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MODERN/POST-WAR ABSTRACT ADDICTIONS: ....AND ALL THAT JAZZ 2019 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM 2 3 ABSTRACT ADDICTIONS: ...AND ALL THAT JAZZ “It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academic painting. However, there is no such thing as a good painting about nothing.”…Mark Rothko It has been one year since we last published a large catalogue devoted to our vast inventories touching upon our passion for Post-War and modern works of art. When you peruse the following pages please pause a moment and realize that each work of art on each page has a backstory. When and where was it created? Where did it go after its creation and to whom? Over the years of its initial acquisition who lived with it and who viewed it? Was it loaned to exhibitions or museums? Has it traded hands only once or numerous times and eventually how did we acquire it? Well… all of the above are wonderfully curious questions one doesn’t generally think about, but in my life it is all I think about. The backstories and future of all these great works of art have finally come home to me. As times change, we continue to keep reinventing ourselves. Our growth as well as our desire to learn is paramount in keeping us current. Our focus lies mostly in Post-War art, which surprisingly comprises many more movements than one would expect. Personally, I immediately think of the Abstract Expressionists but then you realize from their movement basically everything after that is a result of those artists to this day. A short list consists of the following movements such as, Bay Area, Black Mountain College, Cobra, Color Field, Gutai Group, Pop, Conceptual Art, Minimalism, Hard Edge, Kinetic Art and Realism etc. etc. and when you really think about it, they all are somehow related intellectually. I haven’t until recently realized that my continuing interests are all connected to my love of Abstract Expressionism and its influencing echo on all of the artists after them to the present day. You will see that our current catalogue “Abstract Addictions:... And All That Jazz” touches upon all of these movements. The label Abstract Expressionism was established in New York City in the 1940s and 1950s of painters whose compositions were filled with abstract forms of color painted with vigorous gesture attacking their canvases with personal emotions as expressions within themselves. Their universal themes were shaped from European modernism and abstraction but translated into something purely American. Like American Jazz, the Abstract Expressionists lead the way to the future of painting and it all came out of the trauma, VINCENT VALLARINO anxiety and realization of what they experienced as survivors of WWII. This gave them a new beginning PRINCIPAL, and a chance to reinvent themselves not realizing their effect on the future of art forever. I believe that [email protected] all the Post-War movements to this day were born from this group of artists. They were all exceptional MASHA STROGANOVA craftsmen with no boundaries enabling them to follow their intuitive flow taking themselves to new places DIRECTOR, intellectually and magically discovering places they never dreamed of arriving at. They were becoming [email protected] their own teachers and to this day their influence is a paradigm that will never fade. JORDAN HUTTON STUDIO MANAGER, For me art is the purist addiction that exists and over time have realized that its eclectic relationship with [email protected] color, form and space connect everything in mysterious ways. Mendelssohn’s, “Abstract Addictions:... ETHAN VALLARINO And All That Jazz”” is a series of compositions for piano consisting of eight volumes containing six songs CONSULTANT, each written over his lifetime. Even though they were written over a lifetime they all relate, much like the [email protected] various art movements that were born from Abstract Expressionism. Once again we have put our heart VANESSA VALLARINO and soul into what we believe to be a complete statement for you to appreciate. Hopefully our passion ASSOCIATE, and enthusiasm will fuel your quest to absorb new ideas as the mystery of art unfolds around you. [email protected] I continue to believe that the future is all about the past. Vincent Vallarino, Millbrook, New York 2019 Vincent Vallarino in our studio located on the Vallarino Millbrook property 2 3 CONRAD MARCA-RELLI AMERICAN, 1913-2000 PASSION J-L-I-18-59-89, 1959-89 OIL AND COLLAGE ON CANVAS 57 ½ X 72 INCHES SIGNED BOTTOM LEFT; DATED VERSO PROVENANCE: THIS WORK IS REGISTERED IN THE ARCHIVIO MARCA-RELLI, PARMA UNDER N. MARE-9488 EXHIBITED: DARMSTADT, INSTITUT MATHILDENHÖHE, CONRAD MARCA-RELLI: WORKS 1945-1996, 2000 KOLN, LUDWIG MUSEUM KOLN; ROMA, SCUDERIE DEL QUIRINALE, BURRI. GLI ARTISTI E LA MATERIA 1945-2004, 2005, P. 83, ILLUSTRATED LITERATURE: KLAUS WOLBERT, CONRAD MARCA-RELLI: WORKS 1945-1996, DARMSTADT 2000, P.111 ILLUSTRATED MARCO VALLORA, MARCA-RELLI L’AMICO AMERICANO. SINTONIE E DISSONANZE CON AFRO E BURRI, PARMA 2002, P. 261, ILLUSTRATED DAVID ANFAM, MAGDALENA DABROWSKI, CONRAD MARCA-RELLI - PROTAGONISTA DELL’ESPRESSIONISMO ASTRATTO AMERICANO, MILANO 2008, ILL. P. 184, 301, ILLUSTRATED 4 5 HANS HOFMANN AMERICAN, 1880–1966 RED DOMINATION, 1949 OIL ON CANVAS 60 X 42 INCHES SIGNED AND DATED BOTTOM RIGHT/ HANS HOFMANN ESTATE STAMP VERSO PROVENANCE: ANDRE EMMERICH GALLERY, NYC GALERIE MICHAEL HAAS, BERLIN JANIE C. LEE GALLERY, HOUSTON, TX CRANE GALLERY, LONDON SOTHEBY’S NEW YORK, NOVEMBER 20, 1996 (LOT 80) 6 7 EDWARD DUGMORE AMERICAN, 1915-1996 23RD STREET #2, 1956 OIL ON CANVAS 70 X 94 ¼ INCHES SIGNED AND DATED VERSO PROVENANCE: THE ESTATE OF THE ARTIST; MANNY SILVERMAN GALLERY, LOS ANGELES, CALIFORNIA (ACQUIRED DIRECTLY FROM THE ABOVE); PRIVATE COLLECTION, LOS ANGELES, CALIFORNIA (ACQUIRED DIRECTLY FROM THE ABOVE) 8 9 BOB THOMPSON AMERICAN, 1937-1966 FIGURES WITH BLUE SAINT, 1964 OIL ON MASONITE 19 X 23 INCHES SIGNED AND DATED LOWER LEFT PROVENANCE: PRIVATE COLLECTION, PENNSYLVANIA 10 11 GENE DAVIS AMERICAN, 1920-1985 SWEET HOPSCOTCH, 1960 ACRYLIC ON CANVAS 91 ¾ X 110 ¾ INCHES SIGNED VERSO PROVENANCE: MIDDENDORF/LANE GALLERY, WASHINGTON, D.C. ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER, 1981 12 13 JOHN LITTLE AMERICAN, 1907-1984 WHITE SILENCE, 1951 OIL ON CANVAS 42 X 36 3/8 INCHES SIGNED ON LOWER LEFT PROVENANCE: THE ESTATE OF THE ARTIST 14 15 WILLEM DE KOONING DUTCH/AMERICAN, 1904–1997 UNTITLED, C. 1971 OIL ON PAPER (2 JOINED SHEETS OF PAPER) 44½ X 41½ INCHES PROVENANCE: THE ESTATE OF THE ARTIST (DE KOONING STUDIO LABEL VERSO) MITCHELL-INNES & NASH, NEW YORK ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER EXHIBITED: NEW YORK, MITCHELL-INNES & NASH, MASTER DRAWINGS OF THE TWENTIETH CENTURY, MAY-JUNE 1998, PP. 56-57, NO. 23 (ILLUSTRATED). 16 17 JACK WHITTEN AMERICAN, 1939-2018 PSYCHIC FRAGMENTS #3, 1988 MIXED MEDIA, INCLUDING GOUACHE, WATERCOLOR AND INK, ON CREAM JAPAN PAPER 21 X 28½ INCHES SIGNED AND DATED LOWER RIGHT PROVENANCE: G.R. N’NAMDI GALLERY, BIRMINGHAM, MI; PRIVATE COLLECTION, NEW YORK 18 19 ROBERT MOTHERWELL AMERICAN, 1915-1991 UNTITLED, 1985 ACRYLIC, OIL STICK, CHARCOAL AND PAPER COLLAGE ON CANVAS LAID DOWN ON MASONITE 72 1/8 X 35 7/8 INCHES SIGNED AND DATED LOWER LEFT PROVENANCE: M. KNOEDLER & CO., NEW YORK PRIVATE COLLECTION, CALIFORNIA, 1988 ANON. SALE; SOTHEBY’S, NEW YORK, 10 NOVEMBER 2004, LOT 288 PRIVATE COLLECTION, LONDON, 2005 20 21 JOHN LITTLE AMERICAN, 1907-1984 TROPIC OF CANCER II, 1960 OIL ON CANVAS 60 X 76 INCHES SIGNED AND DATED LOWER RIGHT PROVENANCE: THE ESTATE OF THE ARTIST 22 23 HANS HOFMANN AMERICAN, 1880–1966 COMPOSITION NO. 43, C. 1942 OIL ON PANEL 35 ½ X 41 ½ INCHES SIGNED BOTTOM RIGHT PROVENANCE: THE ARTIST. THE COLLECTION OF CLEMENT GREENBERG. NOAH GOLDOWSKY GALLERY, NEW YORK, NEW YORK. PRIVATE COLLECTION, DAYTON, OHIO. SOTHEBY’S, NEW YORK, “CONTEMPORARY PAINTINGS, DRAWINGS AND SCULPTURE,” NOVEMBER 9, 1983, LOT 43. PRIVATE COLLECTION. CHRISTIE’S, NEW YORK, “CONTEMPORARY ART,” FEBRUARY 8, 1986, LOT 101. THE ESTATE OF LEE & GILBERT BACHMAN, ATLANTA, GEORGIA & BOCA RATON, FLORIDA (ACQUIRED DIRECTLY FROM THE ABOVE SALE). LITERATURE: SUZI VILLIGER, HANS HOFMANN CATALOGUE RAISONNÉ OF PAINTINGS, VOLUME II: CATALOGUE ENTRIES P1-P846 (1901–1951), BURLINGTON: LUND HUMPHRIES, 2014, CATALOGUE NO. P436 (ILLUSTRATED). 24 25 WALTER SANFORD AMERICAN, 1912-1987 STUDY IN BLACK & WHITE, 1949-50 OIL ON MASONITE BOARD 36 X 48 INCHES SIGNED AND DATED UPPER RIGHT PROVENANCE: THE ESTATE OF THE ARTIST; PRIVATE COLLECTION BLOOMFIELD, MI; PRIVATE COLLECTION, BOSTON. 26 27 ELIZABETH CATLETT AMERICAN, 1915–2012 STEPPING OUT, 1987 FOOTBALL PLAYERS, 1966 BRONZE SCULPTURE ERNIE BARNES OIL ON CANVAS 30 X 9 ½ X 7 INCHES AMERICAN, 1938–2009 32 X 38 INCHES INSCRIBED “EC” SIGNED LOWER RIGHT PROVENANCE: PRIVATE COLLECTION, PROVENANCE: PRIVATE COLLECTION, LOS ANGELES MEXICO CITY, MEXICO 28 29 RAY PARKER AMERICAN, 1922-1990 GREEN AND RED, 1960 OIL ON CANVAS 65 X 65 INCHES SIGNED AND DATED VERSO PROVENANCE: PAUL KANTOR GALLERY, LOS ANGELES, CA 30 31 FRIEDEL DZUBAS GERMAN/AMERICAN, 1915-1994 BORGIA, C. 1979 ACRYLIC ON CANVAS 56 X 115 INCHES SIGNED, TITLED, AND DATED VERSO PROVENANCE: MEREDITH LONG & COMPANY, HOUSTON, TEXAS 32 33 ESTEBAN VICENTE SPANISH/AMERICAN, 1903-2001 AROUND, 1984 OIL ON CANVAS 53 X 42 INCHES SIGNED, DATED, AND TITLED VERSO PROVENANCE: PROVENANCE: GRUENEBAUM GALLERY, LTD., NEW YORK 34 35 KENNETH NOLAND AMERICAN, 1924-2010 BRAZILIAN LIGHT, 1964 ACRYLIC ON CANVAS 45 X 45 INCHES SIGNED, TITLED, AND DATED VERSO PROVENANCE: SOLD: SOTHEBY’S NEW YORK, MAY 9, 1996, LOT 93 36 37 VIVIAN SPRINGFORD AMERICAN, 1914-2003 UNTITLED (VSF 573), C.
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  • Ernest Briggs' Three Decades of Abstract Expressionist Painting

    Ernest Briggs' Three Decades of Abstract Expressionist Painting

    Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”.