122 Views of the Land and Sea

Noteworthy property from all segments
of the American art market available
107
at Bonhams’ May 24 sale
AUCTION PREVIEW: NEW YORK, NY
Into the West

Western paintings and bronzes play a significant role in Christie’s
May 23 sale in New York City
May 23, 10 a.m.

Christie’s
20 Rockefeller Plaza
W estern art is often
considered a subcategory
within the larger umbrella
of American art. This is not a negative
distinction, but one that Western
of Native Americans or early pioneer
settlers—the very label “Western art”
speaks to their home and interests.
In Christie’s May 23 auction in
New York City, the auction house is
New York, NY 10020
t: (212) 636-2000 collectors are often proud of when offering works that many would call
www.christies.com searching for images of cowboys and “Western art,” but are considered so
cattle, vistas of untapped lands west of iconic that they have transcended
the Mississippi, and adventurous images Western art entirely. The first and most
Frederic Remington
(1861-1909), Coming
Through the Rye. Bronze
with brown patina, cast
No. 3., 30 in., inscribed
on base: ‘Frederic
Remington’; inscribed
along base: ‘Roman
Bronze Works N.Y. 1905’;
stamped unberneath
base: ‘3’. Estimate:
$7/10 million
108
Albert Bierstadt (1830-1902), Twilight Over Lake Tahoe. Oil on canvas, 36 x 51 in., signed with conjoined initials
lower right: ‘ABierstadt’. Estimate: $3/5 million
prominent in this group is Frederic see how Remington was still adjusting plaster and the wax model,” Abbott says.
Remington’s A Dash for the Timber, the nuances of the riders. This one is “Eventually, after his death, his wife
a bronze of unparalleled action and simply remarkable.” would do some additional castings, but
excitement. It is the third casting of Remington’s bronzes are widely the early ones are quite exceptional.”
the famous bronze, as well as a lifetime recognized and collected, and one Altogether, there are 17 castings,
cast, and it’s estimated at $7 million has sat behind the president in the three of which have yet to be located
to $10 million. Even if it sells at the Oval Office since the Eisenhower and two unnumbered editions that
low estimate it would still break administration. But A Dash for the were likely cast before the numbered
Remington’s auction record by nearly Timber, particularly this casting, is on editions. Major examples of the
$2 million—the artist’s current record another level entirely, Abbott says. For casting are in the collections of the
is $5.6 million, set in 2008. starters, he adds, count the hooves—of Art Institute of Chicago, the Princeton
“It’s really phenomenal. We have a 16 horse hooves depicted in the work, University Art Museum, the Gilcrease
tendency with Remington to say this is only six are touching the ground as Museum and the Buff alo Bill Center
a cowboy sculpture, but it’s important the horses race forward. One horse, the for the West. This No. 3 cast could be
to continue to try to contextualize it one on the far left, isn’t touching the the last time the public has the chance
as American art—not only is it iconic ground at all. Remington conceived to own a major early edition of this
to Western art, but to American art the work in 1902 in his studio in New important bronze.
as well,” says Tylee Abbott, Christie’s Rochelle, New York, and went on to Other Western works in the May
specialist and associate vice president cast seven editions using the lost-wax sale are two important landscapes from
in the American art department. “This casting process. By the time he was Albert Bierstadt: Mount Hood, Oregon (est.
is one of the last casts to be in private working on an eighth casting, he had $1.5/2.5 million) and Twilight Over Lake
hands, so it’s really exciting. And when reached a breaking point. Tahoe (est. $3/5 million), both of which
you go and look at cast 2 and 4, on “He gets to No. 8 and is so frustrated are significant examples by the artist,
either side of this third casting, you can at how difficult it is that he destroys the who was known for painting places that
109
Albert Bierstadt (1830-1902), Mount Hood, Oregon. Oil on canvas, 34 x 59 in., signed lower right: ‘ABierstadt’. Estimate: $1.5/2.5 million
Maxfield Parrish (1870-1966), The Chefs at the Table, 1925. Oil and pencil on board, 9¼ x 20 in., signed and dated lower right: ‘copyrighted/1925 by/
Maxfield Parrish’; signed again with initials lower center: ‘M·P’; signed again and inscribed verso: ‘Heading for “The Knave of Hearts”/Maxfield Parrish’;
inscribed, signed and dated again on sheet affixed to the backing board: ‘To Robin Hood’s Band/in memory of a/wonderful afternoon/Maxfield Parrish:/
August fourth: 1932’. Estimate: $400/600,000
110
Augustus Saint-
Gaudens (1848-1907),
Victory, modeled in
1912. Gilt bronze,
42¼ in., inscribed along
the base: ‘AVGVSTVS
SAINT GAUDENS/
FECIT•M•C•M•II’
and ‘COPYRIGHT•BY
would eventually become national parks, •A•H•SAINT•GAUDENS•
/1912’. Estimate:
including Yellowstone and Yosemite.
$600/800,000
“With Tahoe, this is classic Bierstadt:
grandiose, Manifest Destiny, a wonder
of American natural beauty…Unless
you’ve been to Lake Tahoe, it’s hard to
convey the color of the water, how it
has this iridescent turquoise, almost like
Caribbean waters, and you can see some
of that in this work,” Abbott says. “What’s
exciting about these pictures, Tahoe
and Mount Hood, is that Bierstadt was
sometimes perceived as being drab with painting, sculpture and decorative art,” Schwartz collection are two works
yellows and browns, but these paintings according to the dedicated catalog to by sculptor Augustus Saint-Gaudens:
just sing with color. And they’re also his collection from Christie’s. “In his Victory, a gilded bronze estimated at
massive, just really imposing.” Manhattan home, jammed with art $600,000 to $800,000, and Diana of
The Remington and Bierstadts and furniture, many of these objects the Tower, a bronze figure with bow
all come from the Richard Schwartz represented the pinnacle of American and arrow estimated at $400,000 to
collection being offered by Christie’s. Renaissance and turn-of–the-century $600,000.
Schwartz, who was well-known masters. Not everything was expensive, With Diana of the Tower, an incredible
advocate for the arts and education, though many items were. Each was story emerges, says William Haydock,
“was also a dedicated connoisseur exquisite in its way.” head of the American art department
with passionate expertise in American Other prominent pieces from the at Christie’s. “Diana originally appeared
AUCTION PREVIEW: NEW YORK, NY 111

Gilbert Stuart
(1755-1828), Portrait
of George Washington
(Vaughan type), ca. 1805.
Oil on canvas, 29 x 24 in.
Estimate:
$1.5/2.5 million
Augustus Saint-
in an 18-foot version on top of Madison Square Garden for a brief Gaudens (1848-1907),
period of time. It was later removed and a smaller 13-foot tall version Diana of the Tower.
Bronze with reddish
replaced it. The public response to the work was impressive, so 21-inch brown patina,
and 31-inch reductions were made,” Haydock says. “This is one of 21⁄ in. (36⁄ in.
the 21-inch versions and it’s in stunning condition with its original including bow
and tripod base),
patina.” inscribed along the
The original Diana of the Tower, after being removed from Madison base: ‘DIANA OF THE
Square Garden, was sent to the 1893 World’s Columbian Exposition, TOWER’ and ‘© A. SAINT
GAUDENS MDCCCXCV’;
but was destroyed in a fire. The smaller 13-foot version is now in
stamped along the
the Philadelphia Museum of Art. As for Saint-Gaudens’ Victory, the base: ‘COPYRIGHT
42-inch tall bronze was cast in a series of eight, which allows intrepid BY AUGUSTUS
collectors to compare the surface on the various castings. “When you SAINT-GAUDENS
MDCCCXCV’. Estimate:
see this one, you’ll notice how beautifully preserved it is with most of $400/600,000
the original gilding,” Haydock adds.
Another highlight from the sale is Gilbert Stuart’s Portrait of George
Washington, estimated at $1.5 million to $2.5 million. Washington
posed for the artist in three separate sittings, and this “Vaughan-type”
portrait represents the earliest of the three poses. From the original life
painting, Stuart then painted 15 original portraits, many of them now
in prominent museums around the country. This work is one of five
remaining works in private hands. It includes a hand-inscribed label
indicating it was owned by Benjamin Joy, a prominent merchant and
112
Childe Hassam (1859-1935), Just off the Avenue, Fifty-third Street, 1916. Mary Cassatt (1844-1926), Girl in a Bonnet Tied with a Large Pink Bow,
Oil on canvas, 31¼ x 26¼ in., signed and dated lower left with artist’s 1909. Oil on canvas, 26¾ x 22½ in. Estimate: $2/3 million
crescent device: ‘Childe Hassam May 1916’. Estimate: $2/3 million Images courtesy Christie's Images Ltd. 2017.
landowner in Boston.
Other important works in the
May sale include John Haberle’s
Trompe l’Oeil-landscape hybrid,
Torn in Transit (est. $300/500,000),
Maxfield Parrish’s The Chefs at the
Table (est. $400/600,000), James Abbott
McNeill Whistler’s The Yellow Room
(est. $500/700,000), Mary Cassatt’s
Girl in a Bonnet Tied with a Large Pink
Bow (est. $2/3 million), and N.C.
Wyeth’s lengthily titled “As He Sat in
the Doorway Looking at the Storm He
Realized that He was Shaken by a Wild,
Crude Lyric of Passion,” estimated at
$100,000 to $150,000.
Two Child Hassam works will be
available: Just off the Avenue, Fifty-third
Street (est. $2/3 million) and Winter,
Central Park (est. $300/500,000).
Hassam’s Just off the Avenue, Fifty-third
Street is significant because it is the first
work in his iconic series of flag and
street paintings he did from 1916 to
1919. Interestingly, Haydock says, the
work depicts a corner of Manhattan
that is today home to the Museum of
N.C. Wyeth (1882-1945), “As He Sat in the Doorway Looking at the Storm He Realized that He was Modern Art, which is itself just several
Shaken by a Wild, Crude Lyric of Passion,” 1908, illustration for Hamlin Garland’s short story The
Outlaw and the Girl. Oil on canvas, 25¼ x 25 in. Estimate: $100/150,000 blocks from Christie’s.

Strength at Many Levels

Buoyed by strong London and international sales, Sotheby’s brings important
American works to auction May 23 in New York
specialist in the American art department Illustrator and artist Maxfield Parrish
May 23, 5 p.m. at Sotheby’s. “Whether it’s illustration, will have two works in the May sale:
modernism or impressionism, we have the 1924 oil Lady Violetta and the Knave
Sotheby’s
1334 York Avenue incredible works across the board.” of Hearts Open the Oven Door to See if
New York, NY 10021 The star of the sale, thus far, is John the Tarts are Done, which is estimated at
t: (212) 606-7000 Singer Sargent’s John Alfred Parsons $900,000 to $1.2 million and the oil
www.sothebys.com Millet, a portrait of a young lad gazing Lanterns at Twilight, which is estimated at
peacefully from a warm interior scene $80,000 to $120,000. Sterling says she
decorated with a brightly patterned is especially fond of Lanterns at Twilight,
piece of furniture and a fur draped over which is only 8 inches square, but dazzles
W ith names like Rockwell,

Sargent, Homer and Hartley,
Sotheby’s is bringing top-
quality works to bidders during its May
23 American art auction in New York.
its back. The child is the young son of
respected painter and sculptor Frank
Millet, who perished aboard the Titanic
in 1912. “This piece comes from a private
collection and you really see Sargent
with its subtle color and abstracted
composition. “It’s a little gem, and best
of all it was a gift from Parrish to the son
of his collector, who received it in 1911
or 1912,” Sterling says. “And then, on the
The sale will feature as many as 130 showing off with the outfit and the reverse, there’s a charcoal study of the
works, which specialists at the auction beautifully patterned red cloth and fur,” same image. It’s just beautiful.”
house are calling a “terrific grouping.” Sterling says. “The texture is marvelous Another illustrator with an important
“It’s a really strong group of works with robust, just really great, brushwork. work available is Norman Rockwell,
across various categories,” says Liz Sterling, It’s quite wonderful.” The piece is whose 1938 Saturday Evening Post cover
the senior vice president and senior estimated at $2.5 million to $3.5 million. First Flight (Old Woman Riding Airplane)
is expected to sell for $800,000 to $1.2
million. The piece takes on an added
element of intrigue considering that
commercial air travel, in 1938, was still
in its infancy and the vast majority of
Americans seeing this image had yet
to experience what the figure was
experiencing in Rockwell’s work.
Marsden Hartley’s Church by the Barrens
will be available, with an estimate of
$800,000 to $1.2 million.The 1940 oil on
board depicts a scene in Maine, which is
perfect timing, Sterling says. “It’s a fantastic
piece and we’re thrilled to be offering it.
And just by coincidence, it will be available
at the same time as the Metropolitan
Museum of Art’s Marsden Hartley’s Maine
exhibition.We couldn’t have timed it
better,” she says, adding that the piece was
painted in Maine as well. “This work is
a great example of his late-period work.
The scale is wonderful, and it has a great
Marsden Hartley (1877-1943), Church by the Barrens, 1940. Oil on board, surface.We had it cleaned and all these
22 x 28 in. Estimate: $800/1,200,000 nuances of light and texture have come
114
John Singer Sargent (1856-1925), John Alfred Parsons Millet, 1892. Oil on canvas, 36¼ x 241⁄8 in. Estimate: $2.5/3.5 million
115
Maxfield Parrish (1870-1966), Lady Violetta and the Knave of Hearts Open the Oven Door to See if the Tarts are Done, 1924. Oil on board, 201⁄8 x 163⁄8 in.
Estimate: $900/1,200,000
out. It’s been in the same family since has these luminescent passages in the Indian Summer on the Susqeuhanna,
1971, so a very fresh piece to the market.” sky, with these moody expressions in estimated at $300,000 to $500,000.
Sterling continues, “The Hartley’s the foreground. This is what you want “This was painted in 1861 and shown
price is set at a level that conveys the to see with a Hartley.” later in London in 1862. Cropsey really
importance of the picture, but also Another landscape scene is Jasper intended this to be an exhibition picture,
opens it up to competitive bidding. It Francis Cropsey’s 1861 oil on canvas so it was widely exhibitied,” Sterling says
116
Jasper Francis Cropsey (1823-1900), Indian Summer on the Susqeuhanna, 1861. Oil on canvas, 24 x 41 in. Estimate: $300/500,000
Winslow Homer (1836-1910), Study for “The Brierwood Pipe,” 1864. Charcoal and Maxfield Parrish (1870-1966), Lanterns at Twilight. Oil on board,
chalk on paper, 9¾ x 125⁄8 in. Estimate: $60/80,000 8 x 8 in. Estimate: $80/120,000
of the luminist landscape with several In the Western category, the sale he’s doing. It has a wonderful sense of
wading cows in the foreground. will feature Eanger Irving Couse’s intimacy about it,” says Sterling. “With
Winslow Homer’s 1864 charcoal Bonnet Maker (est. $150/250,000) and the Lovell, it’s so heroic and rendered
and chalk on paper work Study for Tom Lovell’s Flannel Shirt Flag (est. with a high degree of detail. This is
“The Brierwood Pipe” will cross the $100/150,000). “The Couse is great Lovell at his best. He’s such a fantastic
auction block with an estimate at because it has all the pictorial elements technician with the paint and the detail.”
$60,000 to $80,000. The work has you want with a Couse piece. It has still The auction will also offer a work
been in a private collection for several life elements and it’s a quiet domestic from Western icon Charles M. Russell,
generations and shows Homer’s superb scene that’s slightly voyeuristic as we a portrait of a Blackfoot Indian that is
talent as a draughtsman. watch this figure so enraptured in what expected to sell for $60,000 to $80,000.

AUCTION PREVIEW: DALLAS, TX
Stellar Examples
Fresh to the market paintings by Moran, Rockwell and Sandzén among
highlights of Heritage Auctions’ May 3 sale
May 3, 11 a.m.
Heritage Auctions
Design District Showroom
W ith approximately 150 lots
crossing the block, the
Heritage Auctions American
Art Signature Auction on May 3 is set
to provide collectors material from all
of American art history, with everything
from Hudson River School to early
American modernism, great Western,
great illustration, realism. Every category
is covered and covered well. We are very
1518 Slocum Street
Dallas, TX 75207 areas of the market. “It is once again proud of the sale and it’s all entirely
t: (877) 437-4824 a very well-rounded sale,” says Aviva fresh to the market, which is nice to see
www.ha.com Lehmann, director of American art at because our clients are looking for that.”
the auction house. “It’s a great syllabus One of the most notable items
Rockwell Kent (1882-1971), Greenland (Spring), ca. 1934-35. Oil on canvas laid on panel, 28 x 34 in.,
signed lower left: ‘Rockwell Kent’. Estimate: $50/70,000
118
Thomas Moran (1837-1926), Mountain Lion in Grand Canyon (Lair of the Mountain Lion), 1914. Oil on canvas, 30 x 25 in.,
signed and dated lower right: ‘TMoran. / 1914’. Estimate: $600/800,000
119
available in the sale is Thomas Moran’s known for.” It also carries an important Gilcrease kept this work and eventually
Mountain Lion in Grand Canyon (Lair of provenance, as it traces back to Western presented it to his daughter, Des Cygne.
the Mountain Lion), which is estimated art collector Thomas Gilcrease, who It descended into the family of her
at $600,000 to $800,000. The work, as founded the Gilcrease Museum in Tulsa, husband, the late Coring D. Denney.
Lehmann describes, is “a great visual of Oklahoma. Much of Gilcrease’s art Important landscapes from Birger
the American West, which is what he is went to his eponymous museum, but Sandzén, Rockwell Kent, Samuel
Samuel Colman (1832-1920), Autumn Landscape, 1864. Oil on canvas, 25¼ x 45¼ in., signed and dated lower left: ‘Samuel Colman. 64.’ Estimate: $20/30,000
Norman Rockwell (1894-1978), Study for Triple Self Birger Sandzén (1871-1954), Creek at Twilight, 1927. Oil on canvas, 48 x 60 in., signed lower
Portrait, 1960. Oil on photographic paper laid on panel, right: ‘Birger Sandzen’; signed, dated and inscribed on stretcher: ‘Creek at Twilight / Wild
11½ x 9¼ in., signed and inscribed lower right: ‘NR / My Horse Creek, Graham Co., Kansas, 1927’. Estimate: $300/500,000
best / to Henry Strawn / Cordially Norman Rockwell’.
Estimate: $150/250,000
120
Colman, Hermann Herzog, and more
will also arrive at market.
Currently holding the world auction
record for a work by Sandzén, Heritage
Auctions will present Creek at Twilight,
which has a presale estimate of $300,000
to $500,000. The piece, painted five
years after the artist was elected as an
associate member of the Taos Society
of Artists, comes from the Washington
High School Alumni Scholarship
Foundation with proceeds from the sale
benefitting the continuing education
scholarship fund. The Washington High
School class of 1927 purchased the work
directly from Sandzén, out of the trunk
of his car in the year that it was painted.
It remained in the school’s possession
and is newly rediscovered.
Two other works by Sandzén will John Marin (1870-1953), Headed Down East, 1945. Watercolor and pastel on paper, 115⁄8 x 163⁄8 in.,
signed and dated lower right: ‘Marin 45’. Estimate: $25/35,000
appear in the sale: The Great Peak (est.
$25/35,000) and Little Arkansas River
(est. $20/30,000).
Kent is represented in the auction
by Greenland (Spring) from circa 1934-
35. “Rockwell Kent is definitely
having a moment. Three top prices
have been achieved in the past couple
of years alone,” says Lehmann. The
work, depiciting small figures against
an expansive landscape backdrop, is
estimated to achieve $50,000 to $70,000.
Another vast view is Colman’s
Autumn Landscape from 1864, which
comes from a private collection in
Texas. The painting, estimated at
$20,000 to $30,000, is from what
Lehmann says is “arguably his best
period” and measures 45 inches across.
Other standouts include William Mason
Brown’s October in the Blue Mountains Milton Avery (1885-1965), Bridle Path – Central Park West at 67th Street. Watercolor on paper,
(est. $8/12,000) and Herzog’s Fishing on 15 x 21½ in., signed lower center: ‘Milton Avery’. Estimate: $25/35,000
the Gulf Coast, Florida (est. $30/50,000).
In the modernism segment of the Dancing Boats (est. $30/50,000). though the work is a study, it’s a really
sale is a collection of works from Dr. Notably, the Avery watercolor, well-executed study that encapsulates
and Mrs. Henry and Mary Ann Gans, Lehmann says, “is a nice early [example Stella’s whole body of work.”
who collected works at auction and of his Bridle Path works] with great Another important study in the sale
from galleries in their spare time. The colors, great composition.” The couple from outside the collection is Norman
pieces, Lehmann explains, are coming was friends with Sally Michel Avery, Rockwell’s Study for Triple Self Portrait,
to the market for the first time in 50 the artist’s wife, and they were able to 1960. “It’s always exciting to me, for
years. Included are John Marin’s Headed sit down with her to discuss the work. such iconic and famous works like this
Down East (est. $25/35,000); Milton Also of interest is the Stella, which one, to sort of see into the artist’s mind
Avery’s Bridle Path – Central Park is a study for one of his most famous of how he was working and preparing
West at 67th Street (est. $25/35,000); pieces at the Newark Museum. “To for the final work,” explains Lehmann.
Joseph Stella’s Elevated Railroad (est. see a study for that work it feels The piece carries a presale estimate of
$20/30,000) and Hayley R. Lever’s monumental,” says Lehmann. “Even $150,000 to $250,000.
AUCTION PREVIEW: DALLAS, TX 121

Views of the Land and Sea

Noteworthy property from all segments of the American art market
available at Bonhams’ May 24 sale
we’ve tried to do is focus on things that now at the Met Breuer. Coming from
May 24, 10 a.m. are fresh to the market and have been in the same estate is Andrew Wyeth’s
private hands for a number of years,” says painting Blueberry Pickers, which has an
Bonhams
580 Madison Avenue Kayla Carlsen, director of American art at estimate of $80,000 to $120,000
New York, NY 10022 Bonhams. “It’s been pretty evenly spaced Another notable landscape in the
t: (212) 644-9001 and will have property representative of sale is Jasper Francis Cropsey’s On the
www.bonhams.com each category—a little bit of everything Ramapo River from 1888 that depicts
for everyone.” a man in a boat in the foreground and
One highlight of the auction is an expansive landscape behind him.
Marsden Hartley’s 1910 painting “Coming from an estate, it is estimated
A t 10 a.m. on May 24, Bonhams

will host a tightly curated sale
of approximately 80 lots of
fine American art.The auctions spans
all genres of the market including
New Hampshire Landscape, #39 (est.
$400/600,000). The work arrives to
market from the estate of Jane Rau,
and it’s been with the family since
the 1970s. According to Carlsen, the
at $40,000 to $60,000, which I think is
very reasonable given the work itself,”
says Carlsen. “It’s 24 by 20 inches,
and it’s just a really lovely example in
excellent condition.”
Hudson River School, early 19th century, painting is very timely as an exhibition Thomas Moran’s Sunset at Sea, 1907,
modernism, Ashcan and more. “What of the artist’s Maine work is on view is one of the strongest pieces crossing
Henry F. Farny (1847-1916), Cheyenne Scout. Watercolor and gouache on paper, 10 x 16¼ in., signed and dated lower right: ‘Farny / 95’. Estimate: $150/250,000
122
Marsden Hartley (1877-1943), New Hampshire Landscape, #39, 1910. Oil on board, 237⁄8 x 195⁄8 in. Estimate: $400/600,000
123
Robert Henri (1865-1929), Portrait of Miss Mildred Sheridan. Oil on
Jasper Francis Cropsey (1823-1900), On the Ramapo River. canvas, 321⁄16 x 26 in., signed and inscribed lower right: ‘To my friend
Oil on canvas, 24 x 20 in., signed and dated lower left: ‘J.F. Cropsey 1888’. / John Sheridan Esq / Robert Henri’; numbered: ‘83 / i’; signed again
Estimate: $40/60,000 and inscribed verso: ‘Portrait of Miss Mildred Sheridan / painted at
“Corrymore” Achill Island / Sept. 1913 and presented to my / good
friend John Sheridan esq / Robert Henri’. Estimate: $150/200,000
Andrew Wyeth
(1917-2009),
Blueberry Pickers.
Watercolor and
pencil on paper,
177⁄8 x 217⁄8 in.,
signed lower
right: ‘Andrew
Wyeth’. Estimate
$80/120,000
124
Thomas Moran (1837-1926), Sunset at Sea. Oil on canvas, 243⁄8 x 303⁄8 in., signed with artist’s monogram
and dated lower right: ‘Moran / 1907’. Estimate: $200/300,000
the block during the sale. “It has adds, “It’s completely fresh to the from the family who first purchased
beautiful color and the pinks and blues market and in beautiful condition. It’s the piece around 1911 in Boston. “It’s
in the sky really give it an atmospheric everything you want out of Farny in just passed through three generations
and dramatic feeling,” Carlsen explains terms of subject matter. Size and scale now to come to sale for the first time
of the piece, which is estimated at is slightly larger, so that is going to be since it was painted,” shares Carlsen. “It
$200,000 to $300,000. “It’s just a really appealing to clients.” is completely untouched, in its original
beautiful example of Moran’s more sort Figurative pieces are also prominent frame and framed under glass so it’s
of fantastical seascapes.” offerings, with a traditional Robert literally in pristine condition.”
Western master Henry F. Farny Henri portrait titled Portrait of Miss Carlsen further explains that the
will be represented in the auction by Mildred Sheridan (est. $150/200,000) piece “has an intimate scale and the
his watercolor Cheyenne Scout that being one of the standouts. The work rendering of the figure in the context
has a presale estimate of $150,000 was consigned by an Irish family and of the interior is well done. He left
to $250,000. The painting, which has been in Ireland ever since. Painted sections of the canvas exposed to
depicts a Native American proudly in 1913, Henri presented the piece create that negative space. It’s just
standing alongside his horse, comes to to John Sheridan, who Carlsen says is really beautiful.”
market from a private collector who “believed to be the father of the sitter.” Works from artists such as George
acquired the work shortly after it was Frederick Carl Frieseke’s Standing Bellows, Stuart Davis, Eastman Johnson
painted. Cheyenne Scout has since passed Nude (est. $20/30,000) is another and Arthur Dove will round out the
through multiple generations. Carlsen noteworthy lot. It arrives to auction auction.

AUCTION PREVIEW: PHILADELPHIA, PA
Select Offerings
High-quality examples cross the block at Freeman’s June 4
American Art and Pennsylvania Impressionist sale.
June 4, 2 p.m.
Freeman’s
1808 Chestnut Street
Philadelphia, PA 19103
t: (215) 563-9275
www.freemansauction.com
F reeman’s spring American Art &

Pennsylvania Impressionists auction
will be a smaller, more selective
sale than it has been in the past, with
high-quality work from Otto Henry
Bacher, Martin Lewis and Fern Isabel
Coppedge among the items being
offered. “We’ll have a very nice section
of Pennsylvania Impressionists this
season,” says Freeman’s vice chairman
Alasdair Nichol. “It’s really shaping up to
be a great sale.”
One of the star lots will be Daniel
Garber’s Lone Sycamore, estimated
at $400,000 to $600,000. Fresh to
auction from a private collection
in Philadelphia, the painting once
belonged to Harold D. Saylor, a judge
on the Philadelphia Orphans’ Court
and one of Garber’s leading patrons.
Painted around 1940, Lone Sycamore
was put on view at the 136th annual
exhibition at the Pennsylvania Academy
of the Fine Arts, where it won the
Top: Fern Isabel Coppedge (1883-1951), Pigeon

Cove. Oil on canvas, 32 x 361⁄8 in., signed bottom
left: ‘Fern I. Coppedge’; inscribed with artist
and title on stretcher verso; and unidentified
stretcher label bearing partial inscription: ‘The
Homestead’. Estimate: $40/60,000
Right: Otto Henry Bacher (1856-1909), Along
the Grand Canal. Oil on panel, 133⁄16 x 181⁄16 in.,
signed, inscribed and dated bottom right: ‘To my
friend Miss Devereux/with my compliments from
Otto H. Bacher, 1887’; also inscribed with artist
and date verso. Estimate: $25/40,000
126
Daniel Garber (1880-1958), Lone Sycamore. Oil on canvas, 56 x 52 in., signed bottom right: ‘Daniel Garber’;
signed and inscribed with title verso. Estimate: $400/600,000
popular prize. the Grand Canal, has come from a traveled to Scotland and Venice. During
A second piece by Garber, Island on corporate collection and is expected his travels got to know James Abbott
the Delaware, will also be for sale and to sell for $25,000 to $40,000. “Bacher McNeill Whistler very well, who really
has an estimate of $8,000 to $12,000. is an interesting artist. He’s from a influenced him,” Nichol says. “His work
A Bacher scene of Venice, On German family in Cincinnati, and he rarely comes up, and I’m expecting it to
127
Martin Lewis (1880-1958), Rainy Day, Queens, 1931. Drypoint, ed. of 70, 105⁄8 x 117⁄8 in., Gil Elvgren (1941-1980), Bird’s-Eye View, 1942. Oil on canvas,
pencil signed in margin. Estimate: $20/30,000 281⁄8 x 231⁄8 in. Estimate: $7/10,000
Daniel Garber (1880-1958), Island on the Delaware. Charcoal on paper, 18 x 23 in., signed bottom center right: ‘Daniel Garber’. Estimate: $8/12,000
128
Fern Isabel Coppedge (1883-1951), Little House at Lambertville. Oil on canvas, 12 x 12 in.,
signed bottom center: ‘Fern I. Coppedge’, inscribed with title verso. Estimate: $25/40,000
draw a lot of attention.” be for sale, including Bird’s-Eye View, bizarre pieces,” Nichol says.
Two works by Coppedge, Little estimated at $7,000 to $10,000. As an Also available at the auction auction
House at Lambertville (est. $25/40,000) illustrator, Elvgren is known for both are Martin Lewis’ Rainy Day, Queens
and Pigeon Cove (est. $40/60,000), his pinups and his advertising work and John Fulton Follinsbee’s Tree and
will cross the block. “The Lambertville, with Coca-Cola, but the images up Building, Bucks County, each of which
which is a small winter scene, is a nice, for auction were commissioned for are expected to fetch between $20,000
private picture,” says Nichol. “It’s got a calendar by a local Pennsylvania and $30,000.
very nice color in it, and I think there brewing company, and then passed The American Art & Pennsylvania
will be a lot of interest in it.” down through the family. “Bird’s-Eye Impressionists auction will take place on
Three pieces by Gil Elvgren will View is definitely one of the more June 4 at 2 p.m.
AUCTION PREVIEW: PHILADELPHIA, PA 129

AUCTION PREVIEW: ALAMEDA, ASHEVILLE, BOSTON, CHICAGO,
DALLAS, LOS ANGELES, OAKLAND
DALLAS, TX at the Farm (est. $15/20,000).

HERITAGE AUCTIONS “The painting is significant
MAY 13 because it is the first painting
Texas Art Signature Auction signed with Onderdonk’s
pseudonym ‘Chas. Turner’
For more than a decade
to be offered at auction
Heritage Auctions has
since James Baker’s book
highlighted important Texas
Julian Onderdonk in New
art, and on May 13 will be
York: The Lost Years, the Lost
the Texas Art Signature Auction
Paintings revealed a number
featuring works by some of the
of unknown works from the
state’s most significant artists.
artist’s time in New York.”
“At Heritage, our Texas art
auctions are as diverse as the
state itself. A collector can find BOSTON, MA
anything from traditional Texas SKINNER, INC.
landscapes of the Hill Country MAY 19
and iconic images of the American & European
American West to surrealistic Works of Art
paintings by Texas Regionalists Two auctions of American
and non-figural works by and European works of art
Texas abstract expressionists,” will take place on May 19
says Atlee Phillips, Heritage at Skinner, Inc. in Boston.
Auctions’ director of Texas art. Beginning at noon is the
Highlights in the sale Fine Prints & Photographs
include three Arizona paintings sale, while the second session
by José Arpa: Flagstaff, Arizona of the day, devoted to Fine
Gil Elvgren (1914-1980), Fire Belle (Always Ready), 1956. Oil on canvas, 29 x 23 in.,
(est. $60/80,000), Grand Paintings & Sculpture, gets
signed lower right. Courtesy Heritage Auctions. Estimate: $100/150,000 Canyon (est. $40/60,000) underway at 4 p.m.
and Bright Angel Trail, Grand As part of the prints and
DALLAS, TX original oil on canvas works Canyon (est. $30/50,000). Also photography auction is Ansel
HERITAGE AUCTIONS and charcoal drawings from available by the artist is a rare Adams’ Leaves and Raindrops,
MAY 12 Gil Elvgren crossing the bluebonnet painting titled Glacier Bay National Monument,
Illustration Art block. Included are Fire Atascosa Creek Bluebonnets Alaska, from around 1948. Best
Signature Auction Belle (Always Ready) from that has a presale estimate of known for majestic views of
1956 (est. $100/150,000); $50,000 to $70,000. the American West, Adams also
Artwork by some of the most
the 1962 work All Smiles Another notable highlight photographed intimate details
influential illustrators will
(Glamorous; Glamorous and is Julian Onderdonk’s Autumn of the natural world. Beginning
be available during Heritage
Witchcraft) that is estimated
Auctions’ May 12 Illustration
at $40,000 to $60,000; and
Art Signature Auction, with
Cover, Girl! (est. $40/60,000)
pieces ranging from classic
from 1965.
to provocative examples.
Haddon Hubbard
There are also a number book
Sundblom, who was a mentor
illustrations coming to market,
to many artists including
including one by Barbara
Elvgren, is represented in the
Remington that was used for
sale by a Colson Calendar
three Ballantine book covers
illustration from around the
for the Lord of the Rings series
1940s titled His Reflections of
that are expected to fetch
Me (est. $40/60,000). There
$20,000 to $30,000.
also will be works by Enoch
Pinup girl illustrations
Bolles, Alberto Vargas, Patrick
are also prominent in the José Arpa (1858-1952), Flagstaff, Arizona, ca. 1925. Oil on canvas, 22¼ x 40 in., signed
Nagel, and George Petty. and titled lower right: ‘Flagstaff Ariz. / J. Arpa’; inscribed on stretcher: ‘Canyon
sale with a selection of Flagstaff’. Courtesy Heritage Auctions. Estimate: $60/80,000
130
of Marjorie S. Fisher of Palm modern art and design,
Beach, Florida. From Fisher fine art by George Rickey,
will be works from David Louise Nevelson, Jean Arp,
Bierk and Franz Hagenauer, Mary Corse, Alex Katz, Paul
while highlights from Ficklen Jenkins and more will arrive
include a Cartier platinum to market. Coming from local
and diamond bracelet (est. collections are Rickey’s kinetic
$60/80,000). sculptural work Two Open
One of the most interesting Rectangles Diagonal Jointed
lots coming to market is a Gyratory (est. $80/120,000)
Jeremiah Theus portrait of and Nevelson’s painted
young William Branford of Jean-Michel Basquiat (1960-1988), ceramic Untitled, circa 1945.
Charleston, South Carolina. Untitled (Arto Lindsay), 1982. Oil stick on Also notable is the color
paper, 14 x 11 in. Courtesy Clars Auction
Branford was related to Gallery. Estimate: $70/100,000 screenprint Rebel Without a
Elizabeth Allen Deas, who sat Cause (James Dean) (from Ads)
for another work by Theus. by Andy Warhol in 1985.
Brunk Auctions sold the auction block during Clars The piece is No. 15 of 30
work of Deas for $123,900, a Auction Gallery’s Fine Art, artist’s proofs aside from the
Charles E. Prendergast (1863-1948), world auction record for the Decorative Art, Furniture, edition of 190. It carries a
Flowers in a Blue Painted Vase with Birds,
artist. The work of Branford, Jewelry/Timepieces and Asian presale estimate of $120,000
1936. Courtesy Skinner, Inc.
Estimate: $30/50,000 which shows him holding a Art Auction on May 21. The to $150,000. Sam Francis’
battledore and shuttlecock, highlight of the sale will Untitled (SF79-979) from
in the mid-1930s, Adams is estimated at $70,000 to be Untitled (Arto Lindsay) 1979 is estimated to achieve
began printing mural-size $100,000. by Jean-Michel Basquiat. $20,000 to $30,000. As the
photographs of which this piece Measuring 14 by 11 inches, auction house explains,
is an example. It is estimated to the oil stick on paper piece the work is identified with
bring $15,000 to $25,000. was created in 1982. That the interim identification
Leading the Fine Paintings same year the artist began to number SF79-979 possibly
& Sculpture section is the gain traction in the art world for the upcoming catalogue
circa 1953 Untitled Standing after his first solo exhibition raisonné of unique works
Mobile by Alexander Calder. in New York City at Annina on paper. The number
The work was commissioned Nosei Gallery. may change as scholarship
by the artist’s friend and “This work by Basquiat continues by the Sam Francis
neighbor Betty Milton. was created during one of the Foundation.
Standing just 3 inches tall most creative periods in his
and around 5 inches across, career, and its depiction of
the sculpture is estimated another fixture of New York
at $100,000 to $150,000. City’s art scene of the early
Jeremiah Theus (1719-1774),
Also of note is Flowers in a Young William Branford (1756-1776), 1980s will certainly pique
Blue Painted Vase with Birds ca. 1765. Oil on canvas, 30½ x 253/8 in. collectors’ attention,” explains
Courtesy Brunk Auctions.
from 1936 by Charles E. Estimate: $70/100,000
the gallery. The work has
Prendergast, which is expected been in a private collection
to sell for $30,000 to $50,000. Also available will be artwork since 2001 and is estimated
by artists such as Jean Dufy, to fetch between $70,000 and
ASHEVILLE, NC Harriet Hosmer, Xanthus $100,000.
BRUNK AUCTIONS Smith, David Brega, William There also will be two Andy
Aiken Walker and Marcel Dyf. Warhol Sunset screenprints
MAY 19-20
created in 1972 arriving at
May Premier Auction
auction. Each will be offered at
May 19 and 20, Brunk Auctions OAKLAND, CA
$20,000 to $30,000.
brings to the market more than CLARS AUCTION GALLERY
1,300 lots of American and MAY 21
European fine art, important
LOS ANGELES, CA
Fine Art, Decorative
silver, fine vintage jewelry LOS ANGELES
Art, Furniture, Jewelry/
and more. The sale will also MODERN AUCTIONS
Timepieces and
include objects from the estate Asian Art Auction MAY 21
of June Montague Ficklen of Modern Art & Design Auction Sam Francis (1923-1994), Untitled
Significant American post- (SF79-979), 1979. Acrylic on paper,
Greenville, North Carolina, and war and contemporary During Los Angeles Modern 193⁄16 x 133⁄16 in. Courtesy Los Angeles
property from the collection artworks will cross the Auctions’ May 21 sale of Modern Auctions (LAMA).
Estimate: $20/30,000
131
blue sky peeking between lush Auctioneers. In the European
green trees. It is estimated to segment of the auction,
achieve $500,000 to $700,000. highlights include paintings by
Also coming to market French artists such as Henri
will be a figurative pastel Le Sidaner, Paul Signac and
by Everett Shinn from 1904 Raoul Dufy. The American
titled The Performer (The art offerings are robust with
Entertainer). The piece, which works by Milton Avery, Thomas
Percy Gray (1869-1952), Mountain
shows a woman on stage in Hoyne and William Trost Landscape with Cows. Watercolor.
an extravagant dress, has a Richards represented. Courtesy Michaan’s Auctions.
Estimate: $4/6,000
presale estimate of $60,000 Three pieces by Thomas
to $80,000. Maynard Dixon Hart Benton will cross the
BOSTON, MA
is represented in the auction block during the sale. Two are
GROGAN & COMPANY
as well, with his small-scale works on paper and the third
colored pencil drawing Taos is the oil and tempera Still Life JUNE 11
from 1931 that looks to sell from 1962 that is estimated to Spring Auction
for $2,000 to $3,000. achieve $100,000 to $200,000. Gorgan & Company will
Maxfield Parrish (1870-1966), The
Other highlights include A 1926 Charles E. Burchfield host its annual Spring Auction
Knave, 1925. Oil on panel, 201⁄8 x 163⁄8
in. Courtesy Dallas Auction Gallery. glass by Dale Chihuly; a color watercolor, Untitled (Exterior on June 11 with more than
Estimate: $500/700,000 lithograph of Roy Lichtenstein’s Scene), looks to sell for $15,000 350 lots of fine art, silver and
Explosion (est. $10/20,000); to $25,000, while a small-scale jewelry, and decorative arts.
DALLAS, TX The sale will kick off with a
a 1986 Any Warhold color bronze titled The Star, 1918, by
DALLAS AUCTION screenprint of Letter to the World Harriet Whitney Frishmuth is selection of more than 100
GALLERY (The Kick) that is estimated at set at $8,000 to $12,000. paintings, drawings, prints and
MAY 24 $10,000 to $15,000; and several sculpture. The highlight of the
Fine and Decorative furnishings by Sam Maloof. grouping is Valencia Oranges
ALAMEDA, CA
Art Auction by William J. McCloskey,
MICHAAN’S AUCTIONS
Artist Maxfield Parrish was which was painted in 1889
CHICAGO, IL JUNE 9
an illustrator for a number of and exhibited that year in the
LESLIE HINDMAN Fine Art, Furniture and
books throughout his lifetime First Fine Arts Exhibition of the
AUCTIONEERS Decorative Arts Auction
including Scribner’s The Knave Detroit International Fair. It is
MAY 24 On June 9 Michaan’s Auctions expected to achieve between
of Hearts by Louise Saunders.
American and European Art will host its next Fine Art, $80,000 and $150,000.
Parrish agreed to the project in
1920 and completed more than A succinct group of paintings Furniture and Decorative Arts
20 works for the book, which and sculpture that includes Auction, with artwork by
was published in 1925. On property from numerous estates notable American artists coming
May 24, during Dallas Auction will be offered during the May available. Highlights include
Gallery’s Fine and Decorative Art 24 American and European Art Alfred Lambourne’s Glimpse of
Auction, one of the illustrations auction at Leslie Hindman Silver Lake, Cottonwood Canyon
from the children’s classic will Utah (est. $9/12,000), an open
cross the auction block. Titled lake scene with a rowboat
The Knave, the painting features and the majestic mountains
the artist’s signature cobalt- in the backdrop; and a loose
James Edward Buttersworth,
watercolor by Percy Gray of a The Start of the Great Transatlantic
mountain landscape with cows Yacht Race. Oil on board, 9¾ x 11¾
in. Courtesy Grogan & Company.
that is expected to fetch $4,000 Estimate: $40/60,000
to $6,000.
More contemporary pieces Maritime paintings are also
in the sale include a color offset highlights, including James
lithograph of iconic actress Edward Buttersworth’s The
Elizabeth Taylor by Andy Start of the Great Transatlantic
Warhol. The work, which is Yacht Race (est. $40/60,000)
titled Liz, has a presale estimate and Antonio Jacobsen’s “The
of $25,000 to $35,000. A Chapman” of New York off
bronze sculpture called Bondage Sandy Hook (est. $15/25,000).
by John Nelson Battenberg also There also will be pieces from
Thomas Hart Benton (1889-1975),
Everett Shinn (1876-1953), The Still Life, 1962. Oil and tempera on
is available with an estimate of John Whorf, Aldro Hibbard,
Performer (The Entertainer), 1904. Pastel Masonite, 24 x 16 in. Courtesy Leslie $8,000 to $10,000. Thomas Sully and Walter Gay
on paper, 22½ x 16 in. Courtesy Dallas Hindman Auctioneers.
Auction Gallery. Estimate: $60/80,000 Estimate: $100/200,000 crossing the block.
132
AUCTION REPORTS: CHARLESTON, FAIRFIELD, GREAT FALLS,
THOMASTON
Edward Hill sold for more than art angel sculptures by Earl woodcock and quail painting
eight times its high estimate Cunningham (est. $3/5,000) by Frederick Stone Batcheller
when it sold for $16,940. that brought $10,530. at $7,380, and a small work
depicting lions by Bob Kuhn
THOMASTON, ME that achieved $19,200.
Martin Johnson Heade (1819-1904), THOMASTON PLACE
Florida Pastoral. Oil on canvas, 10 x 20 in.,
signed lower right in script: ‘M J Heade’. AUCTION GALLERIES GREAT FALLS, MT
Courtesy James D. Julia Auctioneers. FEBRUARY 11-12 C.M. RUSSELL MUSEUM
Estimate: $300/500,000
SOLD: $359,000
Winter Feature Auction MARCH 18
$1.6 million The Russell: An Exhibition
FAIRFIELD, ME During Thomaston Place and Sale to Benefit the
JAMES D. JULIA Auction Galleries’ February C.M. Russell Museum
AUCTIONEERS Winter Feature Auction collectors $5 million
FEBRUARY 9-10 were drawn to a number of On March 18, the C.M.
Winter Fine Art, Asian & works, with strong results in the Russell Museum in Great
Antiques Auction folk art category. The highlight Edmund H. Osthaus (1858-1928),
Falls, Montana, hosted its
$3.2 million of the sale was a circa 1870 Pointer and Quail, 1892. Oil on canvas, annual auction, The Russell: An
27 x 24 in., signed and dated: ‘Edm H
More than $3.2 million in sales American-carved polychrome Exhibition and Sale to Benefit the
Osthaus 1892’. Courtesy Copley Fine
was achieved during James wooden minstrel figure of Art Auctions. Estimate: $30/50,000 C.M. Russell Museum, which
“Jim Crow” or “Daddy Rice” SOLD: $63,000 yielded a solid $5 million.
D. Julia’s annual Winter Fine
Art, Asian & Antiques Auction that sold for $157,950 to Highlights in the sale were
come within a presale estimate CHARLESTON, SC 17 items by the museum’s
held February 9 and 10. The
standout segment of the sale of $125,000 to $175,000. COPLEY FINE ART namesake, Charles M. Russell,
was its fine art category, with Measuring 70 inches high, the AUCTIONS including oils watercolors,
the top lot of the auction being work is considered one of the FEBRUARY 17
Martin Johnson Heade’s Florida finest examples of these types of Winter Sale
Pastoral (est. $300/500,000) pieces that were placed outside $1.4 million
at $359,000. The work was of theaters and coffee shops. Held February 17 at the
acquired from the family of the Other standouts included American Theater in
artist and was included in the William Rush’s tobacconist Charleston, South Carolina,
artist’s catalogue raisonné. trade figure of a Native Copley Fine Art Auctions’
Other historic American American (est. $75/100,000) annual Winter Sale was 91
Charles M. Russell (1864-1926),
art highlights included at $64,350; a 7-foot wide 19th- percent sold by lot and saw Following the Buffalo Run, ca. 1894.
Martha Walter’s Along the century weathervane of a fire more than $1.4 million in Oil, 231/8 x 35 in. Courtesy C.M. Russell
sales. There were robust results Museum. Estimate: $1.25/1.75 million
Seine Celebrating Bastille engine drawn by two horses SOLD: $1,257,000
(est. $40/60,000), which sold in the decoy category, which
Day (est. $15/20,000) that
for $55,575; and a pair of folk had the top lot of the day, as bronzes, illustrated letters and
achieved $31,460; Norman
well as fine paintings. small sketches. Fifteen of the
Rockwell’s Schenley Whiskey
Two pieces by Edmund items found new buyers, with
advertisement illustration Hot
Osthuas were particularly of six pieces landing in the top
Toddy (est. $20/40,000) at 10 lots including the highest
interest, as both sold for above
$45,980; and Hayley Lever’s earner of the sale: Following the
their presale estimates. Pointer
Red,White, and Purple Gladiolas Buffalo Run at $1,257,000.
and Quail (est. $30/50,000)
(est. $10/20,000), which more Two notable works outside
achieved $63,000 and On
than doubled its high estimate of the Russell offerings were
Point (est. $25/35,000) came
at $44,770. In addition, Thomas Gerald Curtis Delano’s The
in at $44,400. Frank W.
Moran’s A Hillside Village at Victors (est. $375/475,000)
Benson’s Wood Duck, which
Sunset inched past its high that achieved $409,500 and
appeared as the frontispiece
estimate of $50,000 to fetch Frank Tenney Johnson’s Down
American carved polychrome wooden
for William Brewster’s 1937
a solid $51,425 and Panoramic Through the Canyon (est.
minstrel figure of “Jim Crow” or “Daddy book Concord River, achieved
View of the Mount Washington Rice,” ca. 1870. Courtesy Thomaston $70/100,000) that came in
Place Auction Galleries. Estimate:
$37,200. Also notable were a
Valley (est. $1/2,000) by above estimate at $128,700.
$125/175,000 SOLD: $157,950
133
AUCTION REPORT: MONROVIA, CA
Record-Setting Works
John Moran’s California and American Fine Art auction yielded
$860,000 in sales from many private collections
O n March 21, John

Moran Auctioneers’
California and
American Fine Art sale
garnered $860,000 in sales
valued artists.
The first 69 lots of the
auction were dedicated
to works from the private
collection of California
presale estimate of $400 to
$600, but competition from
multiple bidders brought
the watercolor to $3,300, a
record for the artist. Artist
ducks earned $915 against its
$600 to $800 estimate.
Additional highlights
from the collection include
a watercolor scene of
with a 70-percent sell- watercolorist Gerald Brommer records were also set for Bunker Hill, Los Angeles
through rate. The sale featured and his wife Georgia as part Frederic Whitaker’s Military from Emil J. Kosa Jr., which
255 lots, many of which were of a special session called An Prison (No. 2), which earned the Brommers found at
consigned from important Artist Collects. Three artist $5,700, nearly three times its an antique store near their
estates and collections, and records were set during this high estimate of $1,800, and home. Estimated at $6,000
the auction house continued session, including a watercolor for Whitaker’s wife, Eileen to $8,000, the piece earned
their trend of establishing by Electra Stamelos. Series #99 Monaghan Whitaker, whose $18,000 due to participation
auction records for under- – 3 Tondos had a conservative watercolor of a pair of white from internet, absentee and
Charles Vezin (1858-1942), The Hudson. Oil on canvas, 28 x 36 in., signed lower right: ‘C. Vezin’; titled on a frame plaque.
Estimate: $4/6,000 SOLD: $15,860
134
Nicolai Fechin (1881-1955), Untitled. Charcoal and Edgar Alwin Payne (1883-1947), Tuna Boats on the French Coast. Oil on canvas laid to
graphite heightened with white on paper under board, 12 x 15¼ in., signed lower right: ‘Edgar Payne’; titled in another hand verso.
glass, 14 x 11 in., signed with initials lower right: ‘N.F.’ Estimate: $15/20,000 SOLD: $29,280
Estimate: $7/10,000 SOLD: $10,980
telephone bidders. charcoal and graphite (est. Later in the evening, solid prices. The top-earning
A crowd favorite was an $7/10,000); telephones lines Alaskan scenes from the lot from the collection was
untitled portrait of a woman were fully reserved for the collection of Ruth and Arctic Night Dog Team, which
by Nicolai Fechin done in lot, which achieved $10,980. James Barrack brought in depicted a sled dog team
charging through the icy
tundra during a nighttime
sun. The oil painting topped
its high estimate of $35,000
to bring in $39,650, the
second-highest auction price
ever achieved by Lambert.
Other highlights from
various private collections
include Mid-Town Storm (est.
$10/15,000), a street view
by New York artist Guy
Carleton Wiggins, which
achieved $10,980, as well
as another East Coast work
by Charles Vezin titled The
Hudson, which outperformed
its $4,000 to $6,000 estimate,
eventually selling at $15,860
after a back and forth
between telephone bidders.
John Moran will host
another fine art auction on
May 23, featuring paintings,
prints and drawings dating
from the 18th century
Theodore Roosevelt Lambert (1905-1960), Arctic Night Dog Team. Oil on Masonite, 25¾ x 32 in., signed and
dated lower right: ‘T.R. Lambert / 1940’; with artist’s device, titled in another hand on a gum labelaffixed to the through contemporary.
frame verso. Estimate: $25/35,000 SOLD: $39,650
135
Index
Artists in this issue
Arpa, José 130 Elvgren, Gil 128, 130 Leighton, Clare 100 Rockwell, Norman 30, 34, 120
Avery, Milton 121 Ernst, Max 66 Lewis, Martin 98, 128 Russell, Charles M. 133
Bacher, Otto Henry 126 Farny, Henry F. 122 Lozowick, Louis 100 Saint-Gaudens, Augustus 111
Bannister, Edward Mitchell 38 Fechin, Nicolai 135 Marin, John 121 Sandzén, Birger 120
Barthé, Richmond 83 Francis, Sam 131 Maurer, Alfred H. 74, 83 Sargent, John Singer 115
Basquiat, Jean-Michel 131 Garber, Daniel 127 Miller, Richard Edward 43 Schoonover, Frank Earle 38
Benton, Thomas Hart 132 Gifford, Sanford Robinson 86 Moffett, Ross 30 Shinn, Everett 132
Bierstadt, Albert 109 Gleason, Herbert W. 35
Montes, Mary 28 Slade, Caleb Arnold 106
Bluemner, Oscar F. 75, 84 Gray, Percy 132
Moran, Thomas 119, 125 Smith, Mary T. 35
Boucher François 30 Hartigan, Grace 76
Morse, Samuel F. B. 32 Stella, Joseph 72
Buttersworth, James E. 132 Hartley, Marsden 72, 90, 114, 123
Nadelman, Elie 94 Stuart, Gilbert 112
Cassatt, Mary 113 Hassam, Childe 103, 113
Naito, Rakuko 34 Theus, Jeremiah 131
Catlett, Elizabeth 84 Hathaway, Isaac Scott 38
O’Keeffe, Georgia 30, 42 Vedder, Elihu 102, 105
Chabot, Marla 46 Heade, Martin Johnson 133
Osthaus, Edmund H. 133 Vezin, Charles 134
Chaffetz, Asa 101 Henri, Robert 82, 124
Parrish, Maxfield 110, 116, 132 Wendt, William 32
Chase, William Merritt 106 Homer, Winslow 28, 117
Coleman, Charles Caryl 104 Huntley,Victoria Hutson 101 Payne, Edgar Alwin 135 Whistler, James
Colman, Samuel 120 Kent, Rockwell 118 Pelton, Agnes 40 Abbott McNeill 84, 103
Coppedge, Fern Isabel 126 Kupferman, Lawrence 100 Peterson, Jane 68 Williams, William T. 35
Cropsey, Jasper Francis 117, 124 Lachaise, Gaston 40, 96 Peto, John Frederick 42 Wyeth, Andrew 48, 62, 124
Davis, Stuart 28 Lambert, Theodore Roosevelt 135 Prendergast, Charles E. 131 Wyeth, Jamie 39
Draper, Louis 28 Landeck, Armin 99 Pyle, Howard 34 Wyeth, N.C. 38, 113
Duveneck, Frank 102 Laurent, Robert 97 Remington, Frederic 108 Zorach, William 95
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Childe Hassam (1859–1935)
The Artist’s Wife in a Garden, Villiers-le-Bel, 1889

Oil on canvas, 33 x 51 ¼ inches (83.8 x 130.2 cm), Signed upper left: Childe Hassam
100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010
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American Fine Art Issue 33 May-June 2017

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N.C. Wyeth (1882-1945) Boulders, c. 1911/1912 Oil on Canvas 25 x 30 inches

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