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CHILDS GALLERY Established 1937 THE ANNUAL

MARCH 2015 Volume 2 CHILDS GALLERY Established 1937

Fine American and European Paintings, Prints, Drawings, Watercolors and Sculpture

Richard J. Baiano Stephanie V. Bond

169 Newbury Street Boston, MA 02116 617-266-1108 617-266-2381 fax childsgallery.com [email protected]

We encourage you to phone or e-mail us to reserve your work of art. If you are from Massachusetts, a 6 ¼ % sales tax will be applied. A small shipping and handling fee, depending on package size, will be applied. Visa, MasterCard, and American Express are accepted. Prices are subject to change without notice. Works shipped on-approval may be returned within ten days of receipt. Firm orders have priority. All works returned must be as sent: prepaid and insured. All works in this catalogue are unconditionally guaranteed to be as described. Your bill of sale acts as your certificate of authenticity, and we will refund your money at any time if on good authority our description should be shown to vary from the work at the time that it was sold.

To Receive Our E-Catalogues: In addition to the Print Annual, the Painting Annual, Childs Gallery Collections, and the Childs Gallery Bulletin, we offer a series of specialized e-catalogues. These email-based announcements are produced as single artist catalogues after having acquired significant new additions to the artist’s work, or pertain to specific subject matter such as marine, still life, portraits, etc. Please provide your e-mail address including an indication of the artists or subjects that interest you. We hope you will let us know how we can shape this set of catalogues to serve you better. You can also register for e-catalogues at childsgallery.com.

COVER Jacob Kainen American (1909-2001) Luncheon Group, 1966 Oil on canvas 48 X 44 INCHES Signed lower center. Signed and dated verso.

THE ANNUAL MARCH 2015 Volume 2

Editor: Richard J. Baiano SCAN THE CODE Assistant Editors: Julie Barry and Stephanie V. Bond WITH A QR READER Staff: Gina Canning, Kathryn Fields, Angeera Khadka, Sally Norton and Hope Stockton ON YOUR MOBILE D. Roger Howlett, Senior Research Fellow PHONE AND VISIT THE Photography: Darren Stahlman|darrenstahlmanphotography.com ONLINE GALLERY AT Catalogue Design: Carlos Ridruejo|caridossa.com CHILDSGALLERY.COM

Volume 2 The Spring Thaw

CONTENTS

Introduction 5

Painting Annual 23 6 Print Annual 35 32

OUR PUBLICATIONS The Annual, which merges the Painting Annual and the Print Annual, is Childs Gallery’s latest publication series in a long tradition of more than seventy-five years of gallery publications and scholarship. The Childs Gallery Bulletin (begun 1950), the Print Annual (begun 1976), and the Painting Annual (begun 1980) have been firmly established and are represented in almost every fine arts library in the country. As early as the mid-1940s, Childs Gallery presented a publication entitled Currier and Ives Prints: A Collection, which represented the carefully considered collection of a single owner. Continuing in this vein, in 2009 Childs Gallery introduced the publication series Childs Gallery Collections which celebrates collections, collecting, and collectors as a pivotal axis of the art world.

CHILDS GALLERY Established 1937

169 NEWBURY STREET BOSTON, MASSACHUSETTS 02116-2895

THE ANNUAL 2015 Volume 2 3

The Spring Thaw

The great melt has begun in Boston. Snow piles continue to evaporate and the promise of spring calls to mind the many new works of art that Childs Gallery has acquired since our last publication. This is our second Annual, merging the former Painting Annual and Print Annual. This combined publication showcases highlights of our new acquisitions and demonstrates the full range of our gallery offerings, which span from the Renaissance to Contemporary. The Annual is in many ways a reflection of the various eras that Childs has encountered throughout its more than 75 years in business. We are committed to our historic traditions, while also seeking to embrace current collecting trends. Across all media, we are reinvigorating our offerings with the work of contemporary artists who share the gallery’s aesthetic and reflect on the traditions of art. Of course, the many artists and movements that have been a part of the long tradition of the gallery are to be found in this Annual as well. It is always exciting to experience the breadth of our new acquisitions through the all-encompassing format of the Annual. We pride ourselves on offering works of art from many different collecting areas, enabling an individual to acquire a comprehensive collection, or an institution to fill in critical gaps. The earliest work featured in the catalogue is from the 16th century, a Renaissance print of Raphael Sanzio by Giulio Bonasone (circa 1545), and the most recent work is the superbly executed Mercury by Anthony Moore, completed just before we went to press. Each year the Annual showcases a number of exceptional works, and these gems are what make the continuous run of our publications such a fascinating read. This year we are pleased to feature Jackson Pollock’s Psychoanalytic Drawing (No. 8), an intriguing work of art that not only offers a window into the artist’s troubled psyche, but also represents an important milestone in his stylistic transition from early modernist explorations to full-blown abstraction. Another very special work is by the 19th century African American and Native American sculptor Edmonia Lewis. The Marriage of Hiawatha, depicting the subject of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha (1855), is a tour de force of figurative marble sculpture. Several exciting new works emerged from private New England collections, including Chuck Close’s mesmerizing anamorphic Self-Portrait. This is one of the few remaining impressions not already in a museum collection. Finally—a personal favorite of mine—is the ethereal Boston School painting Study for Haunted City by Robert Hale Ives Gammell. Gammell is one of the earliest artists we represent in a long line of artists that have emerged from the School of the Museum of Fine Arts, Boston. Other SMFA artists featured in the Annual include Hannah Barrett, Paul Endres Jr., Emily Lombardo, and Laurel Sparks, as well as a number of the Boston Expressionists. We are also excited to introduce a number of emerging and mid-career artists who are new to Childs Gallery. Margaret Rose Vendryes’ Sowei RuPaul is a mixed media painting from her African Diva Project. Her iconic compositions take inspiration from the LP covers of famous African American pop divas and explore gender issues in contemporary African and American cultures. Raphael Jaimes-Branger’s Monuments of Paris series uses the artist’s signature technique of acid painting on silver leaf to create atmospheric renderings of his subjects. Printmaker Sara Zielinski debuted her expressionistic and sexually charged etchings with the gallery at the Ink Miami Art Fair this past December. We are pleased to announce that each of these new additions will have exhibitions at the gallery in the upcoming year. [PLEASE TURN TO PAGE 23]

LEFT Jackson Pollock O’Conner and Thaw 516; Wysuph plate 8. Best known for his abstract drip paintings, Jackson Pollock was American (1912-1956) an influential American painter and a major figure in the Abstract Expressionist movement of the 1940s Untitled #8 (Psychoanalytic Drawing) and 50s. Throughout his lifetime Pollock struggled with alcoholic depression and emotional instability. circa 1939-1940 In 1939, Pollock sought professional help from the Jungian analyst Dr. Joseph L. Henderson. This is one Graphite and colored pencil on paper of 83 drawings produced by Pollock in an effort to open communication during his treatment. Most of 13 X 10 1/4 INCHES the sheets are crowded with monstrous anamorphic figures, particularly variations of the horse and bull, seen here. The drawings have been viewed as both psychoanalytic documents charting the unconscious demons of a troubled mind, and works of art documenting Pollock’s stylistic transition toward abstraction.

ABOVE Margaret Rose Vendryes Sowei RuPaul is a work from the artist’s African Diva Project, which explores the role of gender in African Jamaican-American (b. 1955) cultures and in contemporary society. Each square canvas is modeled after an LP cover featuring a Black female Sowei RuPaul music legend wearing an African tribal mask. While these masks are traditionally danced by men – even when Oil and cold wax on canvas and paper. representing female deities or ancestors – Vendryes uses them to empower the divas, giving these dynamic 48 X 48 INCHES female performers agency and protection by replacing their psychological masks with a literal ones.

THE ANNUAL 2015 Volume 2 5

PAINTING ANNUAL Volume 23

CONTENTS

Contemporary American Sean Flood 8 American Views of Venice 9 American Paul Endres Jr. 10 American Hannah Barrett 11 Twentieth Century American Artists of the School of the Museum of Fine Arts 12 American Various Artists 14 American Milton Avery 15 American Various Artists 16 American Henry Botkin 17 American Jacob Kainen 18 American Sally Michel 19 German-American Bauhaus Artists 20 American Robert S. Neuman 21 American Various Artists 22 American American Impressionism 25 Nineteenth Century American Lynn Beach Painters 24 American & French Various Artists 26 American & Hungarian Various Artists 27 Sculpture American Nineteenth Century 28 American Twentieth Century 29 American Contemporary 30 American Donald De Lue 31

LEFT R.H. Ives Gammell The study is a preliminary sketch, begun in the early 1950s, for Gammell’s painting Haunted City completed in 1963. American (1893-1981) The setting is the old Massachusetts Avenue Bridge as it appeared before the construction of the Prudential Center. Study for Haunted City Robert Hale Ives Gammell was a muralist and portrait painter best known for his heroic allegories and Oil on masonite imaginative paintings. As a student of the School of the Museum of Fine Arts, Boston from 1911-1913, Gammell 25 X 18 1/2 INCHES studied under Hale, Tarbell, Benson, DeCamp, and Paxton.

THE ANNUAL 2015 Volume 2 7 Contemporary American Sean Flood (b. 1982)

Sean Flood’s paintings are a dynamic reflection of the artist’s roots in construction and street art. Line and form build up his compositions like high-rises, while also imbuing them with the inherent intensity of graffiti. His cityscapes perfectly mimic the at once homey and hectic feel of urban life.

1 Sean Flood American (b. 1982) Feelin Foggy, Beacon Hill, 2014 Oil on canvas 30 X 40 INCHES Signed lower right. Titled, signed, and dated verso.

2 Sean Flood American (b. 1982) Hospital Windows, 2014 Oil on panel 62 X 48 INCHES Signed lower right.

NEXT PAGE 3 Adam Van Doren American (b. 1962) San Giorgio from San Marco, 2009 Oil on canvas 30 X 40 inches Signed lower right.

8 CHILDS GALLERY THE ANNUAL Contemporary American Views of Venice

4 George Nick American (b. 1927) Off the Zattere, Venice, 1996 Oil on canvas 30 X 19 3/4 INCHES Signed, titled and dated lower left.

5 Lee Essex Doyle American (b. 1968) Palazzo Priuli, Venice, 2014 Watercolor and mixed media

30 X 22 INCHES 5

2015 Volume 2 9 Contemporary American Paul Endres Jr. (b. 1985)

Paul Endres Jr.’s series The American Burden imagines a post-apocalyptic Boston in which history has ended and absurdity reigns. Inspired by both historical narrative paintings and graphic novels, Endres depicts the fantastical exploits of heroes, villains, and innocents as they battle for political control of the populace. The artist is now accepting commissions to be painted into this mythological narrative—a chance for you to become a character within the engagingly complex story of The American Burden. Please inquire for further information about commissions and for your copy of the catalogue: Collections, Volume 12, Theater of War: Paul Endres Jr.’s Tales of the American Burden.

6 Paul Endres Jr. American (b. 1985) The Resurrection of The Immortal Jacob Coffin [For Purposes of War], 2014 Oil on panel 48 X 36 INCHES Signed lower left, on the chainsaw.

7 Paul Endres Jr. American (b. 1985) The Surviving Members of the Sullivan Seven, 2014 Oil on panel 36 X 36 INCHES Signed lower left.

10 CHILDS GALLERY THE ANNUAL Contemporary American Hannah Barrett (b. 1966)

8 Hannah Barrett American (b. 1966) Summer Shepherds, 2013 Oil and acrylic on canvas 78 X 78 INCHES

9 Hannah Barrett American (b. 1966) Sinister Ham, 2013 Oil and acrylic on canvas 34 X 28 INCHES 9

2015 Volume 2 11 Twentieth Century American Artists of the School of the Museum of Fine Arts

The artists of the School of the Museum of Fine Arts, encompassing Boston Expressionism and its offshoots, is a newly-focused area of Childs Gallery’s expertise. This group of Boston artists, influenced by German Expressionism, favored narrative and figurative subjects at a time when the contemporary art world embraced abstraction. Many of the first generation Boston Expressionists, including such notables as Hyman Bloom, Jack Levine, and Karl Zerbe, were first and second generation Jewish immigrants who had escaped persecution in Europe during the Second World War. Their highly individualistic painting styles employed richly saturated colors, frenzied brushstrokes, and inventive figurative compositions to communicate the evils, bewilderment, and angst of their times. These Boston Expressionists were influential in art-education as instructors at the School of the Museum of Fine Arts, affecting future generations of artists with their style. Karl Zerbe became head of the school’s Painting Department in 1937. Many of the Museum School artists represented here belong to the later generations of Boston Expressionists whose work evolved from the Boston Expressionist philosophy. Ture Bengtz taught alongside Zerbe as the school’s head of the Drawing and Graphic Arts Department, while Arthur Polonsky, Jason Berger, Jack Kramer, and Anne Powers were all students of Zerbe, and were greatly influenced by the elder generation of Boston Expressionists. 10

10 Ture Bengtz Finnish-American (1907-1973) Woman Fixing Hair, circa 1960 Oil on masonite 23 7/8 X 13 7/8 INCHES From the estate of the artist.

11 Jack Kramer American (1923-1983) Girl in Striped Dress Oil on canvas 36 X 30 INCHES Signed lower right. Titled verso. From the estate of the artist.

12 CHILDS GALLERY THE ANNUAL Twentieth Century American Artists of the School of the Museum of Fine Arts

12 Arthur Polonsky American (b. 1925) Descent, 1983 Oil on canvas 54 X 56 ½ INCHES Signed lower left.

EXHIBITED St. Botolph Club, “Arthur Polonsky: Paintings and Drawings,” November 10 - January 3, 2005.

13 Anne Lyman Powers American (b. 1922) The French War Veteran at Peace, 1952 Oil on canvas 24 X 36 INCHES Initialed and dated lower left. Signed lower right.

2015 Volume 2 13 Twentieth Century American

14 Jason Berger American (1924-2010) Brookline, Early Sixties, circa 1960 Oil on canvas 20 X 30 INCHES Signed lower right. Titled verso.

15 Betty Herbert American (b. 1929) Dentelles Dest, 2001 Oil on linen 13 X 16 INCHES Signed lower left. Inscribed verso.

14 CHILDS GALLERY THE ANNUAL Twentieth Century American Milton Avery (1885-1965)

16 Milton Avery American (1885-1965) Musician & Dancer, from the Theater Series, 1932 Gouache on paper 12 X 18 INCHES Signed lower right.

17 Milton Avery American (1885-1965) Spotlight or Singing Trio, from the Theater Series, 1931 Gouache on paper 12 X 18 INCHES Signed lower right. Both gouaches were part of a set of ten Theater Series 17 gouaches at Riva Yares Gallery, Scottsdale, AZ. Two of the Theater Series gouaches from this group are published in Hobbs, Robert Carleton, Milton Avery, New York: Hudson Hills Press, 1990, p. 60.

2015 Volume 2 15 Twentieth Century American

18 Karl Knaths American (1892-1971) Cats, 1953 Oil on canvas 36 X 42 INCHES Signed lower left.

EXHIBITED “Karl Knaths: Between Form and Freedom”, Provincetown Art Association and Museum, Provincetown, MA, August 8- November 2, 2014.

Provincetown, MA, home to America’s oldest active art colony, has inspired artists for generations. The artist community formed at the turn of the century with the opening of Charles Webster Hawthorne’s Cape Cod School of Art and E. Ambrose Webster’s Summer School of Painting. By 1916, the Boston Globe declared Provincetown the “Biggest Art Colony in the World” with more than 300 artists and students living or summering in the area and six schools of art in operation. The colony produced a number of significant artists throughout the 20th Century, including Maurice Sterne and Henry Botkin.

19 Maurice Sterne American (1878-1957) Expression of an Impression, 1949 Oil on canvas Signed and dated lower right. 19 Ex-collection: Metropolitan Museum of Art.

EXHIBITED “133rd Annual Exhibition of Painting in oil, Sculpture, Graphic Art and Watercolors”, National Academy of Design, New York, NY, February 20 - March 16, 1958, 133.

16 CHILDS GALLERY THE ANNUAL Twentieth Century American Henry Botkin (1896-1983)

Born in Boston, Henry Botkin has been called the city’s most important Abstract Expressionist. He first turned to abstraction in the late 1930s, manipulating spatial relationships with form, color, and texture. Botkin played an active role in bringing abstract art into greater public awareness and served as president of four major art organizations: The Artist’s Equity Association, The American Abstract Artists, Group 256 in Provincetown, and the Federation of Modern Painters and Sculptors.

20 Henry Botkin American (1896-1983) Blue Abstract Painting Oil on board 34 X 44 1/8 INCHES Signed lower left. From the estate of the artist.

21 Henry Botkin American (1896-1983) Enigma, 1954 Oil on board 40 X 29 3/4 INCHES Signed lower left. From the estate of the artist.

22 Henry Botkin American (1896-1983) Hidden Melody, circa 1948-50 Oil on board 22 23 X 17 INCHES Signed lower right. Titled and signed verso. From the estate of the artist. 21

2015 Volume 2 17 Twentieth Century American Jacob Kainen (1909-2001)

23 Jacob Kainen American (1909-2001) Beach Scene, 1967 Oil on canvas 48 X 60 INCHES Signed and dated lower left. Signed, titled, and dated verso.

24 Jacob Kainen American (1909-2001) Eyrie, 1949 Oil on canvas 20 X 16 INCHES Signed lower right. Signed, titled, and dated verso.

18 CHILDS GALLERY THE ANNUAL Twentieth Century American Sally Michel (1902-2003)

25 Sally Michel American (1902-2003) Seated Figures with Plants, 1975 Oil on canvas 40 X 50 INCHES Signed and dated lower right.

26 Sally Michel American (1902-2003) Bloom and Lime, 1950 Oil on board 18 X 14 INCHES Signed and dated in pencil center right. Titled verso. 26

2015 Volume 2 19 Twentieth Century German-American Bauhaus Artists

The Bauhaus—Germany’s renowned art and design school of the early 20th century—was profoundly influential in establishing modern trends in art, architecture, and design. Founded in 1919 by architect Walter Gropius, the school merged fine art, craft tradition, and modern technology to create a rational, unified approach to design. Drawn to the Bauhaus for its liberal attitudes, philosophical objectives, and blend of arts and crafts, Werner Drewes studied under Klee, Itten, Moholy-Nagy, and Kandinsky. Drewes was one of the first artists to introduce the United States to the concepts of the Bauhaus. Upon his arrival in New York in 1930, Drewes taught printmaking at the Brooklyn Museum, gave lectures at Hayter’s Atelier 17, and taught painting, drawing and printmaking at Columbia University.

27 Werner Drewes German-American (1899-1985) Rotterdam Oil on canvas 25 X 15 INCHES Signed lower left. Signed and titled on stretcher verso.

Recognized as one of the finest pupils of the Bauhaus, Levedag was regarded as a friend and colleague by his teachers Klee and Kandinsky. He later left the school to serve as Assistant Architect to Gropius in Berlin, and eventually founded his own art school in Dusseldorf. Living a decade beyond his Bauhaus mentors, Levedag’s art can be seen as a last expression of their work.

28 Fritz Levedag German (1899-1951) Woman Combing Her Hair, 1944 Watercolor 6 1/8 X 3 5/8 INCHES Dated in pencil lower left; artist’s monogram in pencil lower right.

20 CHILDS GALLERY THE ANNUAL Twentieth Century American Robert S. Neuman (b. 1926)

A second generation Abstract Expressionist, Robert S. Neuman explores global fragmentation in his vibrant series Pedazos del Mundo—Pieces of the World. Begun in 1961 and painted in response to his time spent abroad in Germany and Spain in the 1950s, this ongoing project uses the visual language of geometric abstraction to symbolize the many people and cultures that make up our world.

29 Robert S. Neuman American (b. 1926) Pedazos del Mundo, 1964 Oil on linen 33 X 68 INCHES Initialed and dated lower left.

30 Robert S. Neuman American (b. 1926) Pedazos del Mundo #8, 1961 Oil on linen 60 X 60 INCHES

2015 Volume 2 21 Twentieth Century American

As two of our longest represented artists, Herbert Barnett and Ben Norris are important pillars of Childs Gallery. We have represented the Barnett Estate since 1978 and the Norris Estate since 1998. Herbert Barnett’s distinctive style of painting draws upon both the American tradition of representation and the artistic innovations of the Cubists. Though he never abandoned representational forms for the pure abstraction that dominated mid-century American art, Barnett’s fractured planes, bold colors, and pure spontaneity of brushwork clearly delineated him as a modernist, garnering respect from curators and fellow painters alike

31 Herbert Barnett American (1910-1972) The Yellow Jacket, 1945 Oil on masonite 36 X 30 INCHES Signed top right.

Ben Norris is best known for his bold watercolors of Southern California and Hawaii. Although Norris moved to Hawaii in 1936, he often returned to paint in Southern California through the late 1940s and his style has long been identified with the Southern California Watercolor School.

32 Ben Norris American (1910-2006) Reflections II (Marin Mud Flat), 1994 Watercolor 29 3/4 X 41 3/8 INCHES Signed lower right. Titled, inscribed, and dated verso. From the estate of the artist.

PUBLISHED Norris, Ben and Margaret Norris Castrey (ed.). ‘Ben Norris: American Modernist, 1910-2006’. Boston: 32 2009. p. 189 (illustrated).

22 CHILDS GALLERY THE ANNUAL Twentieth Century American

33 Leon Dolice American (1892-1960) Third Avenue El Oil on board 16 X 12 INCHES Signed lower right.

34 Abraham Leon Kroll American (1884-1974) Reclining Nude Mixed media on paper 13 X 20 1/4 INCHES

[CONTINUES FROM PAGE 5] Not to be overlooked are the many artists that have long been gallery staples. The work of William Partridge Burpee, Charles Woodbury, Gertrude Beals Bourne, and Dodge Macknight attest to our New England traditions and love of the regional landscape. American figurative sculpture has also played an important role at the gallery, and we are pleased to highlight several works by Donald De Lue and Dudley Vaill Talcott, as well as a wonderful 1929 carved ebony sculpture by José de Creeft. In addition to paintings and sculpture, the Annual features new and recent editions 33 by several exciting printmakers. Nantes, a large format etching and aquatint by Walton Ford, is a fascinating riff on John James Audubon’s Birds of America. The print, published by Wingate Studio, depicts a traumatizing event in young Audubon’s life: the violent death of a parrot at the hands of his mother’s pet monkey. We are also pleased to offer the most recent of suite of etchings by Erik Desmazières, Le Magasin central des imprimés, depicting the empty stacks of the Bibliotheque nationale in Paris. This year also saw the publication of the second suite of Emily Lombardo’s The Caprichos, a series of etchings appropriating Goya’s work in a contemporary commentary on social, political, and gender issues. We are thrilled that both the Boston Public Library and the Museum of Fine Arts, Boston have acquired these prints for their 34 collections. richard j. baiano, president

2015 Volume 2 23 Nineteenth Century American Lynn Beach Painters

From 1882 to the 1890s, the picturesque coast of Boston’s North Shore, from Revere to Marblehead, was home to a remarkable school of American Marine Impressionists. Known as the Lynn Beach Painters, these artists worked en plein air, developing a particular style of regional impressionism centered on the wide beaches, tidal marshes, and working fishermen of the Lynn and Swampscott shorelines.

35 William Partridge Burpee American (1846-1940) New England Coast Watercolor 13 X 18 INCHES Signed lower left. In fine condition aside from pencil mark in right edge.

35 36 Charles Woodbury American (1864-1940) Surf at Ogunquit, Maine [Early Ocean Attempt], 1899 Oil on canvas 18 X 24 3/4 INCHES Initialed and inscribed on canvas edge; inscribed on canvas verso. Surf at Ogunquit is one of Woodbury’s earliest wave studies. He had just settled into the Maine village of Ogunquit, where he would spend the next forty summers, when he began to seriously address the motion of water and air. Woodbury, who painted on Boston’s North Shore at Lynn and Swampscott before his departure to Holland and France in 1890, returned with a vigor to begin painting the motion of wind and waves in Ogunquit, Maine. He tried to solve the problem of expressing the motion of elemental force on canvas.

PROVENANCE Elizabeth W. Perkins, Woodbury’s partner in the summer 36 school and the executor of his estate.

24 CHILDS GALLERY THE ANNUAL Twentieth Century American American Impressionism

37 Gertrude Beals Bourne American (1868-1962) La Biancheria (after John Singer Sargent), circa 1912- 1915 Watercolor and charcoal 15 X 21 1/4 INCHES From the estate of the artist, estate stamp verso. Verso bears the title and a stamp indicating that the work was copied from Sargent’s painting at the Museum of Fine Arts, Boston. Mounted on original board.

PUBLISHED ‘’Gertrude Beals Bourne. Artist in Brahmin Boston’’ by D.R. Howlett, Boston 2004, p. 66.

38 Gertrude Beals Bourne American (1868-1962) 37 Mt. Monadnock and Maple Grove, circa 1925 Watercolor, gouache, and charcoal on paper 24 7/8 X 19 7/8 INCHES Signed upper left. From the estate of the artist, estate stamp verso. In fine condition.

PUBLISHED ‘’Gertrude Beals Bourne. Artist in Brahmin Boston’’ by D.R. Howlett, Boston 2004, p. 67.

EXHIBITED ‘’Women Artists of the White Mountain School’’, Washington Watercolor Club; Hood Museum, Dartmouth College. “An Artist’s Sense of Place: The Watercolors of Gertrude Beals Bourne (1868-1962)”, Tufts University Art Gallery, Medford, MA, 2009.

39 Dodge Macknight American (1860-1950) Mountain in Winter [probably Philbrook Farm, Shelburne, 38 New Hampshire] Watercolor 16 1/2 X 22 1/4 INCHES Signed in watercolor lower left. In fine condition aside from mounting to board. Ex collection Paul J. Sachs.

2015 Volume 2 25 Nineteenth Century American & French

40 / 41 Elihu Vedder American (1836-1923) Vittoria (Victory), 1898 / Fortuna (Fortune), 1911 Watercolor, pastel and gold on paper 18 X 12 INCHES / 19 X 11 1/4 INCHES Fortuna is signed and dated lower right. Both works are titled lower center.

EXHIBITED “The World of Theodore Roosevelt,” Nassau County Museum of Art, November 17, 2002 - February 16, 2003. Exhibition label verso.

40 41

42 Louis Golvin French (active 1790-1820) Jeune elegant, circa 1810 Oil on canvas 10 1/4 X 8 INCHES

26 CHILDS GALLERY THE ANNUAL Nineteenth Century American & Hungarian

43 Mihály Munkácsy Hungarian (1844-1909) The Blind Milton Reading “Paradise Lost” to his Daughters, circa 1878 Oil on canvas 34 1/2 X 48 INCHES

44 Adalbert John Volck American (1828-1912) Female Art Students in Studio, 1873 Oil on canvas Signed and dated in pencil.

2015 Volume 2 27 Nineteenth Century American Sculpture

28 CHILDS GALLERY THE ANNUAL Twentieth Century American Sculpture

45 Edmonia Lewis American (1845-1907) Hiawatha’s Marriage (or The Marriage of Hiawatha), Modeled 1866, carved circa 1868-1872 Marble 22 1/2 INCHES Title inscribed on face of integral plinth. Accompanied by a letter of authentication by Marilyn Richardson. Hiawatha’s Marriage is a key example of sculpture that African-American artist Edmonia Lewis produced during her first years in Rome. This piece relates to her Native American heritage—Lewis was the child of a Native American mother of Chippewa decent—and was inspired by Henry Wadsworth Longfellow’s popular epic poem, The Song of Hiawatha, published in 1855. Aside from this version, there are six known extant versions of Hiawatha’s Marriage.

46 José de Creeft Spanish-American (1884-1982) Slave Girl, 1921 Ebony 14 1/2 X 2 X 2 INCHES Campos 245. Carved signature verso. On stone base measuring 41/4 inches

PUBLISHED Campos, Jules. The Sculpture of Jose de Creeft. New York: 1945. Fig.245. Born in Guadalajara, Spain, de Creeft later immigrated to the United States in 1929. Beginning in 1915, he turned to direct carving of wood and stone in order to preserve the natural qualities of the material. Slave Girl is a stunning example of a spontaneous artwork created through direct carving.

47 Richmond Barthé American (1901-1989) Head of a Boy, or Julius, circa 1940 Die stone 6 INCHES Signed verso lower right. Measures 9 1/2 inches with wood pedestal. Several casts, made by the artist during the first half of the 1940s, are extant. Head of a Boy/Julius was cast several times by Barthé in a number of different extensions of the neck, from near non-existent to near full busts and as a full head in the round as well as half the head, which conserved materials. 46 47

2015 Volume 2 29 Twentieth Century & Contemporary American Sculpture

48 49

48 / 49 Pablo Eduardo (b. 1969) Rhythms of Nature: Figures III & IV, 2013 Bronze 12 3/4 INCHES / 16 1/2 INCHES Both sculptures are cast 1 of 5. They are initialed and numbered on base of foot. Figure III measures 17 ¼ inches with the granite and bronze base and Figure IV measures 21 inches with the base.

30 CHILDS GALLERY THE ANNUAL Twentieth Century American Donald De Lue (1897-1988)

PREVIOUS PAGE 50 Dudley Vaill Talcott American (1899-1986) Seated Woman, circa 1927 Bronze 3 3/4 X 4 1/4 X 4 1/4 INCHES Initialed on underside of sculpture. From the estate of the artist. Only known lifetime cast.

51 Donald De Lue American (1897-1988) Seated Woman, 1934 Bronze on Black Imperial marble 14 3/4 INCHES Number 7 of an edition of 12. Signed. Renaissance brown patina on Black Imperial marble base (1 1/2 x 8 1/4 x 11 1/4 inches). Cast at the Tallix foundry in Beacon, NY. This work is one of several De Lue maquettes which reflect the modernizing trends in American figurative sculpture of the 1930s; it is simple, compact and round.

52 Donald De Lue American (1897-1988) Study for Quest Eternal, Prudential Center, Boston, 1967 Graphite on paper 17 5/8 X 22 INCHES Signed and inscribed in pencil lower right; inscribed in pencil lower center on base of sculpture. In fine condition.

51 Donald DeLue is regarded as one of America’s greatest monumental sculptors in the Realist style in the twentieth century. His works include: Rocket Thrower, executed for the New York World’s Fair of 1964; The Spirit of American Youth, for the Omaha Beach Memorial, Normandy; Quest Eternal, formerly at the Prudential Center in Boston; and Washington at Prayer, at Valley Forge.

2015 Volume 2 31

PRINT ANNUAL Volume 35

CONTENTS

Old Masters Italian Old Masters 34 Dutch Old Masters 35 Italian & French Old Masters 36 Eighteenth Century Italian Giovanni Battista Piranesi 37 Nineteenth Century French Drawings 38 Spanish Francisco José de Goya y Lucientes 40 French Various Artists 42 American James Abbott McNeill Whistler 43 Twentieth Century French Jacques Villon 44 French Albert Decaris 45 American Modern Drawings 46 American Various Artists 47 Contemporary American Walton Ford 48 American Emily Lombardo 49 French Erik Desmazières 50 British John Walker 52

Note on Condition: Condition of prints provided wherever possible given space constraints. For entries marked with an “*”, complete condition reports are available online at childsgallery.com.

LEFT John Thompson Titled in pencil lower left; signed and dated in pencil lower right. A fine impression in fine condition. American (b. 1950) Recently featured in the solo exhibition “Symphony of Nature”, John Thompson’s monoprints are Stanmore Series III, 2013-14 virtuoso expressions of the natural world. Thompson experiments freely with a multitude of printmaking Silkscreen monoprint techniques, including silkscreen, woodblock, etching, and freehand painting to create his unique and 39 1/2 X 30 INCHES spontaneous compositions. His work recalls both Monet’s Impressionist water lilies and traditional Japanese ukiyo-e woodblock prints.

THE ANNUAL 2015 Volume 2 33 Sixteenth Century Italian Old Masters

53 Marcantonio Raimondi Italian (circa 1480 – circa 1534) Statue of Marc Aurelius on horseback, circa 1508-1515 Engraving 8 3/8 X 5 11/16 INCHES Bartsch 514; TIB 514; Delaborde 231. Unrecorded collection stamp in circle, verso: “C. K. PROTECTOR MENS”. Signed in plate with the artist’s monogram lower left; inscribed in plate. A fine, mid-16th century impression, in fine condition aside from some general light touching with inkwash in the shadowed areas. Ex- collection Michael Berolzheimer.*

54 Giovanni Battista Scultori Italian (1503 - 1575) Allegory of the River Po [After Michelangelo], 1538 Engraving

53 4 1/4 X 5 1/4 INCHES Bartsch 19 ii/II; Massari 5. Signed and dated in the plate lower left. With unrecorded collector’s mark verso of E. Tinto. Printed on laid paper with 1/8 inch margins. A fine impression in fine condition.

55 Giulio di Antonio Bonasone Italian (1498-1580) Portrait of Raphael Sanzio [After Raphael Sanzio], circa 1545 Engraving 11 3/8 X 7 3/4 INCHES Bartsch 347 i/III; Massari 88. Inscribed in the plate 54 below the image. With collector’s mark lower right of W. Esdaile (Lugt 2617). Printed on laid paper bearing a ‘Hand’ watermark (Briquet 11150). A very fine, clear, and rich impression, in fine condition. Stylistically the work appears to belong to the period of 1545-1550. The image is most likely derived from a painting of Raphael now in the Louvre.

34 CHILDS GALLERY THE ANNUAL Sixteenth Century Dutch Old Masters

56 Jan Pietersz Saenredam Dutch (c.1565-1607) Venus on Her Couch as Eros Fills His Quiver with Arrows [After Hendrick Goltzius], circa 1600 Engraving 8 1/8 X 11 INCHES Bartsch 51 i/II. First state, before the addition of Visscher’s name. Signed in the plate lower center, below Cupid’s bow; inscribed in the plate below the image. Unknown collector’s mark verso (Lugt 844). Printed on laid paper trimmed to or just within the platemark. A very fine impression in fine condition.

57 Jacob Matham Dutch (1571-1631) Requited Love Represented by Eros and Anteros [After Hendrick Goltzius], circa 1588 Engraving 11 3/4 X 8 3/8 INCHES Bartsch 283 i/II. First state of two, before the number. Signed in the plate lower left; inscribed in the plate below image. Printed on laid paper trimmed to the platemark. A very fine impression in fine condition, aside from a small paper loss in the lower right margin.

2015 Volume 2 35 Seventeenth Century Italian & French Old Masters

58 Giovanni Benedetto Castiglione Italian (1611-1675) The Nativity with God the Father and Angels, circa 1647 Etching 8 1/2 X 16 1/4 INCHES Bartsch 7; Bellini 22. Signed in the plate at right. A fine impression in fine condition, aside from very faint foxing, with ¼ inch margins. Castiglione previously used this subject in an altarpiece at S. Luca in Genoa. The addition of the adjective “genovese” in the signature indicates that the etching was executed in Rome, after 1647. 58

59 Jacques Callot French (1592-1635) Le Combat Naval (The Naval Combat), 1618-1620 Etching 4 3/8 X 9 5/8 INCHES Lieure 277 ii/II. From the Italian Landscapes (Landscapes for Giovanni de’Medici). Inscribed in the plate lower right. Printed on laid paper bearing a fleur-de-lis coat-of-arms and crown within two bands watermark. A fine impression in fine condition, trimmed just within the platemark.

59 60 Jacques Callot French (1592-1635) L’Aveugle et son Compagnon (The Blind Man and His Companion), circa 1621 Etching 5 5/8 X 3 5/8 INCHES Lieure 487 i/II; Meaume 693. Plate 9 of 25 in the series Les Gueux (The Beggars). With “WPL” collector’s mark recto lower left within margin (Lugt 2644). An extremely fine impression in fine condition, on laid paper with 1/16 inch margins. Ex-Collection: Professor and Mrs. Daniel Bell.

36 CHILDS GALLERY THE ANNUAL Eighteenth Century Italian Giovanni Battista Piranesi (1720-1778)

61 Veduta dell’interno dell’Anfiteatro Flavio detto il Colosseo Etching and engraving 18 X 27 INCHES Taschen 949; Focillon 760; Wilton-Ely 211; Hind 78 iii/V. From the series, “Veduta di Roma”, from the first Paris Edition printed 1800-1809, but before the addition of the numbers in the intermediary Paris editions. Signed in plate lower right; titled in plate lower left.*

62 Veduta della Facciata della Basilica di S. Croce in Gerusalemme, 1750 Etching and engraving 15 7/8 X 24 INCHES Taschen 911; Focillon 729; Wilton-Ely 173; Hind 11, iii/VI. From the series “Vedute di Roma.” From the First Roman 62 Edition with price listed. Signed in plate lower right; titled and inscribed in plate below image. A rich and strong impression in fine condition aside from staining at the lower corners. With centerline crease as issued.

2015 Volume 2 37 Nineteenth Century French Drawings

63 Jacques-Louis David French (1748-1825) Esquisse de Pie VII, circa 1804-1817 Pen and ink 6 3/4 X 6 INCHES Rosenberg and Prat 336 ter. Titled center and initialed center right. Inscribed: ‘Esquisse de Pie VII par David, 1817. Dessiné par lui à Bruxelles et donné par lui à Mgr Lejeas ancien Eveque de Liège’. In fine condition. On December 2nd, 1804, Napoleon Bonaparte crowned himself Emperor of the French at Notre Dame Cathedral in Paris and commissioned his official court painter, David, to memorialize the event. This drawing closely relates to David’s sketches of Pope Pius VII done for the painting Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine in the Cathedral of Notre-Dame de Paris on 2 December 1804. Per the inscription, the drawing was given by the artist to François Antoine Lejeas in Brussels. Lejeas and David were familiar with one another, as the former had been vicar-general of Paris at the time of Napoleon’s coronation and subsequently appears in David’s commemorative painting (a sketch of Lejeas done for Consecration is in the collection of the Fogg at the Harvard Art Museums). The Emperor appointed Lejeas bishop of Liège in 1804, but the position was lost in 1815 with the Bourbon Restoration. Following his deposition, Lejeas relocated to Brussels where David also resided. Lejeas died in Brussels in 1827.

63 LITERATURE Sylvain Laveissière, Le Sacre de Napoléon peint par David, Musée du Louvre, Paris, 2004, p.98; Pierre Rosenberg and Louis-Antoine Prat, Jacques-Louis David: 1748-1825, Catalogue raisonné des dessins, Tome 1, Milan, 2002, 336 ter, p.314; Jacques-Louis David exhibition catalogue, 1989-90, Musée du Louvre, Paris, no.166 (cited)

64 Edouard Baille French (1814-1888) Portrait d’homme, circa 1835 Charcoal 12 X 9 INCHES Signed with monogram lower right.

38 CHILDS GALLERY THE ANNUAL Nineteenth Century French Drawings

65 Louis-Claude Mouchot French (1830-1891) Vue de l’Arc de Titus à Rome, circa 1860 Graphite on blue paper 10 ¼ X 17 13/16 INCHES

66 Jean-Antoine Duclaux French (1783-1868) Peintres Lyonnais travaillant en plein air, 1827 Brown wash 65 6 5/16 X 8 7/16 INCHES Initialed and dated lower right. Inscription on accompanying backboard. In fine condition.

67 Jules-Descartes Ferat French (b. 1829) Cheval mort, 1862 Graphite 14 1/2 X 10 1/2 INCHES Signed lower center. Inscribed lower left. On two sheets of paper adhered to collector’s sheet. In fine condition.*

2015 Volume 2 39 Nineteenth Century Spanish Francisco José de Goya y Lucientes (1746-1828)

68 Francisco José de Goya y Lucientes Spanish (1746-1828) Bailando en una cuerda floja (Dancing on a slack rope, i.e. Skating on thin ice), or Disparate puntual (Punctual Folly), from Los Proverbios (The Proverbs), early 19th century Etching and aquatint 9 1/2 X 14 INCHES Harris 267 iii/III; Delteil 221, ii/III. One of four additional plates which were prepared for the Proverbios series but unpublished until the late 19th century. Published by L’Art in 1877 with the title Una Reina Del Circo. Inscribed in the plate. A fine impression in fine condition.*

69 Francisco José de Goya y Lucientes Spanish (1746-1828) Al toro y al aire darles calle (Mae way for bulls and wind) or Disparate de tontos (or toritos) (Fools’ -- or Little Bulls’ Folly), from Los Proverbios (The Proverbs), early 19th century Etching and aquatint 9 1/2 X 14 INCHES Harris 269 iii/III; Delteil 223, ii/II. One of four additional plates which were prepared for the Proverbios series but unpublished until the late 19th century. Published by L’Art in 1877 with the title Lluvia de Toros. Inscribed in the plate. A fine impression in fine condition.*

40 CHILDS GALLERY THE ANNUAL Twentieth Century & Contemporary Polish & American

70 Joseph Hecht Polish (1891-1951) L’Arche de Noe, 1926 Engraving 16 X 23 INCHES Part of the complete L’Arche de Noe portfolio, made up of 6 loose engravings and 1 engraving mounted to cover. Tonneau-Ryckelynck Plumart 133-139. Number 17 in an edition of 80. Each plate is numbered and signed in the lower margin. Fine impressions in fine condition.*

71 Sara Zielinski American (b. 1988) Adam and Eve, 2014 Drypoint 18 X 11 INCHES Edition of 20. A fine impression in fine condition. 71

2015 Volume 2 41 Nineteenth Century French

72 James Jacques Joseph Tissot French (1836-1902) Histoire ennuyeuse (An Uninteresting Story), 1878 Etching and drypoint 12 3/8 X 8 INCHES Wentworth 32; Tissot 28; Beraldi 25. Edition of about 100. Signed and dated in the pate top right. Printed on laid paper. A fine impression in fine condition. Sheet measures 15 ¾ x 10 5/8 inches.* After Tissot’s painting of the same subject, Historie ennuyeuse, circa 1872-73 or 1876-77.

73 Auguste Rodin French (1840-1917) Le Printemps (Allegory of Spring), 1882-1888 Drypoint 5 3/4 X 3 7/8 INCHES Delteil 4; Thorson IV i/I. From the first published edition by Gazette des Beaux-Arts, 1902. Before the Roger Marx edition of 100. A fine impression printed with plate tone on laid paper; in fine condition. Sheet measures 10 1/2 x 6 7/8 inches. The print is the reverse image of La Nuit, a motif from Rodin’s Pompei vase made at the Sevres Porcelain Manufactory. The motif, a nude woman encircled by amours, was also applied to a ceramic plaque in 1880. 72

74 James Abbott McNeill Whistler American (1834-1903) Rotherhithe, 1860 Etching 10 7/8 X 7 7/8 INCHES Dodgson 33; Kennedy 66, iii/III (Diagonal lines running from left to right, cross the arm and shoulder of the man in the center; the bow of the boat is further shaded by fine vertical drypoint lines, and delicate lines are added in the sky). Signed and dated in plate lower left. A fine early impression in cold black ink on watermarked (probably Dutch) laid paper typical of the earlier impressions of the Thames series, in fine condition with margins measuring approximately 1/4 inch. This print was later published as part of the Thames Set. From the series “Sixteen Etchings of Scenes on the Thames and Other Subjects”, this work was originally published under the title “Wapping”, in the catalogue for the series, which was printed in 1871.

42 CHILDS GALLERY THE ANNUAL Nineteenth Century American James Abbott McNeill Whistler (1834-1903)

2015 Volume 2 43 Twentieth Century French Jacques Villon (1875-1963)

75 Jacques Villon French (1875-1963) Les Haleurs, 1930 Drypoint and etching 8 5/8 X 7 INCHES Ginestet Pouillon E332, iv/IV. Number 31 in an edition of 50. Numbered in pencil lower left margin; signed in pencil lower right margin. Signed and dated in the plate top right. A fine impression in fine condition. Sheet measures 11 3/4 x 15 1/2 inches.* The subject of this etching was taken from a small canvas which was also used for an etching of 1907, Les Petits Haleurs. The painting was first exhibited at the Salon d’Automne in 1908.

76 Jacques Villon French (1875-1963) Ecolière lisant, 1929 Etching and drypoint 75 10 3/4 X 8 1/2 INCHES Ginestet Pouillon 326 ii/II. Number 16 in an edition of 50. Signed and dated in the plate lower left. Numbered in pencil lower left margin; signed in pencil lower right margin. Printed on cream laid paper. A fine impression in fine condition. Sheet measures 15 3/4 x 12 inches. Ex-Collection: Professor and Mrs. Daniel Bell.*

77 Albert Decaris French (1901-1988) The Swimming Pool (La Piscine), circa 1930 Engraving 37 X 25 1/4 INCHES Boussard-Decaris op. 1096 (p. 229). Number 16 in an edition of 100. A fine impression in fine condition.*

Decaris was one of France’s foremost engravers of the 20th century. A student of the Ecole Estienne and the Ecole des Beaux-Arts, at the age of eighteen Decaris became the youngest person to ever with the Premier Grand Prix de Rome. As a master printmaker, Decaris created an impressive oeuvre of etchings, engravings, book illustrations, and designs for more than 500 French postal stamps.

44 CHILDS GALLERY THE ANNUAL Twentieth Century French Albert Decaris (1901-1988)

2015 Volume 2 45 Twentieth Century American Modern Drawings

78 Letterio Calapai American (1902-1993) Preparatory sketch for Labor in a Diesel Plant, circa 1940 Gouache on black paper 11 X 7 INCHES Sketch for the artist’s wood engraving Labor in a Diesel Plant, 1940. In fine condition aside from small pinholes at top corners and holes from sketchbook binding along lower paper edge.

79 Grant Wood American (1892-1942) Corn, 1935-1936 Graphite on paper 4 1/2 X 3 INCHES On Grant Wood stationery. Inscribed bottom right. In fine condition with sheet size measuring 9 1/2 x 7 1/2 inches. This sketch may have been intended as a possible illustration for the artist’s unfinished memoirs, Return from Bohemia. It has been suggested that the inscriptions bottom right are German printing notations and would have indicated the image’s placement within a publication. The richness of the background against which the corn stands is typical of Wood’s graphic work, as is the meticulous precision of the image square.

46 CHILDS GALLERY THE ANNUAL Twentieth Century American

80 Gerald K. Geerlings American (1897-1998) Grand Canal, America, 1933 Drypoint 11 7/8 X 8 7/8 INCHES Czestochowski 31. Edition of 100. Commissioned by the Chicago Society of Etchers. Signed in pencil lower right. Inscribed in plate lower right. Blindstamp lower left of the Chicago Society of Etchers. A fine impression in fine condition, with sheet measuring 15 3/4 x 11 1/8 inches. From the Collection of Joseph and Marjorie Relkin.

81 Benton Spruance American (1904-1967) Dreamer, 1936 Lithograph 12 3/4 X 8 3/4 INCHES Fine 123. Number 4 in an edition of 30. Initialed on the stone lower right. Numbered in pencil lower left margin; titled in pencil lower center margin; signed and dated in pencil lower right margin. A fine impression in fine condition. Sheet measures 18 x 12 inches.

2015 Volume 2 47 Contemporary American Walton Ford (b. 1960)

48 CHILDS GALLERY THE ANNUAL Contemporary American Emily Lombardo (b. 1977)

82 Walton Ford American (b. 1960) Nantes, 2009 Etching and aquatint 48 X 37 INCHES Number 47 in an edition of 65. Numbered in pencil lower left margin; signed and dated lower right margin. A fine impression in fine condition. Published by Wingate Studio.

83-88 Emily Lombardo American (b. 1977) The Caprichos, 2014 Etching and aquatint 83 84 9 X 6 INCHES Edition of 12. Signed, numbered, and dated in pencil. Fine impressions in fine condition. The Caprichos, by Emily Lombardo, is a series of etchings which are in direct conversation and homage to Francisco Goya’s Los Caprichos, 1799. Both reveal the dark underbelly of cultural movements which ultimately serve to divide society across economic, racial, political, religious, and gender lines. Lombardo brings these issues into contemporary light through a queer feminist lens. Childs Gallery plans to publish the entire set of 80 plates in six suites, each printed in an edition of twelve. At this time, two suites have been published. Both were printed at The Center for Contemporary Printmaking (Norwalk, CT) by printer Paul Deruvo. The suites are available as boxed sets and the prints are also available for individual purchase. 83 Plate 17: It is nicely stretched, 2014 85 86 84 Plate 24: There was no cure, 2014 85 Plate 6: Nobody knows themselves, 2014 86 Plate 79: No one has seen us, 2014 87 Plate 72: No escape, 2014 88 Plate 25: Yes she broke the pot, 2014

87 88

2015 Volume 2 49 Contemporary French Erik Desmazières (b.1948)

89 Erik Desmazières French (b.1948) Wunderkammer II, 1998 Etching and aquatint 10 5/8 X 21 1/8 INCHES Fitch-Febvrel 154 ii/II. Signed and dated in pencil lower right margin; titled in pencil lower center margin; numbered in pencil lower left margin. A fine impression on thin Korean paper, in fine condition. Sheet measures 13 3/4 x 23 3/4 inches.

90 Erik Desmazières French (b.1948) Archives du nord, 2014 Etching, aquatint, and roulette 10 3/4 X 9 1/8 INCHES Fitch-Febvrel 245. Number 44 in an edition of 75. Numbered in ink lower left, below image; titled in ink lower center, below image; signed and dated in ink lower right, below image. Print accompanying the deluxe edition of Erik Desmazieres: des mondes graves, catalogue for the 2014 retrospective at the Musee de l’Hospice Comtesse, Lille, France.

50 CHILDS GALLERY THE ANNUAL Twentieth Century & Contemporary French & German

91 Erik Desmazières French (b.1948) Le Grand orgue pneumatique, from Le Magasin central des imprimés, 2013 Etching, aquatint and roulette 20 X 14 INCHES Fitch-Febvrel 237. Plate 1 from Le Magasin central des imprimés. Number 22 in an edition of 75. Numbered in pencil lower left margin; titled in pencil lower center margin; signed and dated in pencil lower right margin. Printed on BFK Rives. A fine impression in fine condition. Sheet measures 29 x 17 1/2 inches. Sold as a suite of 7 etchings including frontispiece, contained in a cloth album with etched étiquette. Number 22 in an edition of 75 (numbers 1-50 sold en suite). The suite was commissioned by les Amis de la Bibliothèque nationale de France (BnF) to both document and celebrate the cavernous stacks, the storage area designed by Henri Labrouste in the 19th century, now emptied of all books in preparation for a major renovation. The artist was able to faithfully transcribe the architecture of the space, while transforming it into a dramatic visual vernacular unmistakably his own.

92 Richard Müller German (1874-1954) Der Kritiker (The Critic), 1918 Etching 6 1/2 X 14 1/2 INCHES Gunther 90. Number 1 in an edition of 50. Signed and dated in the plate lower left. Numbered in pencil lower left margin; signed in pencil lower right margin. A fine impression in fine condition. Sheet measures 10 7/8 x 19 1/8 inches. 92

2015 Volume 2 51 Contemporary British John Walker (b. 1939)

52 CHILDS GALLERY THE ANNUAL Twentieth Century & Contemporary German & Iraqi Images of War

93 John Walker British (b. 1939) Untitled, 1998 Hand colored monoprint 33 X 25 INCHES Signed lower right. A fine impression in fine condition.

94 Käthe Kollwitz German (1867-1945) Schlachtfeld (Battlefield), from the series Bauernkrieg (The Peasants’ War), 1907 Etching, drypoint, sandpaper, softground, & aquatint 15 3/4 X 20 1/2 INCHES Klipstein 96 ix/XII. With vertical lines added near the horizon, but without the year in the lower right corner. Plate 6 from the series Bauernkrieg (The Peasants’ War). Signed lower right in pencil. Sheet measures 21 x 27 inches.* 94 The subject of this series is the German Peasants’ War of 1524-25. As many as 100,000 people died, most of them peasants massacred by vengeful nobles and their mercenaries. The etching is of a lone woman, lantern in hand, searching the battlefield for her loved ones.

95 Ahmed Alsoudani Iraqi (b. 1975) Untitled, 2008 Color etching and aquatint 27 X 30 1/2 INCHES Number 8 in an edition of 30. Numbered in pencil lower left margin; signed and dated in pencil lower right margin. Published by Wingate Studio.

2015 Volume 2 53 Contemporary American

96 Laurel Sparks American (b. 1972) Fugue State, 2004 Acrylic, marble dust, glitter and pom poms on canvas 42 X 36 INCHES

97 Raphael Jaimes-Branger American (b. 1967) Les Monuments de Paris, Opera Garnier II, 2011 Acid on silver leaf 43 X 30 INCHES Signed, titled and dated verso

54 CHILDS GALLERY THE ANNUAL Anthony Moore Oil on panel British (b. 1952) 17 X 11 INCHES Mercury, 2015

CHILDS GALLERY Established 1937

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169 Newbury Street, Boston, Massachusetts 02116 617-266-1108 [email protected] childsgallery.com Chuck Close Number 11 of 20.. Numbered in pencil lower left American (b. 1940) margin; signed in pencil lower center margin; Self-Portrait (anamorphic), 2007 dated in pencil lower right margin. Engraving with Engraving with embossment embossment on handmade twin rocker gray paper, on 24 X 24 X 12 INCHES platform with polished stainless steel cylinder.

CHILDS GALLERY Established 1937

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169 Newbury Street, Boston, Massachusetts 02116 617-266-1108 [email protected] childsgallery.com