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American Illustrators Gallery THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2017 2 — THE GALLERY May 5, 2017 — Antiques and The Arts Weekly THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY Tel. 203-426-8036 or 426-3141 or Fax 203-426-1394 www.AntiquesandTheArts.com email - [email protected] Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Art Collector Tip: Picasso Ceramics on the Rise BY JESSIE GILLAN, have broken. The increasing rarity of these CREATIVE DIRECTOR, ROGALLERY.COM pieces contributes to the interest of collectors. In the art world, artists come in and out of When purchasing a ceramic, it is impor- favor, and styles become outdated as inte- tant to evaluate condition for fractures or rior design trends change. We have found, color loss, as well as to observe the Madoura though, that some artworks are timeless and Foundry marking on the underside. The will always find a place in someone’s home or most common ways this will be written or office. These include works typical by what stamped are “Madoura Plein Feu,” “Em- we refer to as the modern masters: Pablo preinte Originale de Picasso” and “Edition Picasso, Joan Miro, Salvador Dali, Marc Cha- Picasso.” All pieces should be marked in some gall, Alexander Calder and a few select others. way. These artists have stood the test of time and At RoGallery.com, we are happy to have are constantly in demand. In the past two about ten Picasso ceramics currently available to three years, we have seen an upturn in for purchase. Shown are “Vase avec Decora- the interest in Pablo Picasso ceramics. These tion Pastel,” 1953, a terracotta tall urn with works did not garner as much respect from hand drawn pastel work of a sun and other collectors as drawings or signed prints, but geometric designs. The other is “Wood that has all changed. Owl,” 1968, a terrific modern designed clay During Picasso’s lifetime he designed more pitcher or vase in the shape of an owl done than 600 different ceramic works from the in Picasso’s Cubist style. You are welcome to “Vase avec Decoration Pastel (Ra- late 1940s to the early 1970s. There is great view them in person at our gallery space in mie 190),” Pablo Picasso, 1953. variety in these ceramics. They feature images Long Island City, N.Y., at 47-15 36th Street “Wood Owl (Ramie 543),” Pablo Chamotted red earthenware clay of bullfight scenes, portraits and animals, as by appointment. To make an appointment or Picasso, (Spanish, 1881–1973), 1968. vase, pastel decoration, stamped well as a wide span of colors that can suit any to contact us with any art you are currently White earthenware clay, black patina and numbered on bottom, 126/200, home’s style. As the ceramics are quite fragile, seeking, write to [email protected] or phone and brush glaze, stamped and num- 12½ by 8½ by 6½ inches. many of these Picasso works over the years 800-888-1063 or 718-937-0901. bered, 24/500, 11 by 9 by 5½ inches. To Be Offered By PBA Galleries On June 29, Eric Sloane’s ‘Early Bird’ Recalls Aviators Friendship SAN FRANCISCO, CALIF. — On Thursday, June 29, PBA Galleries will offer and dedicated to Luis, Peter and Suzie. The dedication is to Admiral Luis de Florez, “Early Bird,” an original oil painting on wood panel by the American landscape his son Peter de Florez and Peter’s wife, Suzanne Humphreys Ford de Florez. Luis painter Eric Sloane. Although PBA occasionally has auctions of fine art, including de Florez was a naval aviator and a rear admiral in the United States Navy. He was illustration art, the painting will be on the block during a sale of Americana, world influential in the development of early flight simulators and a pioneer in the use of history and exploration and natural history offerings. “virtual reality” to simulate flight and combat situations in World War II. De Florez The striking oil painting, 23 by 30¾ inches, was created in the early 1940s. It oversaw Roosevelt Field, where he befriended Eric Sloane. Roosevelt Field, named depicts a biplane soaring through the clouds, most likely flying over Long Island for Theodore Roosevelt’s son Quentin, killed in air combat during World War I, Sound and Roosevelt Field, N.Y. was the starting point of Charles Lindbergh’s solo transatlantic flight. Sloane was known to have spent significant time at Roosevelt Field where he Suzanne Humphreys was a debutante whose family socialized with the Roos- painted. He taught Wiley Post to paint and, in return, Post taught Sloane how to evelts. She began flying at 16 and soloed after only a little more than three hours fly where he developed his love of the clouds and sky. Amelia Earhart was an early of instruction. She took aviation courses at New York University and competed in admirer who bought Sloane’s first many air shows and races. During World “cloudscape.” He is famous for his War II, she joined the British Air Trans- sky and cloud paintings (said to be port Authority and became a ferry pilot the finest of his generation) in addi- in the Royal Air Force because women tion to his American landscapes. His were not allowed in the United States Air largest skyscape is a six-story mural Corps. After the war, Humphreys returned commissioned by the Smithsonian’s to Roosevelt Field where she befriended Air and Space Museum. “Earth Flight the de Florez family and married Peter, a Environment” dates to 1976. professor at MIT. Sloane painted more than 15,000 “Early Bird” remained in the de Florez works, wrote 38 books and was an family until Suzanne Humphreys Ford de avid collector of Americana. The Eric Florez gave it to the present owner prior to Sloane Museum in Kent, Conn., has her death. recreated his studio, including his The catalog for the June 29 sale will be paint-splattered easel and rows of jars posted two to three weeks before the auc- jammed with paint brushes. The mu- tion at www.pbagalleries.com. The public seum also houses his early American may preview the auction Monday, June 26, hand tool collection. His interest in 1 to 5 pm; June 27–28, 9 am to 5 pm; and weather and the farmer’s ability to auction day, 9 to 11 am; or by appoint- interpret “weather signs” led him to ment at PBA Galleries. The sale will begin become the first television weather- at 11 am. PBA accepts absentee bids by man with farmers from all over New phone, fax or email or bids may be placed England calling in their weather during the sale in person or online. observations. For additional information, pba@pbagal- The work is signed by Eric Sloane leries.com or 415-989-2665. Antiques and The Arts Weekly — May 5, 2017 THE GALLERY — 3 4 — THE GALLERY May 5, 2017 — Antiques and The Arts Weekly NMAI Unveils New Exhibition The National Museum of he did, he made it clear that his vision American Illustration (NMAI) should be accessible for both men and in Newport, R.I., announces the women from all backgrounds, which debut of a new traveling exhibi- was unique for a college of that time tion, “Howard Pyle, His Students period,” said Paula Marantz Cohen, & the Golden Age of American the Pennoni Honors College dean. Illustration,” which premiered to “Pyle’s time at Drexel undoubtedly rave reviews from invitees on April shaped the field of American illustra- 3 at Drexel University’s Pennoni tion. He was an early parallel advocate Honors College in Philadelphia. of Drexel’s philosophy of ‘learning by Concurrent exhibitions will begin doing,’ encouraging his students to go at the American Illustrators Gallery out into the world to study their sub- (AIG), New York City, May 15 and ject matter, an approach reflected in at NMAI on May 26 for Memorial Drexel’s present-day co-op program.” Day weekend, the start of NMAI’s Pyle taught at the Drexel Institute summer season. until 1900 when he founded the “Howard Pyle, His Students & Howard Pyle School of Illustration the Golden Age of American Il- in Wilmington, Del. His students at lustration” is an exhibition featur- both schools became known as “The ing oil paintings, works on paper Brandywine School,” which included and accompanying artifacts that some of America’s greatest illustrators: highlight the work of Howard Pyle, Stanley Arthurs, Anna and Ethel Betts, known as the “Father of American Harvey Dunn, Anton Otto Fischer, Illustration,” and the generation Cover of the new exhibition catalog, Howard Philip R. Goodwin, Elizabeth Shippen “Harvest,” Jessie Willcox Smith (1863– of celebrated illustrators he taught. Green, W.H.D. Koerner, Violet Oak- 1935), 1928, mixed media on board, 22½ Pyle, His Students & the Golden Age of Ameri- Pyle was a prolific illustrator as well can Illustration, printed in conjunction with this ley, Frank Schoonover, Jessie Willcox by 16½ inches, signed lower left. Published as a major author of books and Smith, Sarah Stilwell Weber and N.C. Good Housekeeping exhibition. on the cover of , No- periodicals in the late Nineteenth Wyeth. These artists and more of Pyle’s vember, 1928. and early Twentieth Centuries, notable students are represented in this writing and illustrating 34 books exhibition. of his own, illustrating more than A 260-page illustrated catalog will ‘Howard Pyle, 160 books by others and creating accompany this exhibition, available an estimated 2,200 drawings and through the NMAI’s online museum His Students & paintings reproduced in periodicals.
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