DOCSLIB.ORG

American Art New York | November 19, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Art New York | November 19, 2019 American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. Bonhams & Butterfields subject line 48hrs before the bonhams.com and should be Auctioneers Corp. auction to register for this service. returned by email or post to the 2077070-DCA specialist department or to the Bidding by telephone will only be bids department at accepted on a lot with a lower [email protected] estimate in excess of $1000 To bid live online and / or leave Please see pages 110-114 for internet bids please go to bidder information including www.bonhams.com/ Conditions of Sale, after-sale auctions/25246 and click on the collection and shipment. All Register to bid link at the top left items listed on page 114 will be of the page transferred to offsite storage along with all other items purchased,if not removed by 5pm on November 26. Bonhams © 2019, Bonhams & Butterfields American Art Lots 1 - 101 Lot 9, detail 1 CHARLES GREEN SHAW (1892-1974) Untitled (Gray Abstract) signed and dated ‘Charles G. Shaw / 1939’ (on the reverse) oil on paperboard 11 x 8 1/2in (27.9 x 21.6cm) Painted in 1939. $7,000 - 10,000 Provenance The artist. Charles H. Carpenter, Jr., bequest from the above, 1974. Gift to the present owner from the above. AMERICAN ART | 7 2 SALLY MICHEL AVERY (1902-2003) Bathers and Seated Nude: A Double-Sided Work Bathers signed ‘Sally Michel’ (lower right) watercolor, gouache and pencil on paper 14 7/8 x 21 1/2in (37.8 x 54.6cm) $2,000 - 3,000 (verso) 8 | BONHAMS PROPERTY OF A NEW YORK CORPORATE COLLECTION 3 SALLY MICHEL AVERY (1902-2003) Feline Family inscribed with title and signed ‘Sally Michel’ (on the reverse) oil on canvas 52 x 40in (132.1 x 101.6cm) Painted in 1980. $10,000 - 15,000 Provenance The artist. Acquired by the present owner from the above, circa 1980-85. AMERICAN ART | 9 PROPERTY SOLD TO BENEFIT THE ACQUISITION FUND OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO 4 JOHN LANGLEY HOWARD (1902-1999) Provenance Flight of the Dandelion The artist. signed and dated ‘John Langley Howard 1978’ (lower right) Gift to the present owner from the above, 1991. oil on masonite 18 3/4 x 19 1/4in (47.6 x 48.9cm) Exhibited Painted in 1978. San Francisco, California, M.H. de Young Memorial Museum, John Langley Howard: A Life in Art, February 22-May 19, 1991. $2,000 - 3,000 10 | BONHAMS PROPERTY OF A NEW YORK CORPORATE COLLECTION 5 SALLY MICHEL AVERY (1902-2003) Rosy Amaryllis signed and dated ‘Sally Michel / 1980’ (lower right) and signed and dated again and inscribed with title (on the reverse) oil on canvas 48 1/8 x 29 3/4in (122.2 x 75.6cm) Painted in 1980. $8,000 - 12,000 Provenance The artist. Acquired by the present owner from the above, circa 1980-85. AMERICAN ART | 11 6 ¤ STEPHEN GREENE (1917-1999) The present lot is closely related to Stephen Greene’s painting The Untitled Mourners, painted in 1946, and is possibly a study for this work. signed ‘Greene’ (lower left) Many of the elements included in each work appear almost identical, oil on canvas especially that of the angel soaring overhead. He made a significant 29 x 11 1/4in (73.7 x 28.6cm) change in The Mourners, however, by not including the weeping Painted circa 1946. Magdalen figure and by depicting his figures in more contemporary dress. The striped shirts of the figures in The Mourners is reminiscent $7,000 - 10,000 of the uniforms worn by those imprisoned in Nazi extermination camps. One of Greene’s chief concerns at this stage in his career was how to Provenance address the tragedy of the Holocaust through his work. Stylistically, the The artist. painting reflects his love of Piero della Francesca, an artist he learned The Estate of Hollis MacLure Baker. to admire through the teachings of his mentor, Philip Guston, at the City Antiques, Grand Rapids, Michigan, University of Iowa, Iowa City, Iowa. (probably) acquired from the above. Acquired by the present owner from the above. 12 | BONHAMS PROPERTY SOLD TO BENEFIT THE ACQUISITION FUND OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO 7 W HENRY VARNUM POOR (1888-1970) Provenance The Orchardist and his Family (Summer Afternoon) [With]Helgesen Galleries, San Francisco, California, by 1915. signed ‘H.V. Poor’ (lower right) oil on canvas Exhibited 54 1/4 x 77 3/4in (137.8 x 197.5cm) San Francisco, California, The Palace of Fine Arts, Panama-Pacific Painted in 1914. International Exhibition, 1915, p. 63, no. 3145. $15,000 - 25,000 AMERICAN ART | 13 8 JOHN ATHERTON (1900-1952) Untitled (Entrance 242) signed ‘Atherton’ (lower left) tempera on renaissance panel 17 1/8 x 21in (43.5 x 53.3cm) $5,000 - 7,000 14 | BONHAMS PROPERTY FROM THE ESTATE OF MARIE K. LOWENSTEIN 9 CHARLES GREEN SHAW (1892-1974) Provenance Fifth Avenue Acquired by the late owner by 1987. signed ‘Shaw’ (lower right) and signed again and dated ‘1948’ (on the reverse) The present work by Charles Green Shaw depicts landmarks along oil on masonite Fifth Avenue in New York City, including St. Patrick’s Cathedral, the 48 x 32in (121.9 x 81.3cm) Empire State Building, and Karl Bitter’s (1867-1915) Pamona, which Painted in 1948. is installed in a fountain near The Plaza Hotel. $20,000 - 30,000 AMERICAN ART | 15 Property from The Museum of Modern Art, New York, Sold to Benefit the Acquisitions Fund Lots 10 - 18 Lot 15, detail PROPERTY FROM THE MUSEUM OF MODERN ART, NEW YORK, SOLD TO BENEFIT THE ACQUISITIONS FUND 10 MORRIS KANTOR (1896-1974) Exhibited South Truro Church San Francisco, California, San Francisco Museum of Art, The Face signed and dated ‘M. Kantor / 1934’ (lower right) of America, September 15-October 4, 1942, no. 5658.42. oil on canvas New York, The Museum of Modern Art, Romantic Painting in America, 24 1/8 x 27in (61.3 x 68.6cm) November 17, 1943-February 6, 1944, p. 137, no. 120. Painted in 1934. Venice, Italy, XXIV. Biennale Internazionale d’Arte di Venezia, 1948, no. 508. $5,000 - 7,000 New York, The Museum of Modern Art, American Paintings from the Museum Collection, December 23, 1948-March 13, 1949, p. 3, Provenance no. 367. The artist. New York, The Museum of Modern Art, XXVth Anniversary Exhibition: Frank K.M. Rehn Galleries, New York. Paintings from the Museum Collection, October 19, 1954-February 6, Acquired by the present owner from the above by exchange, 1936. 1955, p. 10. New York, The Museum of Modern Art, America Seen: Between the Wars, April 25-August 7, 1961, p. 3. Literature ARTnews Annual, 1938, p. 110. The New International Illustrated Encyclopedia of Art, vol. 12, New York, 1969, p. 2462. R.A. Kuchta, D.G. Seckler, Provincetown Painters, 1890s-1970s, Syracuse, New York, 1977, p. 57. 18 | BONHAMS PROPERTY FROM THE MUSEUM OF MODERN ART, NEW YORK, SOLD TO BENEFIT THE ACQUISITIONS FUND 11 PATSY (PASQUALE) SANTO (1893-1975) Spring signed and dated ‘Patsy Santo 5-‘40’ (lower right) oil on canvas 24 1/8 x 18 1/8in (61.3 x 46cm) Painted in 1940. $3,000 - 5,000 Provenance The artist. Southern Vermont Artists, Inc., Manchester, Vermont. Acquired by the present owner from the above, September 30, 1940. Exhibited New York, The Museum of Modern Art, Modern Primitives: Artists of the People, October 21, 1941-April 30, 1944, p. 2. New York, The Museum of Modern Art, Americans 1943: Realists Photograph from The Museum of Modern Art’s exhibition, and Magic-Realists, February 10-March 21, 1943, pp. 51, 66, Americans 1943: Realists and Magic-Realists, featuring an no. 212, illustrated. installation of Patsy Santo’s work, including Spring. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. AMERICAN ART | 19 PROPERTY FROM THE MUSEUM OF MODERN ART, NEW YORK, SOLD TO BENEFIT THE ACQUISITIONS FUND 12 GASTON LACHAISE (1882-1935) We are grateful to Virginia Budny, author of the forthcoming catalogue Head of a Woman [LF 320] raisonné sponsored by the Lachaise Foundation, for her assistance in signed ‘G.
Load more

Recommended publications
  • Supplementary Information For
    1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • Cubism (Surface—Plane), 1912
    perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit).
    [Show full text]
  • Impressionist Adventures
    impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios.
    [Show full text]
  • Monet and American Impressionism
    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
    [Show full text]
  • Bingoi Hartford, July 29 (4*>- Five EVERY SAT
    PA6B . SATURDAY, JULY 27, 1967 Ayerage Dtiily Net Press Run The Weather For the Week Ended Fereeast at V. B. Weather BTarasa ^anrbfBtfr Sufttittg !|?ralb Jime 8. 1887 Chance of scattered abowera te> •eema to have a jinx on hla cars night. Low In mid 60s. Tueeday, About Tohpd on vacation tfipi. 12,540 scattered ahoiyera and thpnder- Several years, ago he had a nar­ Area Youths Member et the Andit ahowera In afternoon and evening. Heard Along Main Street High near 80. riremen of the 8th Dlitricf'Fire row escape in a colliaion. and this Bnrean of drcalatiea Pepartment will hold a-Depart­ year he tangled with a hurricane. THE ARMY aod NAVY Manchester— A City o f Village Charm ment meeting Monday at 7:30 p.m. And on Some of Manchester*» Side Streets, It aeema that he was driving In Win Awards southern Illlnoia when the tall end At the fire headquarters, Main and (Claaaifted Advertlaing en Pago 13) PRICE FIVE CENT» HlUlard SU. of Hurricane Audrey swept by. VOL. LXX V I, NO. 254 (FOURTEEN PAGES) MANCHESTER, CONN., MONDAY, JULY 29. 1957 Nothing to Maintain the shear face of the hill carrying He and hla family were in a brand At 4*H Week There are four beautiful tennis Indian pumps. Tuesday eveninif's weighinf - in new car driving through the wide courts near E, Center 8 t. on the 1V-0 men stayed v^lth the truck open fields o f the Midwest which Storrs, July 27 (Special)—Twelve aession by Manchester WATES High School grounds.
    [Show full text]
  • Collection Highlights Since Its Founding in 1924, the Kalamazoo Institute of Arts Has Built a Collection of Nearly 5,000 Artworks
    Collection Highlights Since its founding in 1924, the Kalamazoo Institute of Arts has built a collection of nearly 5,000 artworks. Enjoy an in-depth exploration of a selection of those artworks acquired by gift, bequest, or purchase support by special donors, as written by staff curators and guest editors over the years. Table of Contents KENOJUAK ASHEVAK Kenojuak Ashevak (ken-OH-jew-ack ASH-uh-vac), one of the most well-known Inuit artists, was a pioneering force in modern Inuit art. Ashevak grew up in a semi-nomadic hunting family and made art in various forms in her youth. However, in the 1950s, she began creating prints. In 1964, Ashevak was the subject of the Oscar-nominated documentary, Eskimo* Artist: Kenojuak, which brought her and her artwork to Canada’s—and the world’s—attention. Ashevak was also one of the most successful members of the Kinngait Co-operative, also known as the West Baffin Eskimo Co-operative, established in 1959 by James Houston, a Canadian artist and arts administrator, and Kananginak Pootoogook (ka-nang-uh-nak poo-to-guk), an Inuit artist. The purpose of the co-operative is the same as when it was founded—to raise awareness of Inuit art and ensure indigenous artists are compensated appropriately for their work in the Canadian (and global) art market. Ashevak’s signature style typically featured a single animal on a white background. Inspired by the local flora and fauna of the Arctic, Ashevak used bold colors to create dynamic, abstract, and stylized images that are devoid of a setting or fine details.
    [Show full text]
  • The Elegant Home
    THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 Tuesday November 14, 2017 Los Angeles THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 at 10am Tuesday November 14, 2017 at 10am Los Angeles BONHAMS BIDS INQUIRIES Automated Results Service 7601 W. Sunset Boulevard +1 (323) 850 7500 European Furniture and +1 (800) 223 2854 Los Angeles, California 90046 +1 (323) 850 6090 fax Decorative Arts bonhams.com Andrew Jones ILLUSTRATIONS To bid via the internet please visit +1 (323) 436 5432 Front cover: Lot 215 (detail) PREVIEW www.bonhams.com/24071 [email protected] Day 1 session page: Friday, November 10 12-5pm Lot 733 (detail) Saturday, November 11 12-5pm Please note that telephone bids American Furniture and Day 2 session page: Sunday, November 12 12-5pm must be submitted no later Decorative Arts Lot 186 (detail) than 4pm on the day prior to Brooke Sivo Back cover: Lot 310 (detail) SALE NUMBER: 24071 the auction. New bidders must +1 (323) 436 5420 Lots 1 - 899 also provide proof of identity [email protected] and address when submitting CATALOG: $35 bids. Telephone bidding is only Decorative Arts and Ceramics available for lots with a low Jennifer Kurtz estimate in excess of $1000. +1 (323) 436 5478 [email protected] Please contact client services with any bidding inquiries. Silver and Objects of Vertu Aileen Ward Please see pages 321 to 323 +1 (323) 436 5463 for bidder information including [email protected] Conditions of Sale, after-sale collection, and shipment.
    [Show full text]
  • Jane Peterson Bio.Pages
    Jane Peterson Biography Jennie Christine Peterson - Class of 1901 (1876 - 8/14/1965) - born in Elgin, Illinois, officially changed her name to Jane in 1909 following her first major American exhibition at the St. Botolph Club in Boston. As a child, she attended public school, but with her family’s support and encouragement, Peterson eventually applied and was accepted at the prestigious Pratt Institute in New York. While there, she studied under Arthur Wesley Dow. Peterson’s mother, proud of her daughter’s talent, and keen for her to succeed as an artist, provided her with $300 toward enrollment at the institute—a significant investment at the time for the family. After graduation in 1901, Peterson went on to study oil and watercolor painting at the Art Students League in New York City with Frank DuMond. By 1912, Peterson was teaching watercolor at the Art Students League and eventually became the Drawing Supervisor of the Brooklyn Public Schools. Like many young people, especially artists, Peterson extended her artistic education by taking the traditional grand tour of Europe. For the rest of her life she would frequently return to travel on the continent. The grand European tour was one of the best ways for young artists to view specific works of art and to learn from the masters. Peterson studied with Frank Brangwyn in Venice and London, Joaquin Sorolla in Madrid, and Jacques Blanche and Andre L’Hote in Paris. Under their direction she gained a diverse and expert knowledge of painting techniques and composition. Studying in Paris, Peterson also became friends with Gertrude and Leo Stein, becoming a regular at the sibling’s various gatherings where the guests included Pablo Picasso and Henri Matisse.
    [Show full text]
  • Robert Henri American / Estadounidense, 1865–1929 Beatrice Whittaker Oil on Canvas, 1919
    Daniel Garber American / Estadounidense, 1880–1958 Junior Camp Oil on board, ca. 1924 Daniel Garber served on the faculty of the Pennsylvania Academy of the Fine Arts for over forty years. He started as a student in 1899, studying with William Merritt Chase. After being awarded a scholarship that allowed him to study in Europe for two years, he returned to Philadelphia in 1907, where he was first hired by Emily Sartain to teach at the Philadelphia School of Design for Women. This painting demonstrates a shift in Garber’s style, as he is known for his Impressionist landscapes. In the 1920s, Garber began experimenting with a heavier stitch-like brushstroke, as seen here, in one of his many depictions of the Delaware River embankment near his home and studio. Campamento juvenil Óleo sobre tabla, ca. 1924 Daniel Garber formó parte del cuerpo docente de la Pennsylvania Academy of the Fine Arts durante más de cuarenta años. Comenzó como estudiante en 1899 y fue alumno de William Merritt Chase. Tras estudiar en Europa durante dos años gracias a una beca, regresó en 1907 a Filadelfia, donde fue contratado por primera vez por Emily Sartain para impartir clases en la Philadelphia School of Design for Women. Esta pintura pone de manifiesto un cambio estilístico en Garber, conocido por sus paisajes impresionistas. En la década de 1920, Garber comenzó a experimentar con pinceladas más empastadas, semejantes a puntadas, como se aprecia aquí en una de sus muchas representaciones del dique del río Delaware, cercano a su hogar y estudio. Gift of Bella Mabury in honor of Paul R.
    [Show full text]
  • Beyond a Woman's Place
    BEYOND A WOMAN ’S PLACE : Pioneers in American Art VOSE GALLERIES Old Houses, Cape Ann, Massachusetts Jane Peterson Lilies and Roses Cover: Jane Peterson (1876-1965), (det.), oil on canvas, 18 x 24 inches, signed lower right: (p.15) Back cover: Laura Coombs Hills (1859-1952), , pastel on paper, 28 x 23 inches (p.7) © 2012 Copyright Vose Galleries, LLC. All rights reserved. Designed and written by Elizabeth Vose Frey and Courtney S. Kopplin. Additional research by Carey L. Vose and Stephanie M. Madden. Photography by Christopher R. Greene. Printing by Capital Offset Co., Concord, NH. BEYOND A WOMAN ’S PLACE : Pioneers in American Art March 17- April 28, 2012 OSE Fine American Art for Six Generations V 1841 EST G ALLERIES LLC Beyond a Woman’s Place: Pioneers in American Art Vose Galleries has long appreciated the talent of women artists, Another venerable institution, the Boston Art Club, founded in presenting nearly 100 one-woman shows since 1913, and featuring three 1855, allowed women to exhibit in group shows, but didn’t accept women ElalrigzeabgreotuhpVsohsoewsFroefy women artists in 1917, 1919 and 1989, in celebra - as members until the 1930s. 3 The St. Botolph Club of Boston, an art club tion of the 100th anniversary of the National Association of Women founded in 1880 that became a rival to the Boston Art Club, also permit - Artists. Nearly half of the women in Beyond a Woman’s Place: Pioneers in ted women to exhibit at the club in both group and solo shows, but did American Art participated in group and solo shows at the gallery during not allow women members until 1988.
    [Show full text]
  • Download 2017 Annual Report
    Annual Report Issue SUMMER 2018 Please Join Us for the 72nd Annual Meeting and the Members’ Reception for Art and the New England Farm. Friday, June 1, 2018 at 5:30PM Florence Griswold Museum 96 Lyme Street Old Lyme, Connecticut The Annual Meeting takes place on Friday, June 1, 2018 at 5:30pm under a tent on the Adrian P. Moore Garden Terrace. We will share brief reports on the activities of the Museum and invite members to elect a new slate of officers and trustees. Afterwards, we’ll enjoy a festive reception for the exhibition Art and the New England Farm. This is your invitation to the Annual Meeting and Members’ Reception. We hope you can join us. Kindly RSVP (acceptances only) to 860-434-5542 ext. 122 or DeeDee@fl gris.org. Thomas Nason, Midsummer, 1954. Florence Griswold Museum, Gift of Janet Eltinge Art and the New England Farm – the Perils and Pleasures of Farming The Florence Griswold Museum is uniquely positioned to tell the story of Art and the New England Farm, on view May 11 through September 16. This exhibition delves into the agricultural heritage of Florence Griswold’s family estate, the Lyme region and beyond, to examine the complex history and character of New England’s farms. Paintings, drawings, and photographs by artists from the 1830s to the present day will trace the unique challenges of farming in New England. The Museum’s property is itself a case study of family farms in New England. Purchased by the Griswolds in 1841, these grounds became a country estate with barns, an orchard, gardens, and riverfront pastures where the family practiced small-scale farming during Florence’s childhood.
    [Show full text]