DOCSLIB.ORG

Prints & Multiples

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prints & Multiples PRINTS & MULTIPLES Tuesday, April 30, 2019 NEW YORK PRINTS & MULTIPLES AUCTION Tuesday, April 30, 2019 at 10am EXHIBITION Saturday, April 27, 10am – 5pm Sunday, April 28, Noon – 5pm Monday, April 29, 10am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com PRINTS & MULTIPLES INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF Prints 1-225 Evelyn Berezin Hilda U. and Rudolph Forchheimer Jeanne Frank Elizabeth H. Fuller A Gentleman, Park Avenue and Southampton, New York Glossary I Alfred F. Hubay Conditions of Sale II Leonore Hodorowski Terms of Guarantee IV Monica Holmes Information on Sales & Use Tax V Sidney B. Jacques Buying at Doyle VI A Lady Selling at Doyle VIII Albert Lee Auction Schedule IX Carol Lesnor Company Directory X Dorothy Lewis 2013 Irrevocable Trust Absentee Bid Form XII Edith MacGuire Susan S. Maizell Peter Mayer Jesse Mines Rus Parker George and Laurette Podell J. Robert and Gladys Rosenthal Felice Ross Joanna and Steven Schot, Washington, DC Florence L. Shelby Bernice and Jules Teck INCLUDING PROPERTY FROM Formerly in the inventory of Berry-Hill Galleries, New York A Private New York Collector Two New York Gentlemen A Palm Beach Collector Lot 141 1 Josef Albers (1888-1976) JHM-II (DANILOWITZ 224.2) Color screenprint, 1973, on German Etching paper, signed with initials, dated, titled and numbered 55/144 in pencil, from Josef Albers Honors the Hirshhorn Museum and Sculpture Garden, published by Ives-Sillman, Inc., New Haven and with their blindstamp, with full margins, framed. 15 x 15 inches; 381 x 381 mm. Sheet 25 x 35 inches; 635 x 889 mm. C $4,000-6,000 2 Jean (Hans) Arp (1886-1966) SEUIL CONFIGURATION Brushed aluminum multiple, 1977, with stamped signature, numbered 5/300 and incised L71122 on the underside, published by the Metropolitan Museum of Art, New York, with Plexiglas stand. Height 7 inches; 178 mm. C The Estate of George and Laurette Podell $1,500-2,500 3 Peggy Bacon (1895-1987) AESTHETIC PLEASURE (FLINT 126) Drypoint, 1936, on cream laid paper, signed and titled in pencil, from the edition of 174, published by 4 5 Associated American Artists, New York, with good margins, unframed. 4 6 x 8 1/2 inches; 152 x 216 mm. Romare Bearden (1911-1988) 1 Sheet 8 5/8 x 11 inches; 219 x 279 mm. TIDINGS (NOT IN GELBURD/ROSENBERG) C Estate of Sidney B. Jacques Color screenprint, circa 1970, signed and titled in $600-800 pencil, with full margins, framed. 16 1/2 x 16 inches; 419 x 406 mm. Sheet 19 1/8 x 18 1/8 inches; 486 x 460 mm. C $1,500-2,500 5 Ludwig Bemelmans (1898-1962) THEY WENT LOOKING HIGH AND LOW Color lithograph, on wove paper, signed and numbered 137/300 in pencil, from Madeline’s Rescue, with wide margins, framed. 24 x 18 inches; 610 x 457 mm. Sheet 34 x 26 inches; 864 x 660 mm. C $800-1,200 6 Adam E. M. Paff ETCHINGS AND DRYPOINTS BY FRANK W. BENSON VOLUMES ONE, THREE, FOUR AND FIVE Four of the five volumes of the catalogue raisonné of etchings, 1917, 1923, 1929 and 1959, respectively, numbered 116, 124, 482 and 247 in ink, from editions of 275, 525, 600 and 400, each bound as issued with an original etching, the first three signed in pencil, with complete text, published by Houghton Mifflin 6 part Company, Boston and New York, the full sheets, the fourth with original dust jacket. Each overall 12 1/2 x 9 3/8 inches; 318 x 238 mm. Including: PAIR OF DUCKS; FRONTISPIECE FOR VOLUME 2 3 THREE OF THE CATALOGUE [ON SET WINGS]; FLYING PINTAIL; PERCHING GROUSE (PAFF 192; 223; 275; 347) C $1,000-1,500 6 DOYLE • APRIL 30, 2019 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 7 7 Thomas Hart Benton (1889-1975) PRODIGAL SON (FATH 29) Lithograph, 1939, signed in pencil, from the edition of 250, published by Associated American Artists, 7 New York, with margins, unframed. 10 1/8 x 13 1/4 inches; 257 x 337 mm. Sheet 12 1/2 x 16 inches; 318 x 406 mm. C $1,500-2,500 10 12 part 8 Thomas Hart Benton INSTRUCTION (F. 41) Lithograph, 1940, signed in pencil, from the edition of 250, published by Associated American Artists, New York, with (full?) margins, framed. 10 1/2 x 12 3/8 inches; 267 x 314 mm. Sheet 12 3/8 x 14 3/8 inches; 314 x 365 mm. C Estates of J. Robert and Gladys Rosenthal $1,500-2,500 9 Thomas Hart Benton GATESIDE CONVERSATION (F. 69) Lithograph, 1946, signed in pencil, from the edition of 250, published by Associated American Artists, New York, with good margins, framed. 8 9 7/8 x 14 inches; 251 x 356 mm. Sheet 10 1/4 x 15 1/8 inches; 260 x 384 mm. 11 C $1,000-1,500 10 11 12 Thomas Hart Benton William Blake (1757-1827) Edmund Blampied (1886-1966) YOUTH MUSIC (F. 92) CHAUCER’S CANTERBURY PILGRIMS MARRIAGES, BIRTHS AND DEATHS; Lithograph, 1974, signed in pencil, from (ESSICK 16) MADAME DUPRÉ (APPLEBY 140; 147) the edition of 250, published by Associated Etching, engraving and drypoint, 1810, Two drypoints, 1929, signed and numbered American Artists, New York, with good on Rives BFK paper, fourth state of four, 77/100 and 98/100, respectively, in ink, margins, framed. from the Charles Sessler edition printed with full margins, framed. 17 x 20 5/8 inches; 432 x 524 mm. by Ernest D. Roth in 1941, with margins, Larger 8 1/4 x 10 1/4 inches; 210 x 261 mm. Sheet 20 1/2 x 27 inches; 521 x 686 mm. unframed. C The Estate of Elizabeth H. Fuller • 14 x 38 inches; 356 x 965 mm. $600-800 $1,500-2,500 Sheet 16 1/2 x 39 1/4 inches; 419 x 997 mm. C $1,000-1,500 9 8 DOYLE • APRIL 30, 2019 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 9 16 Alexander Calder COMPOSITION Color lithograph, on Rives BFK paper, signed and numbered 35/90 in pencil, with full margins, framed. 19 1/2 x 28 3/8 inches; 495 x 721 mm. Sheet 22 1/8 x 31 7/8 inches; 562 x 810 mm. C $1,500-2,500 16 17 Alexander Calder 13 14 COMPOSITION WITH CIRCLES Color lithograph, 1971, signed and numbered 78/100 in pencil, with full margins, unframed. Sheet 30 1/4 x 44 1/2 inches; 768 x 1130 mm. 13 C Richard Bosman (b. 1944) $1,000-1,500 RIVER Color woodcut, 1989, on Kozo paper, signed and numbered 4/65 in pencil, published by the Metropolitan Museum of Art, New York, 18 with full margins, framed. Alexander Calder 30 x 34 inches; 762 x 864 mm. TANK TRAPS Sheet 35 3/4 x 38 3/4 inches; 908 x 984 mm. Color lithograph, 1973, on cream wove C paper, signed and numbered 51/95 in $600-800 pencil, the full sheet, framed. Sheet 28 7/8 x 42 3/4 inches; 733 x 1099 mm. 14 C $1,500-2,500 Georges Braque (1882-1963) UNTITLED Color offset lithograph, 1955, on wove paper, signed and numbered 40/75 in pencil, from Carnets Intimes 17 de Georges Braque, published by Éditions de la Revue Verve, Paris, with margins, framed. 8 7/8 x 13 1/2 inches; 225 x 343 mm. Sheet 10 3/8 x 14 inches; 264 x 356 mm. C $1,000-1,500 15 Alexander Calder (1898-1976) 15 THE BIG I Etching, 1944, on cream Rives paper, signed, titled and numbered 24/30 in pencil, printed by Atelier 17, New York, published by Wittenborn & Co., New York, with full margins, unframed. 7 x 8 7/8 inches; 178 x 225 mm. 11 1/2 x 15 3/4 inches; 292 x 400 mm. C The Estate of Elizabeth H. Fuller $1,500-2,500 18 10 DOYLE • APRIL 30, 2019 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 11 20 22 19 part 21 19 20 21 22 Alexander Calder Jacques Callot (1592-1635) Marc Chagall (1887-1985) Marc Chagall LA MÉMOIRE ÉLÉMENTAIRE LE MARCHÉ D’ESCLAVES (LIEURE 369) DIE GROSSMUTTER (KORNFELD 4) GEBURT (K. 6) Complete set of 12 color lithographs, 1978, Etching, 1629, on laid paper with Etching and drypoint, 1922, on cream laid Etching, 1922, on cream laid paper, on Arches paper, signed and numbered 46/100 in pencil, proprietary watermark, a fine impression paper, signed and numbered 86/110 in signed and numbered 72/110 in pencil, with text (lacking the justification), published by of the second state of six, with thread pencil, from Mein Leben, published by from Mein Leben, published by Paul Cassirer, Éditions de la Différence, Paris, the full sheets, margins, unframed. Paul Cassirer, Berlin, with full margins, framed. Berlin, with full margins, framed. in original linen-covered portfolio. Sheet 4 9/16 x 8 5/8 inches; 116 x 219 mm. 8 1/4 x 6 3/8 inches; 210 x 162 mm. 5 1/8 x 7 inches; 130 x 178 mm. Sheets 20 1/2 x 28 3/8 inches; 521 x 721 mm. C Sheet 14 1/2 x 10 1/2 inches; 368 x 267 mm. Sheet 10 1/2 x 13 7/8 inches; 267 x 352 mm. C $900-1,200 $15,000-25,000 Provenance: Provenance: Estate of Leon Levitt Estate of Leon Levitt C C $800-1,200 $1,000-1,500 12 DOYLE • APRIL 30, 2019 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 13 26 Marc Chagall L’ACCORDÉONISTE (MOURLOT 204) Color lithograph, 1957, on cream wove paper, signed and numbered 78/90 in pencil, with full margins, unframed.
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • 2020 OQ Winter
    QUARTERLY WINTER 2020 | VOL. 63 NO. 1 Collecting, Preserving, and Celebrating Ohio Literature Winter 2020 1 Contents QUARTERLY WINTER 2020 FEATURES BOARD OF TRUSTEES HONORARY CHAIR Fran DeWine, Columbus 4 Toni Morrison: A Tribute ELECTED 8 A Conversation with Oge Mora President: Daniel Shuey, Westerville Vice-President: John Sullivan, Plain City Secretary: Geoffrey Smith, Columbus Treasurer: Jay Yurkiw, Columbus BOOK REVIEWS Gillian Berchowitz, Athens Daniel M. Best, Columbus 10 Nonfiction Rudine Sims Bishop, Columbus Helen F. Bolte, Columbus 12 Fiction Katie Brandt, Columbus Lisa Evans, Johnstown 16 Poetry Bryan Loar, Columbus Ellen McDevitt-Stredney, Columbus Mary Heather Munger, Ph.D., Perrysburg 18 Young Adult & Middle Grade Louise Musser, Delaware Claudia Plumley, Dublin 20 Children’s Cynthia Puckett, Columbus David Siders, Cincinnati Yolanda Danyi Szuch, Perrysburg BOOKS AND EVENTS Jacquelyn L. Vaughan, Dublin Elizabeth A. “Betty” Weibel, Chagrin Falls APPOINTED BY THE GOVERNOR OF OHIO 22 Book List Carl Denbow, Ph.D., Athens Carol Garner, Mount Vernon 45 Coming Soon Brian M. Perera, Columbus TRUSTEES EMERITUS Francis Ott Allen, Cincinnati Ann Bowers, Bowling Green Christina Butler, Ph.D., Columbus James Hughes, Ph.D., Dayton Robert Webner, Columbus OHIOANA STAFF Executive Director..............David Weaver Office Manager...............Kathryn Powers Library Specialist............Courtney Brown Program Coordinator........Morgan Peters The Ohioana Quarterly (ISSN 0030-1248) is currently published four times a year by the Ohioana Library Association, 274 East First Avenue, Suite 300, Columbus, Ohio 43201. Individual subscriptions to the Ohioana Quarterly are available through membership in the Association; $35 of membership dues pays the required subscription. Single copy $6.50. U.S. postage paid at Columbus, Ohio.
    [Show full text]
  • Wavebid > Buyers Guide
    Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified.
    [Show full text]
  • World War I Posters from the Newark Public Library
    World War I Posters from the Newark Public Library 1 For Home and Country: World War I Posters from the Newark Public Library September 11 – December 13, 2017 University Galleries William Paterson University Inside front cover Clockwise from top left Exhibition checklist 1, 2, 3, 6, 9, 10 2 polished publication. He was patient and diligent while Introduction offering fresh perspectives on these historical prints. Special thanks go to William Paterson University Kristen Evangelista Director, University Galleries President Dr. Kathleen Waldron, Provost and Senior Vice President of Academic Affairs Dr. Warren Sandmann, Associate Provost for Academic Affairs Dr. Sandra Hill, former Associate Provost for Academic Affairs Dr. Stephen Hahn, Dean of the College of the Arts and Communication Daryl J. Moore, Associate Dean of the College of the Arts ome of our nation’s most iconic First and foremost, I would like to thank WP Professor of and Communication Loretta McLaughlin Vignier, and Chair images were created as propaganda History George Robb for his unwavering cooperation, vision, of the Art Department Professor Lauren Razzore. during World War I. From 1917-1918, and dedication to realizing this exhibition and publication. I would like to especially thank the entire gallery staff S several hundred artists worked This significant undertaking reflects his astute judgment, for their hard work and commitment to all that we do. diligently in concert with government focused scholarship, and curatorial expertise. Emily Johnsen adeptly coordinated numerous aspects agencies to design posters that supported the nation, We received indispensable guidance from Professor of the exhibition and publication with a constant eye for upheld values of liberty, and promoted participation in Alejandro Anreus and Professor Thomas Uhlein in the re- detail.
    [Show full text]
  • Forum Gallery Opens a Group Exhibition of American Social Realism
    The First Art Newspaper on the Net Established in 1996 Wednesday, May 26, 2021 Forum Gallery opens a group exhibition of American social realism Isabel Bishop, Manhattan Street, 1929. Oil on canvas, 10 x 12 1/4 inches. NEW YORK, NY.- Forum Gallery is presenting a group exhibition of American social realism featuring paintings, drawings, and sculpture dating from the first half of the Twentieth Century to today. Artists working in the years between the world wars and well known for their contributions are shown side by side with contemporary American Artists whose work continues the humanist legacy of social realism. American social realism took shape in the 1920s in the centers of commerce also home to artistic communities, like New York and Chicago. The cultural shift in the United States seen in the art of the social realists bridges the high modernist ideals of Europe and the struggle and very human drama evoked by the Great Depression and the political upheavals of the 1920s and 30s. Works in the current exhibition reflect and record the Nation’s fragile optimism of this time period. Highly emotional figuration, strong political content, and frank depiction of the common activities of daily life characterize the art of the social realists, demonstrated in this exhibition by masterworks in oil by Raphael Soyer, In The City Park, c. 1934, and Jack Levine, 1932 (In Memory of George Grosz), painted in 1959. The earliest paintings on view, dating from the 1920s, by Isabel Bishop and James H. Daugherty are joined by evocative works in oil by Philip Evergood, Wood Gaylor, William Gropper, Robert Gwathmey, Joseph Hirsch, Reginald Marsh, and Ben Shahn.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • Art for People's Sake: Artists and Community in Black Chicago, 1965
    Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago.
    [Show full text]
  • Harn Museum of Art / Spring 2021
    HARN MUSEUM OF ART / SPRING 2021 WELCOME BACK After closing to the public to prevent the spread welcoming space for all in 2021 while continuing to of COVID-19 in March and reopening in July with provide virtual engagement opportunities, such as precautions in place, the Harn Museum of Art Museum Nights, for UF students and community welcomed 26,685 visitors in 2020. It has been our members alike. pleasure to have our doors open to you at a time when the power of art is needed most and in our As we bring in 2021 and continue to celebrate our 30th Anniversary year. We are especially pleased to 30th Anniversary, we are pleased to announce the welcome UF students back to campus this semester acquisition of The Florida Art Collection, Gift of and to provide a safe environment to explore and Samuel H. and Roberta T. Vickers, which includes learn—whether in person or virtually—through more than 1200 works by over 700 artists given our collection. The Harn looks forward to being a as a generous donation by Florida’s own Sam and Robbie Vickers. As an integral part of the University of Florida 3 EXHIBITIONS campus, the Harn Museum of Art will utilize 10 ART FEATURE the Vickers’ gift as an important new resource to 11 CAMPUS AND strengthen faculty collaboration, support teaching COMMUNITY DESTINATION and enhance class tours, and provide research 13 VICKERS COLLECTION projects for future study. 22 TEACHING IN A PANDEMIC 23 ART KITS ENCOURAGE The collection presents a wonderful opportunity CREATIVITY for new and collection presents a wonderful 25 GIFT PLANNING opportunity for new and original student research 26 INSPIRED GIVING and internships across a variety of disciplines in 27 BEHIND THE COVER alignment with our Strategic Plan goals.
    [Show full text]
  • Art Era Timeline 3 Early 20Th C – Modern
    1 Art Movement Timeline Early 20th C Centuryentury till the start of Modern Art Time Line Art Movement Description Artists & examples Late 19th/ Early 20th Century Design Britain, Late 19th Arts and Crafts The Arts and Crafts Century Movement was a celebration of individual design and craftsmanship, William Morris , a book designer, 18341834----18961896 spearheaded the William Morris movement. He also produced stained glass, textiles and wallpaper and was a painter and writer. © Nadene of http://practicalpages.wordpress.com 04/2010 2 Late 19th Century to Art Nouveau Art Nouveau is an Early 20th Century elegant decorative art style characterized by intricate patterns of curving lines. Its origins somewhat 18601860----19391939 rooted in the British Alphonse Mucha Arts and Crafts Movement of William Morris , 18721872----18981898 Aubrey Beardsley 18621862----19181918 Gustav Klimt Louis Comfort Tiffany . 18481848----19331933 © Nadene of http://practicalpages.wordpress.com 04/2010 3 1880's to 1920's The Golden Age of The Golden Age of European artists: Illustration Illustration was a period of unprecedented excellence in book and magazine 18451845----19151915 illustration. Walter Crane Advances in technology permitted accurate and inexpensive reproduction of art. The public demand for new graphic art grew in this time. Edmund Dulac 18821882----19531953 18721872----18981898 Aubrey Beardsley 18671867----19391939 Arthur Rackham 18861886----19571957 © Nadene of http://practicalpages.wordpress.com 04/2010 4 The Golden Age of Kay Nielsen . Illustration American artists: 18531853----19111911 Howard Pyle 18821882----19451945 N.C. Wyeth 18701870----19661966 Maxfield Parrish 18771877----19721972 Frank Schoonover 18521852----19111911 Edwin Austin Abbey . © Nadene of http://practicalpages.wordpress.com 04/2010 5 1920's to 1930's Art Deco Art Deco is an elegant style of decorative art, design and architecture which began as a Modernist reaction against the Art 18981898----19801980 Nouveau style.
    [Show full text]
  • Perspective: the Salmagundi Club
    WESTERN VIsta DI CLUB N GU ma L A HE S PERSPECTIVE: T OF sy E THE SaLMAGUNDI CLUB T OUR C S With a membership that spans from Thomas Moran to GE Scott Christensen, New York’s Salmagundi Club is a national treasure ma © ALL I WRIttEN BY Allen Morris Jones Western art as we know it now was effectively born in the late 19th and early 20th centuries, a period wherein a handful of painters and sculptors took up their tools and trekked west, making pilgrimages to Wyoming, New Mexico and Arizona. Well-educated in the great traditions, they brought with them the visual vocabulary that was then being used in Paris, in London, in New York. Thomas Moran visited Yellowstone in 1871, then the Grand Canyon in 1873. Ernest Blumenschein threw a wheel in Taos in 1898, and E. Irving Couse bumped into Blumenschein, Joseph Henry Sharp and Bert Phillips in France, where he listened to them rave about the desert. Reading the biographies of these extraordinary painters, it soon strikes you that they had at least one thing in common, that the name of a single august club keeps cropping up. One of the oldest continuing art societies in America, the Salmagundi Club is housed in a beautiful four-sto- ry brownstone on Manhattan’s lower Fifth Avenue. An exhibition space, a restaurant, a library, a bar and a bil- liards room, here is a New York club in a faded tradition, a harkening back to those days when the word salon meant more than a place where you could go to get your hair cut.
    [Show full text]
  • Spring 1985 CAA Newsletter
    Volume 10, Number 1 Spring 1985 conferences and symposia eM awards Contemporary Monotypes Modern Monumental Sculpture Awards for excellence in scholarship, crit­ A symposium to be held at Bard College on A symposium to be held at Columbia Univer­ icism, and the teaching of art and art history Wednesday, 8 May, at 4:30 P. M. in conjunc­ sity's Rosenthal Auditorium (501 Schermer­ were presented at the Convocation ceremo­ tion with an exhibition of the same title at the horn Hall) on Friday, 26 ApriL Speakers in nies of the 73rd Annual Meeting of the Col­ Edith C. Blum Art Institute. Panelists will in· the morning session will be: Albert Elsen, lege Art Association, held on Friday evening, clude curator Robert F. Johnson, Achenbach Stanford, Rodin's "Thinker" and the Dilem .. February 15, 1985 at The Biltmore Hotel in Foundation of Graphic Art, and artists Na· ma of Public Sculpture; William Tucker, Los Angeles, than Oliveira and Michael Mazu. Matt Phil­ sculptor, On Private and Public Sculpture; The Distinguished Teaching of Art History lips, chair of the Bard art department, will Rosalind Krauss, Hunter and CUNY Grad­ Award was presented to Father Harrie Van­ moderate. For additional information: Tina uate Center, Brancusi's Mischief; and Rich­ derstappen, professor of Far Eastern art at Iraca Green, BC, Annandale-on-Hudson, ard Brilliant, Columbia, The Public Monu­ the University of Chicago. The Distinguished NY 12504. (914) 758-6822. ment: Fixing Space. In the afternoon: John Teaching of Art Award went to Leon Golub, Beardsely, art historian, Whither Modem professor of art at the Mason Gross School of Current Studies on Cluny Monumental Sculpture?; Kirk Varnedoe, Papers contributing new insights on the role the Arts, Rutgers University.
    [Show full text]