READ ME FIRST Here Are Some Tips on How to Best Navigate, ﬁnd and Read the Articles You Want in This Issue

Home , Alfred Thompson Bricher, Arthur Bowen Davies, Carl Rungius, Charles Marion Russell, Dean Cornwell, Edward Henry Potthast

READ ME FIRST Here are some tips on how to best navigate, ﬁnd and read the articles you want in this issue.

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Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue. PREVIEWING UPCOMING EXHIBITIONS, EVENTS, SALES AND AUCTIONS OF HISTORIC FINE ART

ISSUE 24 Nov./dec. 2015

Cover AFA24.indd 2 10/7/15 11:14 AM James Jeffrey Grant (1883-1960)

Gloucester Wharf, Massachusetts Oil on canvas, 30 x 35 inches, signed lower left: J. Jeffrey Grant

A prominent member of the Chicago art community, the Great Depression and World War II and served as an James Jeffrey Grant first visited Gloucester, Massachusetts, oasis for the artistic community. in the summer of 1931. For the next twenty years he would Gloucester Wharf is a high-keyed image filled with activity, spend his summers there, along with the influx of artists typical of the bustling industry that helped drive the re- who came from all over the country during the 1920s, gion’s economy. With its distinctive arches, this scene is a 1930s and 1940s to paint the charming seaside villages and view of Atlantic Supply Co. wharf at 37 Rogers Street. The breathtaking scenery found in the environs of Cape Ann. architectural hallmarks feature the Gloucester City Hall Because of its unique mix of industry and tourism, clock tower at center and the First Baptist church spire at Gloucester was far removed from the crippling effects of the far right.

V OSE Fine American Art for Six Generations EST 1841 G ALLERIES LLC 238 Newbury Street . Boston . MA . 02116 . 617.536.6176 . [email protected] . www.vosegalleries.com

Vose.indd 1 10/6/15 4:55 PM Exhibition opens October 16, 2015 and runs through November 13, 2015

PICTURING MUSIC

Avery Milton, Mandolin with Flowers, 1948; Oil on canvas, 28 x 36 inches; Signed lower right: Milton Avery 1948

100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Telephone: (610) 896-0680 Fax: (610) 896-8749 Website: www.averygalleries.com Email: [email protected]

AveryG Picturing Music_AFAM.crw1.indd 1 9/14/15 9:23 AM Avery Galleries.indd 1 10/1/15 2:49 PM LIVE AUCTION SATURDAY, NOVEMBER 14, 2015 1:30 PM MST | GERALD PETERS GALLERY, SANTA FE, NEW MEXICO

Gustave Baumann (1881-1971), Tulips, 1930 Gustave Baumann (1881-1971), Three Pines, 1956 woodblock print, 13 x 12 3/4 inches woodblock print, 10 3/4 x 9 1/2 inches

Gustave Baumann (1881-1971), Coast Range, ca. mid-1920’s Gustave Baumann (1881-1971), Taos Placita, 1947 woodblock print, 9 1/2 x 11 3/8 inches woodblock print, 9 3/8 x 11 1/8 inches

17 GUSTAVE BAUMANN WOODBLOCK PRINTS TO BE FEATURED IN THE 2015 AUCTION

VIEW AUCTION HIGHLIGHTS AND REGISTER TO BID OR ATTEND THE AUCTION AT SANTAFEARTAUCTION.COM

FOR ADDITIONAL INFORMATION PLEASE CONTACT ADAM VEIL, EXECUTIVE DIRECTOR CALL: 505 954-5771 | EMAIL: [email protected] | VISIT: SANTAFEARTAUCTION.COM

Gerald Peters.indd 1 10/7/15 10:11 AM viewing • November 14–18 aMEriCaN art 20 Rockefeller Plaza • New York, NY 10020 New York • November 19, 2015 COnTACT • Elizabeth Beaman [email protected] • +1 212 636 2140 Art © Estate of Stuart Davis/Licensed of Stuart by VAGA, © Estate Art New York, NY

Property from the Collection of Dr. Herbert Kayden and Dr. Gabrielle Reem Stuart DaviS (1892–1964) Ways & Means oil on canvas 24 x 32 in. (61 x 81.3 cm.) Painted in 1960. $2,000,000–3,000,000

christies.com

03868-03_American Fine Art_Ad_FINAL.indd 1 9/21/15 3:54 PM Christie's Auctions.indd 1 10/1/15 2:51 PM EDITOR’S LETTER An American Education NOVEMBER/DECEMBER 2015 Bimonthly

s we talk to American art dealers across the country, what we keep PUBLISHER Vincent W. Miller hearing is that while museum exhibitions and new books and catalogs A EDITORIAL are de nitely helping, the American art eld is still in need of strong EDITOR Joshua Rose scholarship. Like anything else, knowledge is power, and the more that is [email protected] known about the art and artists who are responsible for at least 300 years of MANAGING EDITOR Rochelle Belsito art in this country, the stronger the eld will be. [email protected] The best dealers know this, and that is why they are constantly involved ASSISTANT EDITORS Nicki Escudero with creating this information and education then making it accessible to [email protected] collectors around the country. One such dealer is Washington-based Allan Michael Clawson Kollar. Before he became an art dealer, Allan and his wife, Mary, were ASSOCIATE EDITOR Justine Page collectors of American art. About 15 years ago, the Kollars established CONTRIBUTING EDITORS John O’Hern, James D. Balestrieri, Jay Cantor the Allan and Mary Kollar Endowed Fellowship at the University of CONTRIBUTING PHOTOGRAPHER Francis Smith Washington, which is handed out each year to a graduate student interested in the intersection of American art history and American ADVERTISING (866) 619-0841 literature. This year, the fellowship went to Kimberly Hereford. MARKETING DIRECTOR Vincent W. Miller When Allan, Mary, and their daughter Colleen (who is also a partner TRAFFIC MANAGER Yvonne Van Wechel in the gallery), told us about this program, we immediately wanted to get traﬃ [email protected] involved, as well. So we decided on a plan—beginning with Kimberly PRODUCTION and then moving forward each year, the winner of the Kollar Fellowship MULTI MEDIA MANAGER Adolfo Castillo would also be published in American Fine Art Magazine. So, if you look ART DIRECTOR Tony Nolan on page 82 of this issue, you will see Kimberly wrote the article about an PRODUCTION ARTIST Audrey Welch exhibition at the A.J. Kollar Fine Art gallery on the relationship between JUNIOR DESIGNER Kevin King artists and their models. It’s a wonderful article, and American Fine Art EMAIL MARKETING MANAGER Nicki Escudero Magazine is proud to publish such original and insightful scholarship in SUBSCRIPTIONS (877) 947-0792

the field of American art history. SUBSCRIPTIONS MANAGER Emily Yee Find us on: [email protected] Sincerely, ACCOUNTS RECEIVABLE Gina Verdugo [email protected] SUBSCRIPTIONS COORDINATOR Jessica Hubbard [email protected] Joshua Rose American Fine CollectArt @artmags AmericanFine Art Magazine ArtMagazine Copyright © 2015. All material appearing in American Fine Art P.S. We are now including videos with some of our editorial! Look for QR Magazine is copyright. Reproduction in whole or part is not permitted without permission in writing from the editor. Editorial contributions codes on the pages of this magazine, download the app we recommend, are welcome and should be accompanied by a stamped self-addressed and then hold your phone over the code and see what happens. This only envelope. All care will be taken with material supplied, but no responsibility will be accepted for loss or damage. The views expressed further enhances the resources we can o er collectors through the pages of are not necessarily those of the editor or the publisher. The publisher American Fine Art Magazine. bears no responsibility and accepts no liability for the claims made, nor for information provided by advertisers. Printed in the USA.

American Fine Art Magazine, 7530 E. Main Street, Suite 105, Scottsdale, AZ 85251. Telephone (480) 425-0806. Fax (480) 425-0724 or write Don't Have A Scanner App? to American Fine Art Magazine, PO Box 2320, Scottsdale, AZ 85252-2320. Single copies $7.95. Subscription rate for one year is $30 Scan this Icon to We Recommend U.S., $36 Canada. To place an order, change address or make a customer Watch Videos SCANLIFE Available on service query, please email service@AmericanFineArtMagazine. Scan for Android and IOS Devices VIDEO com or write to PO Box 2320, Scottsdale, AZ 85252-2320. POSTMASTER: Send all address changes to American Fine Art Magazine, PO Box 2320, Scottsdale, AZ 85252-2320

PUBLISHED BY VINCENT W. MILLER AMERICAN FINE ART MAGAZINE (ISSN 2162-7827) is published 6 times a year by International Artist Publishing Inc.

On the Cover CANADA American Fine Art Magazine William Merritt Chase (1849-1916), Publications Mail Agreement No. 40064408 The Croquet Game, ca. 1888. Oil on canvas, Return Undeliverable Canadian Addresses to 32 x 35 in. Estimate: $4/6 million. Available Express Messenger International at the Christie’s American Paintings Sale, PO Box 25058, London BRC, Ontario, Canada N6C 6A8 November 19 in New York City. Courtesy www.AmericanFineArtMagazine.com Christie’s Images Ltd. 2015.

EditorsLetter24.indd 4 10/7/15 6:41 PM AMERICAN ART November 16, 2015 | New York | Live & Online

MAXFIELD PARRISH (1870-1966) Jason and his Teacher, Collier’s magazine frontispiece and A Wonder Book and Tanglewood Tales interior illustration, 1909 Oil on canvas laid on board | 40 x 32 inches | $1,000,000-$1,500,000

INQUIRIES: Todd Hignite | Ext. 1790 | [email protected] Aviva Lehmann | Ext. 1519 | [email protected] View All Lots and Bid at HA.com/5227

Heritage.indd 1 10/1/15 4:14 PM Neal Auction Company Louisiana Purchase Auction™ November 21 & 22, 2015

1. 2. 3.

4. 5. 6.

7. 8.

1. Thomas Hart Benton (1889-1975), “Huckster, New Orleans,” ink and pencil/paper, 5 3/4 x 8 in. 2. William Aiken Walker (1838-1921), “Bringin’ in the Dory,” 1895, o/academy board, 6 1/8 x 12 1/4 in., Ill. Seibels. The Sunny South… 3. Hattie Saussy (1890-1978), “Fountain in Forsyth Park, Savannah,” o/canvas board, 18 x 24 in. 4. Edward S. Curtis (1868-1952), “Chief of the Desert,” 1904, orotone, 11 x 14 in. 5. Richard Clague (1816-1878), “An Extensive Louisiana View,” o/c, 24 x 34 in., Exh.: Tulane University, 2002-2015. 6. William Aiken Walker (1838-1921), “Cabin Scene with Children,” o/board, 12 x 9 in. 7. William Henry Buck (1840-1888), “Cabin and Cows Grazing among Live Oaks,” o/c, 18 x 30 in. 8. Henri De Lattre (1801-1867), “Thoroughbreds and Cattle within an American Landscape,” 1854, o/c, 31 1/4 x 48 3/8 in.

Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street • New Orleans, Louisiana • 504-899-5329 • [email protected] The successful bidder agrees to pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514 www.nealauction.com

Neal Auction Co.indd 1 10/1/15 3:30 PM afam_nov_Layout 1 9/24/2015 3:47 PM Page 1

SALLY MICHEL (1902-2003): RHYTHMS OF LIGHT AND COLOR 30 Paintings from the Avery Arts Foundation, Nov 16, 2015 - Feb 13, 2016

Harness Racing, 1955 12 3/8 x 16 inches oil on canvasboard

Field in Hilly Landscape 16 x 27 3/4 inches oil on canvasboard D. WIGMORE FINE ART, INC. 730 FIFTH AVENUE, SUITE 602, NY, NY 10019 212-581-1657 DWIGMORE.COM

Diwigmore.indd 1 10/6/15 4:51 PM Leon Gaspard The Call of Distant Places A new book from award-winning author, Forrest Fenn, and co-author Carleen Milburn

In 1909, with his spirited young bride at his side, and a packhorse on a lead rope, the Russian painter Leon Gaspard embarked on a two-year honeymoon ride across the steppe of Southern Russia, sketching the Kazakh, Kirghiz, and Kalmyk tribesmen. It was one of numerous journeys that eventually led the artist to Taos, New Mexico. Gaspard’s life was as colorful as the paintings that adorn this book. Nearly 8 years in the making, this monograph was researched and written from the artist’s personal archive, photo file and 35 taped interviews and is an important addition to any art library. 412 pages featuring 168 color plates, 15 sketches and 75 vintage photographs taken $125.00 by the artist during his travels, with links order now to audio and videos throughout the book. www.leongaspardbook.com

BrunoAdvertising.indd 1 10/5/15 9:47 AM +1 (212) 710 1307 AMERICAN ART [email protected] Wednesday November 18, 2pm New York +1 (323) 436 5425 [email protected] PREVIEW November 14-18 CHARLES MARION RUSSELL A Scouting Party watercolor on paper CALIFORNIA AND WESTERN $300,000 - 500,000 PAINTINGS AND SCULPTURE Monday November 23, 6pm Los Angeles and San Francisco

PREVIEW November 13-15, San Francisco November 20-22, Los Angeles

bonhams.com/americanpaintings

Bonhams.indd 1 10/1/15 4:34 PM CONTRIBUTORS

James Balestrieri

James Balestrieri is director of J. N. Bartfield Galleries in New York City. Jim has written plays, verse, prose and screenplays. He has degrees from Columbia and Marquette universities, attended the American Film Institute and has an MFA in playwriting from Carnegie Mellon. He has an excellent wife and three enthusiastic children.

Jay E. Cantor

Jay E. Cantor started the American Art Department for Christie’s in the late ’70s, is on the board of the Winter Antiques Show, the Art Committee for The Century Association, the board of directors of The Century Archives Foundation, and recently retired as the chairman of the Collections Committee and a member of the Steering Committee for Friends of American Arts at Yale University. He also served as the founding president of the Georgia O’Keeffe Museum in Santa Fe, New Mexico.

John O’Hern

John O’Hern retired to Santa Fe after 30 years in the museum business, specifically as the Executive Director and Curator of the Arnot Art Museum, Elmira, New York. John was chair of the Artists Panel of the New York State Council on the Arts. He writes for gallery publications around the world, including regular monthly features on Art Market Insights in American Art Collector and Western Art Collector magazine.

Francis Smith

The combination of art history studies done at Vassar and an abiding fascination with American culture makes photographer Francis Smith feel right at home shooting for American Fine Art Magazine. He is further exploring his love for photography and United States history through a new, independent project titled America by another Name.

Kimberly Hereford Kimberly Hereford received her Ph.D. in Art History at the University of Washington. She specializes in 19th- through early 20th-century art and contemporary art. Kimberly lives in Seattle, where she is an independent curator and consultant. She has interned at the National Gallery of Art in Washington and the Smithsonian American Art Museum, and has worked at various art museums and galleries. Kimberly was the recipient of a Bank of America Fellowship, as well as the Allan and Mary Kollar Endowed Fellowship.

Tom Wolf

Tom Wolf is a Professor of Art History at Bard College and curator of the recent exhibition The Artistic Journey of Yasuo Kuniyoshi at the Smithsonian American Art Museum. Photo © Kurt Hoppe.

Contributors.indd 10 10/7/15 3:17 PM SIR ALFRED MUNNINGS (british 1878-1959) Th e Sporting Sale HOUNDS AND HUNTSMEN, NORTH CORNISH HUNT Signed ‘A J Munnings’ bottom right, oil on canvas Auction 11/19/15 30 x 35 3/4 in. (76.2 x 90.8cm) $250,000-400,000 Inquiries: David Weiss | 267.414.1214 [email protected]

www.freemansauction.com #autumnauctions 1808 Chestnut Street Philadelphia PA 19103 | 215.563.9275

Freemans 1.indd 1 10/2/15 12:02 PM PARTICIPATING DEALERS

Eighth Annual Adelson Galleries, Inc.

Avery Galleries

Conner • Rosenkranz, LLC

DC Moore Gallery

Debra Force Fine Art

Driscoll Babcock Galleries

Forum Gallery

Godel & Co.

Hirschl & Adler Galleries

James Reinish & Associates, Inc. November 15–18, 2015 John H. Surovek Gallery

November 15, 12 – 6 pm Jonathan Boos

November 16, 12 – 8 pm Menconi & Schoelkopf Fine Art

November 17, 12 – 6 pm Meredith Ward Fine Art

November 18, 12 – 6 pm Questroyal Fine Art

Thomas Colville Fine Art Admission Complimentary Tom Veilleux Gallery

LECTURES

Sunday, November 15, 2 pm Bohemian National Hall Distilling the American Flavor: Gertrude 321 East 73rd Street, New York City Vanderbilt Whitney, Juliana Force and the Making of the Whitney Museum theamericanartfair.com Avis Berman Writer and Art Historian

Monday, November 16, 4 pm Collecting Sargent: Posers and Patrons MEDIA SPONSORS in the Gilded Age Stephanie L. Herdrich Assistant Research Curator, The American Wing The Metropolitan Museum of Art

Lecture seating is on a ﬁ rst-come basis.

TheTAAF_American-Fine-Art2015_02.indd American Art Fair.indd 1 1 10/1/159/17/15 3:091:13 PM Fremont F. Ellis (1897–1985)

El Rancho de San Sebastian, Santa Fe, New Mexico, oil on canvas, 22 2 30J in.

Exhibiting at the American Art Fair, November 15–18 Bohemian National Hall, New York Debra Force fine art, inc.

13 EAST 69TH STREET SUITE 4F NEW YORK 10021 TEL 212.734.3636 WWW.DEBRAFORCE.COM

LB15193_AFA_NovDec_V3.inddDebra Force.indd 1 2 10/2/1510/6/15 12:47 4:46 PM In This

UPCOMING

The courtyard of the Avery Memorial wing of the Wadsworth Atheneum Museum of Art, installed with modern paintings and the circa 1600 Gallery sculpture Venus With Satyr and Nymph by Pietro Francavilla, installed in the fountain by Chick Austin on the completion of the building in 1933. Photo courtesy Wadsworth Atheneum Museum of Art. Shows Previews of upcoming shows of historic Radical Chick American art at galleries across the country. And Taylor Made A look at two dynamic museum directors, A. Everett “Chick” Austin of the Wadsworth Atheneum Museum of Art, and Francis Henry Taylor of the Worcester Art Museum. by Jay E. Cantor 73

An Eye For Accidents Of Beauty Alfred Maurer: From martyr to modernist visionary by James D. Balestrieri Art Is Life A Connecticut collector assembles At Gerald Peters Gallery: an important collection of American art Max Weber (1881-1961), The Muses (detail), 1944. Oil on board, by John O’Hern 48 x 48 in. © 2015 Estate of Max Weber, courtesy Gerald Peters Gallery, New York.

TOC24.indd 14 10/7/15 3:35 PM NOVEMBER/DECEMBER 2015

American Fine Art Magazine is unique in its concept and presentation. Divided into four major categories, each bimonthly issue will show you how to nd your way around upcoming ne art shows, auctions and In This Issue events so you can stay fully informed about this fascinating market.

UPCOMING UPCOMING Events Museum Fairs Exhibitions Previews and reports of all the major art fairs Insights from top curators about the major and events taking place across the country. exhibitions of historic American art being organized at key American museums. 105 117

UPCOMING Also in this Issue: Calendar 26, 28 Museum News 30, 32, 34 Auctions Art Market Updates 36, 38 Major works coming up for sale at the most People & Places 41 important auction houses dealing in historic Ex Libris 48-49 American art. New Acquisition 52 Market Reports 54

GETTING THE MOST OUT OF THIS MAGAZINE

• Each category has its own easy-to- nd color-coded section. Quickly turn to the section that interests you the most. • Each section lists dates and addresses for upcoming events and activities so you don’t miss any important 125 shows or sales. 15

TOC24.indd 15 10/7/15 3:37 PM LA ART SHOW 2016 MODERN | CONTEMPORARY JANUARY 27-31 LA CONVENTION CENTER, WEST HALL A

20 YEARS OF HISTORY + 1 NEW CURATED EXPERIENCE OVER 100 PROMINENT GALLERIES FROM OVER 20 COUNTRIES PAINTING, SCULPTURE, WORKS ON PAPER, INSTALLATIONS, PHOTOGRAPHY AND VIDEO

APPLICATIONS NOW BEING ACCEPTED

MODERN | CONTEMPORARY 20+1

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PalmBeachLA.indd 1 10/2/15 10:49 AM Severin Roesen (1816 – c. 1872)

Floral Still Life with a Bird’s Nest, c. 1870, oil on canvas, 36 x 29 ¼ in., signed lower right

Please visit our website to view this and other exceptional American still-life paintings.

GODEL & COINC 506 EAST 74TH STREET 4W NEW YORK NY 10021 212-288-7272 WWW.GODELFINEART.COM

Godel.indd 1 10/1/15 3:41 PM Pablo Picasso, Nature Morte au Compotier, 1943, Oil on canvas, 18 1/8 x 24 in (46 x 61 cm), Courtesy of Gladwell & Patterson Gallery

19th Edition Palm Beach County Convention Center 90 International Dealers 650 Okeechobee Boulevard Contemporary art, sculptures, fine art glass and photography West Palm Beach, Florida 33401 USA

Special Pavilions artpalmbeach.com Brazil Honored Country • Emerge • Site: Installations & Projects Works on Paper • New Masters

Preview January 20, 2016 Fair January 21 - 24, 2016

Art Palm Beach.indd 1 10/1/15 4:18 PM DAG-Nov-Dec2015_AFA_FINE ART AUCTION 9/28/15 12:18 PM Page 1

DALLAS AUCTION GALLERY The Fine Art Auction, November 4th

NORMAN ROCKWELL, Easter (Soldier Watering Tulip), 1918, Oil on canvas, 27.25"H x 24"W. Estimate $300,000-$500,000

FROM THE COLLECTION OF SAM WYLY, DALLAS, TEXAS

CONTACT Brandon Kennedy, Director of Fine Arts & Design [email protected] 214.653.3900 2235 Monitor Street, Dallas, Texas 75207 www.dallasauctiongallery.com

DallasAuctionGallery.indd 1 10/5/15 9:47 AM PALM BEACH Jewelry•Antiques•Design DECEMBER 3-7 Featuring International Exhibitors

Palm Beach County Convention Center

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PalmBeach_PalmBeach.indd 1 10/5/15 9:45 AM THOMAS FRANSIOLI (1906–1997), STREET SCENE, SOUTH BOSTON, 1951. OIL ON CANVAS, 22 x 30 IN.

AN ARCHITECT’S DREAM The Magic Realist World of Thomas Fransioli

NOVEMBER 5–DECEMBER 31, 2015

730 FIFTH AVENUE NEW YORK 10019 & H irschl & A dler G alleries 212.535.8810 H A [email protected] WWW.HIRSCHLANDADLER.COM

LB15201_AFA_Fransioli_V9.inddHirschl and Adler.indd 1 1 10/1/1510/2/15 2:301:55 PM DEAUVILLE MIAMI RESORT BEACH DECEMBER 1 - 6, 2015 thepaperfair.com/miami Mila Libman, Bioluminescence, 2015. Pigment on paper, 65 x 55 inches. Courtesty of the artist and K. Imperial Fine Art

Art on Paper Miami.indd 1 10/1/15 2:38 PM EDWARD DUFNER (American 1872-1957)

Morning Sunshine Oil on canvas laid down on board Signed lower right: Edward Dufner N.A. 25-3/4 x 30-3/4 inches

Thirty years of Art Advisory Services ■ Working with Private Collections and Museums Specializing in American paintings from 1840-1940

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by appointment ■ private art dealers association ■ independent appraiser of american art

AJKollar.indd 1 10/5/15 9:49 AM Robert Voit, Galleria at Sunset, Las Vegas, Nevada, 2009. Chromogenic print on Kodak Endura paper, 24 x 20 inches. Courtesty of the Artist and ClampArt.

Miami Project.indd 1 10/1/15 2:43 PM Property from the Estate of Nancy duPont Reynolds Cooch, Delaware. American Art &

ANDREW WYETH (american 1917-2009) Pennsylvania Impressionists 'WINTER CORN FIELDS" Signed 'Andrew Wyeth' bottom right, Auction 12/06/15 tempera on board 32 x 40 in. (81.3 x 101.6cm) $600,000-800,000 Inquiries: © Andrew Wyeth Alasdair Nichol | 267.414.1211 [email protected]

www.freemansauction.com #autumnauctions 1808 Chestnut Street Philadelphia PA 19103 | 215.563.9275

Freemans.indd 1 10/5/15 9:48 AM the Best Fairs, exhibitions and Events Coast to Coast

NOV. 1DEC. 18 THROUGH NOVEMBER 13 NOVEMBER 17 THROUGH NOVEMBER 20 The Artists’ Model and Picturing Music Frederic E. Church Award Gala Winslow Homer Exhibition The American Woman AVERY GALLERIES THE METROPOLITAN CLUB MICHAEL ALTMAN FINE ART A.J. KOLLAR FINE PAINTINGS Bryn Mawr, PA New York, NY New York, NY Seattle, WA www.averygalleries.com www.olana.org www.mnafi neart.com www.ajkollar.com THROUGH NOVEMBER. 14 NOVEMBER 18 NOVEMBER 2024 NOV. 5DEC. 31 A Single Blade of Grass: Just Off Madison New York Art, Antique An Architect’s Dream: Works by Paul Strisik New York, NY & Jewelry Show The Magic Realist World VOSE GALLERIES www.justoff madison.com PARK AVENUE ARMORY of Thomas Fransioli Boston, MA New York, NY HIRSCHL & ADLER GALLERIES, INC. www.vosegalleries.com NOV. 19JAN. 29, 2016 www.nyfallshow.com New York, NY Electrical in Movement: www.hirschlandadler.com NOVEMBER 1518 American Women Artists THROUGH NOVEMBER 30 The American Art Fair at Work The Modernist Impulse: th NOVEMBER 68 BOHEMIAN NATIONAL HALL HAWTHORNE FINE ART New Mexico’s 20 Century Delaware Antiques Show New York, NY New York, NY Avant-Garde CHASE CENTER ON THE RIVERFRONT www.theamericanartfair.com www.hawthornefi neart.com MATTHEWS GALLERY Wilmington, DE Santa Fe, NM www.winterthur.org NOV. 16FEB. 13, 2016 THROUGH NOVEMBER 20 www.thematthewsgallery.com Sally Michel (1902-2003): Max Weber: In Retrospect NOV. 6JAN. 9, 2016 Rhythms of Light and Color GERALD PETERS GALLERY DECEMBER 16 Survey of Metal Sculptures D. WIGMORE FINE ART, INC. New York, NY Art on Paper Miami MICHAEL ROSENFELD GALLERY New York, NY www.gpgallery.com DEAUVILLE BEACH RESORT New York, NY www.dwigmore.com Miami Beach, FL www.michaelrosenfeldart.com www.thepaperfair.com/miami

AMERICAN ART WEEK NOV 15 THROUGH 19 IN NEW YORK CITY

NOV 15-18 The American Art Fair www.theamericanartfair.com

NOV 16 Heritage Auctions’ American Art Signature Auction www.ﬁ neart.ha.com, 2 p.m.

NOV 18 Bonhams’ American Art Auction www.bonhams.com Courtesy Christie’s Images Ltd. 2015 NOV 18 Just Oﬀ Madison www.justoﬀ madison.com, 9 a.m.-noon

NOV 18 Sotheby’s American Art Auction www.sothebys.com

NOV 19 Christie’s American Paintings Sale www.christies.com

Calendar_24.indd 26 10/7/15 3:16 PM MARK MURRAY FINE PAINTINGS

FREDERICK WARREN ALLEN Torso of a Woman BRONZE, HEIGHT 11½ INCHES BONNIE MCLEARY Aspiration BRONZE, HEIGHT 28½ INCHES

Please visit our website www.markmurray.com

159 EAST 63RD STREET NEW YORK, NY 10065 TELEPHONE + 1 212 585 2380 INFOMARKMURRAY.COM

MarkMurrayFinePaintings.indd 29 10/7/15 4:02 PM ART SHOW CALENDAR Auctions DECEMBER 1-6 THROUGH JAN. 3, 2016 Miami Project Masterworks: Art of COLLINS AVENUE & 73RD STREET the Exposition Era at a Glance Miami Beach, FL SAN DIEGO HISTORY CENTER www.miami-project.com San Diego, CA Freeman’s Modern & Contemporary Art: www.sandiegohistory.org NO V. 1 Philadelphia, PA DECEMBER 4-7 Palm Beach Jewelry, NO V. 3 Swann Auction Galleries’ American Prints from a Antiques, Design Show THROUGH JAN. 4, 2016 Private Collection: New York, NY PALM BEACH COUNTY Alfred Maurer: At the CONVENTION CENTER Vanguard of Modernism West Palm Beach, FL CRYSTAL BRIDGES MUSEUM OF NO V. 4 Dallas Auction Gallery’s Fine Art: Dallas, TX www.pbfallshow.com AMERICAN ART Bentonville, AR NO V. 5 Rago Arts & Auction Center’s 19th/20th Century THROUGH DECEMBER 5 www.crystalbridges.org American and European Art Auction: Lambertville, NJ Max Ernst: Paramyths, THROUGH JAN. 10, 2016 Sculpture 1934-1967 NOV. 7 Eldred’s Fine & Decorative Arts: East Dennis, MA PAUL KASMIN GALLERY From New York to New Mexico: New York, NY Masterworks of American www.paulkasmingallery.com Modernism from The Vilcek NO V. 7 Heritage Auctions’ Texas Art: Dallas, TX Foundation Collection DEC. 11-JAN. 16, 2016 GEORGIA O’KEEFFE MUSEUM NOV. 14 Santa Fe Art Auction: Santa Fe, NM Max Weber: In Retrospect Santa Fe, NM www.okeeffemuseum.org GERALD PETERS GALLERY NOV. 14-15 Thomaston Place Auction Galleries’ Fall Feature Santa Fe, NM Auction of Fine Art & Antiques: Thomaston, ME www.gpgallery.com THROUGH JAN. 10, 2016 Tahoe: A Visual History NOV. 14-16 Clars Auction Gallery’s November Sale: Oakland, CA DEC. 13-APRIL 24, 2016 NEVADA MUSEUM OF ART A Place in the Sun: The Reno, NV www.nevadaart.org NOV. 15 Altermann Galleries & Auctioneers’ Santa Fe Sale: Southwest Paintings of Walter Santa Fe, NM Ufer and E. Martin Hennings DENVER ART MUSEUM THROUGH JAN. 17, 2016 Denver, CO Georgia O’Keeffe in Process NOV. 16 Heritage Auctions’ American Art Signature Auction: New York, NY www.denverartmuseum.org NEW MEXICO MUSEUM OF ART Santa Fe, NM THROUGH DECEMBER 13 www.nmartmuseum.org NOV. 18 Bonhams’ American Art Auction: New York, NY Jervis McEntee: Painter-Poet of the Hudson River School JANUARY 27-31, 2016 NOV. 18 Sotheby’s American Art Auction: New York, NY SAMUEL DORSKY MUSEUM OF ART LA Art Show New Paltz, NY LOS ANGELES CONVENTION CENTER NOV. 18 The Sporting Art Auction: Lexington, KY www.newpaltz.edu/museum Los Angeles, CA www.laartshow.com THROUGH JAN. 3, 2016 NOV. 19 Christie’s American Paintings Sale: New York, NY A Colorful Folk: THROUGH FEB. 21, 2016 Pennsylvania Germans & An American Modernism NOV. 20-22 Neal Auction Company’s Louisiana Purchase the Art of Everyday Life NEW MEXICO MUSEUM OF ART Auction: New Orleans, LA WINTERTHUR MUSEUM, Santa Fe, NM GARDEN & LIBRARY www.nmartmuseum.org NOV. 23 Bonhams’ California & Western Paintings & Winterthur, DE Sculpture: Los Angeles, CA www.winterthur.org

DEC. 2-5 Leland Little Auctions’ Winter Catalogue Auction: Hillsborough, NC

= Event = Gallery In every issue of American Fine Art Magazine, we publish the only reliable guide to all major upcoming fairs and shows = Museum nationwide. Contact Nicki Escudero to discuss how your event can be included in this calendar at (480) 374-2186 or = Sponsored by AFAM [email protected].

Calendar_24.indd 28 10/7/15 3:16 PM wWZ

A SELECTION OF WORKS BY AMERICAN FEMALE ARTISTS SPANNING TWO CENTURIES Electrical In Movement: American Women Artists at Work 1825–2015 November 19, 2015–January 29, 2016

“The especial genius of women I believe to be electrical in movement, intuitive in function, spiritual in tendency.” —Margaret Fuller

Please make an appointment to see the exhibition firsthand or view it online at www.hawthornefineart.com.

An accompanying full-color catalogue is available upon request.

Manhattan Showroom, 12 East 86th Street, Suite 527, New York, NY 10028 (by appointment)

P.O. Box 140, Irvington, NY 10533 (mailing addre ss) 212.731.0550 * [email protected] * www.hawthornefineart.com

Hawthorne FA.indd 1 10/7/15 10:11 AM NOV/DEC 2015

DELAWARE ART MUSEUM www.delart.org REYNOLDA HOUSE MUSEUM The Delaware Art Museum in Wilmington, OF AMERICAN ART Delaware, has received a $150,000 grant from www.reynoldahouse.org the Museums for America, a program that is part of the Institute of Museum and Library Services, and aims to place more than 12,500 objects from the museum’s collection online into a searchable database by 2018. Currently more than 5,000 works are viewable through the museum’s website. The grant will allow the museum to place an additional 5,000 works online, including pieces by Howard Pyle, John Edward Hopper (1882-1967), Summertime, 1943. Oil on canvas, Sloan, Edward Hopper, and others. 291/8 x 44 in. Delaware Art Museum, gift of Dora Sexton Brown, 1962.

AUTRY NATIONAL CENTER OF THE AMERICAN WEST CRYSTAL BRIDGES MUSEUM OF AMERICAN ART Ansel Adams (1902-1984), Vernal Fall, www.theautry.org www.crystalbridges.org Yosemite Valley, California, ca. 1948, printed 1963. Gelatin silver print. Amon A new exhibition at the Autry National Carter Museum of American Art, Fort Center of the American West in Los Angeles Worth, Texas; P1966.11.6. ©2015 The focuses on 49 important works that were Ansel Adams Publishing Rights Trust. gifted to the museum by Loretta and Victor Ansel Adams: Eloquent Light Kaufman. New Acquisitions Featuring the will open March 11, 2016, Kaufman Collection is now open and highlights at the Reynolda House bronzes from Frederic Remington, Allan Museum of American Art Houser, and Tammy Garcia; paintings by in Winston-Salem, North Eanger Irving Couse and Robert Henri; Carolina. Adams, one of the and lithographs from Fritz Scholder, as well best-known photographers as many other works. The exhibition will in the world, and his continue through July 9, 2017. Frank Lloyd Wright’s 1954 Bachman-Wilson House, as it was built along the iconic career throughout Millstone River in New Jersey. tarantinoSTUDIO © 2013. Courtesy Crystal the United States will Bridges Museum of American Art, Bentonville, Arkansas. be examined across 40 The Crystal Bridges Museum of American Art landmark photographs that in Bentonville, Arkansas, has acquired the 1954 have never been on display Frank Lloyd Wright-designed Bachman-Wilson together. The exhibition House, which was threatened by repeated will be timed with the flooding along the Millstone River in New 100th anniversary of the Jersey. The museum acquired the home in 2013 National Park Service, and began making preparations to have the home which oversees national disassembled, transported 1,200 miles and then parks Adams photographed rebuilt on the Crystal Bridges museum grounds. Eanger Irving Couse (1866–1936), Ben Examining the frequently. The exhibition Pots. Oil on canvas. Donated by Loretta and Victor Kaufman. Now completed, the Bachman-Wilson House will be on view through Autry National Center; 2012.37.24. will open to the public on November 11. July 17, 2016.

WADSWORTH ATHENEUM MUSEUM OF ART www.thewadsworth.org In September, the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, unveiled the completion of its five-year, $33-million renovation project. The project, totaling 38,000 square feet, added 17 new galleries (a total of 16,000 square feet) to the existing exhibition space. A number of galleries, including floor-to-ceiling walls of European works in the Morgan Memorial building, are now once again open to visitors and art enthusiasts. Thousands of works of art have been reinstalled, and also reinterpreted, inside the new exhibition spaces. In addition to the upgrades and renovations, the Morgan building had skylights added to open the galleries up and bring in more light.

The recently renovated Great Hall in the Morgan Memorial building at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut. Courtesy Wadsworth Atheneum Museum.

Museum News_24.indd 30 10/7/15 3:16 PM NCFL #7452

THE PERSONAL COLLECTION OF MR. PHILIP H. HUGGINS, FAYETTEVILLE, NORTH CAROLINA Auction: Saturday, November 14, 2015 Location: Hillsborough, North Carolina

William Aiken Walker (SC/MD, 1838- American School Portrait of a Woman, after Corregio, “The Mystic Marriage of 1921), Cotton Picker 18th Century St. Catherine of Alexandria”

Frederick Williams (MA/France, 1829-1915), William Frerichs (NY/NC, 1829-1905), Portrait of an Early American “Seaside Pasturage in Normandy” Mountain Falls Naval Officer, circa 1820

Franklin Dullin Briscoe (PA/MD,1844-1903), Shipwreck Gustave Langenberg (1859-1915), Winter Nocturne North Carolina • 919.644.1243 • LelandLittle.com

Leland Little_1.indd 1 10/7/15 11:59 AM MUSEUM NEWS

COLUMBUS MUSEUM OF ART NSU ART MUSEUM, FORT LAUDERDALE DALLAS MUSEUM OF ART www.dma.org www.columbusmuseum.org www.nsuartmuseum.org Road to the Hills, a work by important The Columbus Museum of Art has early-Texas painter Julian Onderdonk, recently announced its new wing will be has recently been restored and is now on called the Margaret M. Walter Wing in display for the first time in 60 years at the recognition of Robert D. and Margaret Dallas Museum of Art in Texas. The circa “Peggy” Walter’s $10 million donation 1918 piece, purchased in 1919 by the Dallas to the art destination. The museum, Shakespeare Club and donated to the which was closed much of September museum the same year, was created at the and October due to the comprehensive height of the artist’s career. The restoration construction and renovation project, re- was made possible by the Dallas Shakespeare opened to the public on October 25. In Club, which donated $25,000 for its careful addition to the added wing, the renovation cleaning and restoration, which involved and expansion will allow more of the addressing problems introduced during a museum’s permanent collection to be 1950s restoration. Road to the Hills is now on display and allow more exhibitions to on view at the museum. travel to the museum.

Man Ray (1890-1976) and Lee Miller (1907-1977), Neck (portrait of Lee Miller), ca. 1930. ©Man Ray Estate. Collection Lee Miller Archives, England. The Indestructible Lee Miller, a new exhibition examining the remarkable life of artist and photographer Lee Miller, is now on view at the NSU Art Museum, Fort Lauderdale in Florida. The exhibition, which runs through February 28, 2016, reflects back on several aspects of Miller’s life: fashion model for Edward Steichen and Arnold Genthe, assistant and muse of artist Man Ray, and pioneering artist and photojournalist during World War Julian Onderdonk’s Road to the Hills after conservation in the II. The exhibition, organized by the Dallas Museum of Art’s Paintings Conservation Studio, April 2015. Albertina Museum in Vienna, Austria, (Julian Onderdonk (1882-1922), Road to the Hills, ca. 1918. Oil The recently completed Margaret M. Walter Wing at the Columbus will feature more than 90 works. on canvas, Dallas Museum of Art, gift of the Dallas Shakespeare Museum of Art in Columbus, Ohio. Photo by Brad Feinknopf. Club in memory of Elizabeth Patterson Kiest, 1919.2)

LUCAS MUSEUM OF NARRATIVE ART www.lucasmuseum.org After public uproar over the design and placement of the Lucas Museum of Narrative Art in Chicago’s famous waterfront area, the museum has revealed it has redesigned several aspects of the museum that will house the art and film collection of filmmaker George Lucas. In addition to trimming the square footage by as much as 100,000 square feet, the museum has added more green space and parks to the grounds. The museum is expected to open in 2018. The rendering of the original design of the Lucas Museum of Narrative Art in Chicago. The planned museum has since been redesigned. Courtesy MAD Architects.

DELAWARE ART MUSEUM www.delart.org For the first time in 75 years, nine wall-sized panels painted by illustrator Howard Pyle will be on display together at the Delaware Art Museum in Wilmington, Delaware. The pieces were originally created in 1903 for Pyle’s drawing room in Wilmington. They remained there until 1923, when they were removed and reinstalled in a replica of Pyle’s drawing room at the Wilmington Public Library. They were later removed due to conservation challenges, and have been in storage since. Two of the pieces have been on display before, but never all nine. They’ve also recently been restored and cleaned for their semi- permanent display in the museum’s Vinton Illustration galleries.

Howard Pyle (1853-1911), Genius of Art, 1903-1905. Oil on canvas glued to plywood, 65 x 116 in. Delaware Art Museum, gift of Louisa du Pont Copeland, 1923.

Museum News_24.indd 32 10/7/15 3:16 PM SUBSCRIBE Subscribe now to TO AMERICA’S this unique magazine NO. 1 MAGAZINE Previewing Upcoming Events, Sales and Auctions of Historic Fine Art and website FOR HISTORIC FINE ART FOR ONLY PER ISSUE hile impressive auction results of historic American $5 paintings and sculpture or an occasional celebrity YOUR ANNUAL collector may garner a newspaper headline now and SUBSCRIPTION then, there is no magazine, until now, that has offered Wcomplete and comprehensive coverage of the upcoming shows and GIVES YOU events of this always-fascinating market that is so deeply tied to • 6 Issues of American history, society and culture. the Printed Bimonthly Previews of Upcoming Read Up-To-Date Magazine Shows and Auctions Auction Reports and Analysis A visual feast The historic fi ne art of America’s In every issue we’ll publish detailed analysis of large-format greatest artists is in big demand and if you with charts highlighting the results of images and articles are serious about acquiring it, you need to major shows and auctions so you can track previewing important know about it sooner so you can plan your the movement of key works and prices of works coming to market in major collecting strategies. major artists. shows and auctions coast to coast. When you subscribe to American Fine TOP 10 LOTS • Bimonthly Online Art Magazine you’ll know in advance what FREEMAN’S AUCTIONEERS & APPRAISERS DECEMBER 4, 2011 (INCLUDING BUYER’S PREMIUM) ARTIST TITLE LOW/HIGH EST. SOLD Link to all the major works are coming to market because, JAMES ABBOTT MCNEILL WHISTLER (1834-1903) BLUE AND OPAL – THE PHOTOGRAPHER $150/250,000 $469,000 EDWARD WILLIS REDFIELD (1869-1965) SPRING $200/300,000 $241,000 Magazine’s Content every other month, you’ll have access to NICOLAI FECHIN (1881-1955) SEATED FEMALE NUDE $80/120,000 $145,000 FERN ISABEL KUNS COPPEDGE (1883-1951) LAMBERTVILLE ACROSS THE DELAWARE, WINTER $30/50,000 $79,000 this valuable information when we email MARY ELIZABETH PRICE (1877-1965) TIGER LILIES $20/30,000 $79,000 Direct access to the entire RAE SLOAN BREDIN (1881-1933) UNDER THE TREE $70/100,000 $49,000 you the upcoming issue—up to 10 days CHARLES ROSEN (1878-1950) DELAWARE RIVER VIEW $40/60,000 $43,000 magazine online where you FRANZ XAVER PETTER (1791-1866) STILL LIFE WITH ROSES AND TULIPS WITH $15/25,000 $40,000 PARROT IN A BRASS VASE before the printed magazine arrives in your JOSEPH HENRY SHARP (1859-1953) OCTOBER SNOW – TAOS VALLEY (FROM MY STUDIO) $20/30,000 $37,000 can fl ip the virtual pages to mailbox—and before the shows even open. DAVID DAVIDOVICH BURLIUK (1882-1967) FLOWER ABSTRACT $12/18,000 $37,000 see paintings up to 10 days earlier than they appear in the Inside the Homes of Contributing Editors and print edition. Consultant Columnists Major Collectors • Keep Back Issues Online Some of the most authoritative fi ne art Our nationally-recognized fi ne art experts in the country will contribute You can refer to all the online consultants and award-winning regular columns explaining current back issues of your subscription photographers take you inside the homes and future trends to better inform your right on your monitor. of the country’s top art collectors to give decision-making. you full access to some never-before-seen collections. Who Makes the American NO RISK MONEY Fine Art Market Tick? BACK GUARANTEE In each bimonthly issue you can read If, at any time during the interviews with the people behind the period of your subscription, scenes in this fascinating industry. you are unhappy for any reason, you can cancel for a full refund on undelivered copies – no questions asked!

Subscribe online www.AmericanFineArtMagazine.com or mail the order form between these pages. US $30 Canada $36

AFA_SubPage1.indd 33 2/7/14 2:52 PM MUSEUM NEWS

COLUMBIA MUSEUM OF ART www.columbiamuseum.org THE HYDE COLLECTION www.hydecollection.org A stunning collection of modern art has been donated to The Hyde Collection in Glens Falls, New York. The donation, the largest gift of modern art to the museum in 30 years, was given by Werner Feibes and the late James Schmitt, retired architects and longtime art patrons from New York. The partners had acquired major works from Josef Albers, Sol LeWitt, Grace Hartigan, Ellsworth Kelly, Robert Motherwell, and many others. Two The late James Schmitt, left, and Werner Feibes, of the 55 works donated are now on view at donors of the largest gift of modern art at The Hyde the museum with a larger exhibition of their Collection in 30 years. Courtesy The Hyde Collection. collection now in development.

METROPOLITAN MUSEUM OF ART www.metmuseum.org The Metropolitan Museum of Art has been named the world’s best museum in the 2015 TripAdvisor Georgia O’Keeffe (1887-1986), Blue Line, 1919. Oil on canvas, 201/8 x Travelers’ Choice awards. The 171/8 in. Georgia O’Keeffe Museum, Lynes 294. © Georgia O’Keeffe Museum. award was given based on the Now on display at the Columbia Museum of Art quantity and quality of reviews in Columbia, South Carolina, is Georgia O’Keeffe: and ratings over the past year. Her Carolina Story, which documents the famous “Our visitors’ enthusiasm for painter and the artistic epiphany she experienced the Met is the best measure of The Metropolitan Museum of Art in New York City. in South Carolina in 1915 after a friend showed our success. We pride ourselves her charcoal drawings to gallery owner Alfred on the fact that every visit to the Met can be a new journey—across time and Stieglitz. This would be a major development for around the globe—and we are thrilled that our audience has had such a positive the artist whose works are now widely studied, response to that experience,” says Thomas P. Campbell, director and CEO of the collected and exhibited. The exhibition will Met. “The TripAdvisor award is also particularly gratifying in a year of record- feature 14 works, including the famous Blue Line. breaking attendance of 6.3 million.” The show runs through January 10, 2016.

CRYSTAL BRIDGES MUSEUM OF AMERICAN ART www.crystalbridges.org LOS ANGELES COUNTY MUSEUM OF ART www.lacma.org New Objectivity: Modern German Art in the Weimar Republic, 1919- 1933 is now on view at the Los Angeles County Museum of Art in California. The show is the first comprehensive exhibition in the United States to explore German artwork from the end Faith Ringgold (b. 1930), of World War I to Adolf Hitler’s rise to power in 1933. The Maya’s Quilt of Life, 1989. exhibition will feature nearly 200 works by more than 50 artists, Acrylic on canvas and painted, dyed and pieced fabrics, including George Grosz, Otto Dix, Max Beckmann, and many 73 x 73 in. Crystal Bridges others. The exhibition continues through January 18, 2016. Museum of American Art, Bentonville, Arkansas. Photo George Grosz (1893- courtesy Swann Auction 1959), Portrait of Dr. Galleries. Felix J. Weil (Bildnis Dr. Felix J. Weil), 1926. Oil on canvas, 53 x 61 in. Los Angeles County Museum of Art, gift of Richard L. Feigen in memory A quilt made by Faith Ringgold, and commissioned by Oprah Winfrey, of Gregor Piatigorsky that hung in Maya Angelou’s home, has been acquired by the Crystal Art © 2014 Estate of George Grosz/Licensed Bridges Museum of American Art in Bentonville, Arkansas. The quilt, by VAGA, New York, commissioned by Winfrey for the I Know Why the Caged Bird Sings NY; photo © Museum author’s 61st birthday, was purchased at a Swann Auction Galleries sale Associates/LACMA in September for $461,000, well over the quilt’s $150,000 to $250,000 estimate. The quilt will soon be on display at the Arkansas museum.

Museum News_24.indd 34 10/7/15 3:16 PM ScottSdale S ScottSCOTTSDASLEdale ARTAUCTION SA art auction

n ow A CCEPT i n G C o n S i G n ME n TS F o R o u R A PR i l 2, 2016 A u CT i o n

ThoMAS MoRAn 25" x 30" oil ThoMAS MoRAn 25" x 30" oil SOLD FOR: $4,159,000 2 bERT PhilliPS 24" x 20" oil SOLD FOR: $4,159,000 bERT PhilliPS 24" x 20" oil SOLD FOR: $322,000

4 PhiliP R. Goodwin 24" x 33" oil niColAi FEChin 24" x 20" oil PhiliP R. Goodwin 24" x 33" oil niColAi FEChin 24" x 20" oil SOLD FOR: $198,900 SOLD FOR: $207,000

2015 AuCTion SETS 15 nEw RECoRdS wiTh ovER $14 Million in SAlES And 92% oF All loTS Sold. CuRREnTly holdinG 158 AuCTion RECoRdS. now ACCEPTinG ConSiGnMEnTS FoR ouR APRil 2, 2016 AuCTion.

For more information please call (480) 945-0225 or visit www.scottsdaleartauction.com

MiChAEl FRoST jACK MoRRiS bRAd RiChARdSon j n bARTFiEld GAllERiES j.n. bARTFiEld GAllERiES MoRRiS & whiTESidE AuCTionS lEGACy GAllERy ozeman ackson ole cottsdale Bozeman • Jackson Hole • scottsdale 60 W 55th Street 220 cordillo Parkway 7178 Main Street new York, nY 10019 Hilton Head island, Sc 29928 Scottsdale, aZ 85251 212.245.8890 843.842.4433 480.945.1113 | 307.733.2353

[email protected] [email protected] [email protected]

ScottsdaleArtAuction.indd 1 10/5/15 9:46 AM Lockwood de Forest home on the market The Santa Barbara, California, home Kellam de Forest. The home—located that once belonged to Lockwood de at 2659 Todos Santos Lane, Santa Forest Jr. (1896-1949), a prominent Barbara—features five fireplaces, tiles landscape architect and painter, is from Damascus, teak wood panels from now on the market for more than India and a sprawling array of garden $3.6 million. The Roman-style, features on the property. 3,900-square-foot residence with Lockwood de Forest Jr. is the son of stucco walls and a tile roof features Lockwood de Forest (1850-1932), who courtyards, lush gardens and a central studied with many of the great Hudson water feature in the Santa Barbara River School artists including his great- Mission District. uncle Frederic Church, championed the The home was designed and Aesthetic Movement, was involved with built by de Forest in 1927 after his the decorative arts and Louis Comfort The Lockwood de Forest estate in Santa Barbara, previous home was damaged in a 1925 Tiffany, and traveled the world painting California. Photo courtesy Paula Goodwin, Sotheby’s earthquake. The land was gifted to him and acquiring materials he would bring International Realty. by the parents of his wife, Elizabeth back to the United States.

Water-themed show now on view at Debra Force Fine Art Oceans, Rivers & Pools is a new exhibition of water-themed works now on display at Debra Force Fine Art in New York City. Works available include BJO Nordfeldt’s abstract Sailboats; Walter Murch’s coastal landscape Monterey Coast, California; several remarkable clipper works from James E. Butterworth; and Edward Henry Potthast’s Baby Carriage on Beach. Other artists represented include Gifford Beal, Oscar Bluemner, Alfred Thompson Bricher, Nicolino Calyo, William Merritt Chase, Arthur Bowen Davies, Lockwood de Forest, Preston Dickinson, William Glackens, Childe Hassam, John William Hill, Louis Aston Knight, Edward Chalmers Leavitt, Arthur Dove (1880-1946), Steam Shovel, 1931. Oil on canvas, 30 x 39 in. Robert Vonnoh, and James McNeill Whistler. The exhibition runs through November 6. For more John Berggruen Gallery celebrates 45 years information visit www.debraforce.com. Marking 45 years of bringing top-quality artwork to collectors, John Berggruen Gallery in San Francisco is hosting a special exhibition, Looking Back: 45 Years, to celebrate the gallery’s commitment to contemporary art. The exhibition, on view now through November 25, tells the story of the gallery’s exhibition and acquisition history, as well as honors the gallery’s devoted following of Bay Area collectors. Artists with works in the show include Alexander Calder, Arthur Dove, Willem de Kooning, Richard Diebenkorn, Sam Francis, Helen Frankenthaler, Frida Kahlo, Ellsworth Kelly, Roy Lichtenstein, Robert Motherwell, Georgia O’Keeffe, Mark Rothko, Frank Stella, Clyfford Still, Wayne Thiebaud, and many others. In addition to the exhibition, the gallery has also th Edward Henry Potthast (1857-1927), Baby Carriage on Beach, published an illustrated catalog to mark the 45 anniversary. For ca. 1915-20. Oil on board, 121⁄8 x 161⁄8 in. Courtesy Debra Force Fine Art. more information visit www.berggruen.com.

ArtMarketUpdates_24.indd 36 10/7/15 3:09 PM DAWSON DAWSON-WATSON (Am. 1864-1939) Early Summer, 1929 # oil on canvas 22 x 28 signed lower right: Dawson-Watson # $30,000 - $50,000

MICHAEL FRARY (Am. 1918-2005) Tiger’s Eye # mixed media on panel 49½ x 48 signed lower right: Frary # $6,000 - $12,000

EVERETT SPRUCE (Am. 1908-2002) Broken Tree, 1950 # oil on canvas 30 x 36 # JULIAN ONDERDONK (Am. 1882-1922) signed lower right: Spruce $30,000 - $50,000 Overlooking Lower Bay-from Dongan Hills-Staten Island, NY, 1907 oil on canvas 33½ x 47 # signed lower right: Julian Onderdonk 1907 $40,000 - $60,000

David Dike Fine Art was established in 1986 in the Arts District of Uptown Dallas where it resides today. The gallery specializes in late 19th and early 20th century paintings with an emphasis on the Texas regionalists and Texas landscape painters. The gallery provides a compilation of traditional and distinctive works for both the new and mature collector. The gallery offers expert art consultancy services including ﬁ ne art appraisal by an ISA accredited member appraiser.

David Dike Fine Art presents the Annual Texas Art Auction each year, which has become an anticipated and celebrated tradition in Texas art collecting. The January 23, 2016 sale will mark the 20th year of this sale. The 2016 auction will have between 200 - 300 lots of early-Texas to mid-century modern Texas art. For more information on the auction, or to be added to the mailing list for a catalogue, please visit our website or contact the gallery.

2613 Fairmount St. | Dallas, TX 75201 | P: 214-720-4044 | [email protected] | www.daviddike.com Mon. – Fri. 10 AM – 5 PM and Sat. 11 AM – 4 PM

DavidDikeFineArt.indd 25 10/7/15 12:39 PM ART MARKET UPDATES

Wadsworth Atheneum works on view at Winter Antiques Show Works from the Wadsworth Atheneum the Winter Antiques Show,” says David W. Museum of Art in Hartford, Connecticut, Dangremond, president of the museum’s will be honored with an exhibition board of trustees. “We hope that visitors to during the 62nd annual Winter Antiques the Armory are surprised and delighted by Show January 22 through 31, 2016, at the the highlights from our collection and as a Park Avenue Armory in New York City. result will endeavor to visit the museum to Legacy for the Future: Wadsworth Atheneum see our o erings in their entirety.” Museum of Art will be on view during the Pieces in the exhibition include annual winter fair, which features a special a sculpture by Elie Nadelman and museum exhibition during each show. Alexander Calder, paintings by Georgia “We at the Wadsworth Atheneum are O’Kee e and Frederic Church, and Frederic Edwin Church (1826-1900), Coast Scene, profoundly honored to have been chosen decorative arts such as a Peter Blin Mount Desert, 1863. Oil on canvas. Wadsworth Atheneum Museum of Art. Bequest of Clara th to present the 2016 loan exhibition at cupboard from 17 -century Connecticut. Hinton Gould, 1948.178.

Flora Crockett works now up at Meredith Ward Fine Art Thirty-four works by abstract artist Flora Crockett are on view at Meredith Ward Fine Art in New York City through November 7. The showing marks the rst exhibition of the artist’s works since the mid-1960s. Crockett produced the works between 1966 and 1973 when she was in her 70s. “It’s incredibly exciting to nd such original and innovative paintings that have been out of sight for 50 years,” says Meredith Ward, president of the gallery. For details visit www.meredithward neart.com. Willem de Kooning (1904-1997), Large Torso, 1974. Bronze, ed. 1 of 7, 35 x 31 x 24 in. Flora Crockett (1892-1979), 2-67, 1967. Oil on canvas Courtesy Skarstedt, New York. board, 30 x 24 in. Courtesy Meredith Ward Fine Art. Willem de Kooning sculpture show opens Georgia O’Keeffe featured at Tate Modern exhibition November 5 at Skarstedt The Georgia O’Kee e Museum in Santa Fe, New Mexico, has announced it is the largest New York City gallery Skarstedt presents lender for a new Georgia O’Kee e exhibition opening July 6, 2016, at the Tate Modern De Kooning Sculptures, 1972-1974, which in London. The exhibition will draw from public and private collections from around the examines an important period of work world, and it represents the largest monographic show of O’Kee e’s work in the United for painter Willem de Kooning, who Kingdom in more than 20 years. began sculpting at the age of 65 after a “Georgia O’Kee e is now regarded as a major gure of American modernism,” says long and acclaimed career painting. Cody Hartley, director of curatorial a airs at the Georgia O’Kee e Museum, “and yet The show will feature 13 original there is much that remains under-examined in relation to her work. The Tate exhibition works that came to be after artist Henry will return to the work, examining it and the woman who created it, aiming to dispel the Moore convinced de Kooning to explore clichés that persist about her and her paintings.” the medium as an extension of his Georgia O’Kee e (1887-1986), Purple Hills paintings. De Kooning’s works across Ghost Ranch-2 / Purple Hills No II, the two mediums have noteworthy 1934. Oil on canvas a xed to Masonite, similarities: uid movement, gestural 16¼ x 30¼ in. Georgia O’Kee e brushstrokes and abstraction. Museum. Gift of The Burnett Foundation (1997.06.020) © Georgia O’Kee e Museum. The exhibition runs through December 19. For more details visit www.skarstedt.com.

ArtMarketUpdates_24.indd 38 10/7/15 3:29 PM NCFL #7452

THE WINTER CATALOGUE AUCTION December 2-5, 2015

John Martin Tracy (1843-1893), Two Setters on Point Frank Armington (1876-1941), Pont Royal, Paris (le soir)

Sergei Vinogradov (1869-1938), Robert Motherwell (1915-1991), A Lake in the Evening French Revolution Bicentennial Series (Complete Set)

Romare Bearden (1914-1988), Walker Evans (1903-1975), Utagawa Hiroshige (1796 - 1858), Storyville - Piano Interlude Main Street, Saratoga Springs, NY Fuji River in Snow North Carolina • 919.644.1243 • LelandLittle.com

Leland Little_2.indd 1 10/7/15 11:56 AM Brunk AuctionsBA November 6-8, 2015

Important American & Western Paintings

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• Ernest Blumenschein, Portrait of a Native American Pueblo Elder • Birger Sandzén, Early Moon, Cottonwood Grove • Norman Rockwell, Lincoln the Railsplitter, 1964, oil on card

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November 15th Important Fine Art Auction

Edward Willis Redfield (American, 1869-1965) Boothbay Garden oil on canvas 26″ x 32″

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Untitled-14 1 10/2/15 12:16 PM

p040_AFA024.indd 2 10/7/15 4:45 PM People&Places Washington’s Maryhill Museum of Art, which recently received a $1 million donation for a renovation project. Photo by Josh Partee.

The Maryhill Museum of Art in position in January 2016…The Hyde Collection in Glens Falls, New Goldendale, Washington, recently York, has named William Belcher, formerly with the Massachusetts announced a $1 million donation from Museum of Contemporary Art, as the new director of external a airs. the state of Washington to support Belcher previously worked at The Hyde as a grant writer from 2002 the renovation of the exterior of the to 2006…Salvador Salort-Pons has been named as the director, museum’s historic building. Work president and CEO of the Detroit Institute of Arts…The Harvard Art is expected to begin and finish in Museums has announced four new appointments: Ethan Lasser will 2016…Horace Ballard, a former Kristin Guiter, Bonhams head the European and American art departments, A. Cassandra new head of press and educator at the Rhode Island School public relations in the Albinson has been appointed as a curator of European art, of Design, has been appointed as United States. Photo by Elizabeth M. Rudy will be an associate curator of prints, and Rachel the new curator of education at Christopher Chen. Saunders has been named an associate curator of Asian art… the Birmingham Museum of Art in Sienna Brown, formerly with the Los Angeles County Museum of Alabama…As part of its Charitable Foundation Awards program, Art, has been named as the new Nancy E. Meinig Curator of Modern Bank of America has donated $25,000 to the Palm Springs Art and Contemporary Art at the Philbrook Museum of Art in Tulsa, Museum in California. The funds will be used to bring additional Oklahoma…The Speed Art Museum in Louisville, Kentucky, has programming to the museum and its visitors…Kristin Guiter, announced Dean Otto has been hired as the museum’s curator of founder of kkg art + culture communications, has been named as lm…Coming from museums in Philadelphia and Baltimore, Susan the new head of press and public relations at Bonhams. She will head Dackerman has been named the new Carl A. Weyerhaeuser Curator the global auction house’s PR department in the United States…After of Prints at the Fogg Art Museum in Cambridge, Massachusetts… more than 30 years in the arts, Robert Knight, the CEO of the Tucson Jerry N. Smith has been named chief Museum of Art, has announced he is retiring after a decade at the curator at Florida’s Museum of Fine Arts, southern Arizona museum. He will stay in the position at the museum St. Petersburg. Smith was the curator of until a replacement has been found…The Metropolitan Museum of American and European art at the Phoenix Art in New York City has appointed Stephen C. Pinson as curator in Art Museum, which has seen more the museum’s photography department. Pinson had previously been than a dozen positions empty in recent at the New York Public Library, where he was overseeing a collection months…And speaking of the Phoenix Art of 500,000 photographs…Antonia Boström, the director of curatorial Museum, the Arizona art destination has a airs at the Nelson-Atkins Museum of Art in Missouri, has accepted named Gilbert Vicario as the Selig Family William Belcher, the new director of external the position of Keeper of Sculpture, Metalwork, Ceramics & Glass at Chief Curator, a new position created a airs at The Hyde The Victoria and Albert Museum in London. She begins the new earlier this year. Collection in New York.

PeopleandPlaces_24.indd 41 10/7/15 2:42 PM

51 Atlantic Highway, Thomaston, Maine 04861 FALL FEATURE AUCTION Fine Art & Antiques

November 14 & 15, 2015 | 11 am

Featuring more than 200 original works by American artists including Frederick J. Waugh, Imero Gobbatto, Eric Hopkins, Harry P. Sutton, Jr., Franklin D. Briscoe, John Stobart, Antonio N. G. Jacobsen, Frank V. Smith, Marguerite Zorach, William M. Brown, Wiliam F. Macy, Harold Streator, Arthur B. Carles, Edward Moran, Aiden L. Ripley and more

[email protected] 207-354-8141 thomastonauction.com HOWARD PYLE SCHOOL - “Custer’s Last Stand” KAJA VEILLEUX (ME AUC #902) • JOHN BOTTERO (ME AUC #1237) oil on canvas, 47” x 48” CAROL ACHTERHOF (ME AUC #1517)

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p042_AFA024.indd 2 10/7/15 4:43 PM Coeur d’Alene Art Auction Fine Western & American Art

We are now accepting quality consignments for e Coeur d’Alene Art Auction our sale to be held July rd in Reno, Nev. named one of the “ Top Visit our website at www.cdaartauction.com Auction Houses Worldwide.” THE COEUR D’ALENE ART AUCTION – Blouin Art+Auction . -- [email protected]

William R. Leigh (– ), An Upset (detail), oil on canvas, × inches, Estimate: $ ,- ,

Coeur d'Alene.indd 1 10/6/15 9:54 AM Morgan Great Court at the Wadsworth Atheneum Museum of Art as installed for the 2015 re-opening of the Morgan Wing after a multiyear renovation of the building. The hanging of art of several centuries and countries was suggested by Giovanni Paolo Panini’s Interior of a Picture Gallery with the Collection of Cardinal Silvio Valenti Gonzaga, 1740, which is a feature of the installation. Photo courtesy Wadsworth Atheneum Museum of Art.

these institutions. It was, in fact, just 50 years ago the National Endowments for RADICAL CHICK the Arts and for the Humanities were created. But the history of serious innovation & TAYLOR MADE in American art museums began earlier, most notably with two dynamic by Jay E. Cantor museum directors who brought significantly different qualities to their ccessibility. A modern mantra. well-regarded institutions. These are institutions and their directorships. A. It defines systems, institutions, characterized as increasing accessibility Everett Austin, known as Chick, at the Aprofessional situations, as elite institutions struggle, in the face Wadsworth Atheneum Museum of Art personal relationships and more. of diminishing dollars, to enlarge their in Hartford, Connecticut, and Francis Accessibility is the word I find most profile and appeal. While the novelty Henry Taylor at the Worcester Art often invoked by museums when they quickly wears off, and the fanfare dies Museum in Massachusetts refashioned describe programmatic shifts as well down, the reality of increased overhead their well-established museums and as the physical restructuring of their and maintenance issues remain in the initiated strategies still in place today facility. This issue has engendered the wake of the headlines. The museum throughout the American art museum expenditure of vast sums of money to as event is replaced by the recognition world. This was a time when the mantle make outdated facilities appear modern, that the way the institution addresses its of museum management was passing and of late, we have seen sparkling audience is, in the end, the ultimate key from the grasp of self-perpetuating new buildings intended to ‘open the to accessibility. boards into the hands of trained doors’ to institutions that, despite a Not surprisingly, the uptick in professionals. Working in smaller and 50-year history of a new audience public awareness, beginning in the more nimble organizations, these men awareness, can still appear remote and 1960s and stimulated by attention- were able to put ideas in place that unwelcoming. Architects who may grabbing activities of Tom Hoving at the were difficult to achieve in more glacial have produced a single thoughtful Metropolitan Museum of Art and Carter institutions. Ultimately Taylor moved and acclaimed museum addition have Brown at the National Gallery of Art, onto a larger playing field when he become the masters of the craft of coincided with a host of new federal took over the Metropolitan Museum museum expansion and have, more or and state programs and local initiatives in 1940 and radically transformed it, less successfully, added new entryways that provided both public funds and but his philosophy had already been and gallery pavilions to numerous stimulated strategic positioning for tested, lessons learned and ideas worked

JayCantor24_1.indd 44 10/7/15 2:44 PM MY VIEW

subsequent additions, the last of which sometimes turned to Europe, with its was completed in 1969. deeper tradition of art historical study to Like many museums in America, the find directors and curators. Wadsworth had grown largely through At the Atheneum, the founding the gifts and bequests from local worthies, collection was donated and bequeathed many of whom had newly arrived in the by Wadsworth, and significantly arena of art collecting as new industrial supplemented by the bequests of the fortunes replaced those of the older widow of Samuel Colt and of J.P. mercantile establishment. Stimulated Morgan (a Hartford native), each housed by easier access to European travel, in memorial additions to the original greater leisure and the desire to add museum building, gave strength and cultural amenities to cities largely bereft diversity to the collections, and provided of public institutions for enlightened Austin with the underpinnings for the leisure, this patron class endowed museum he oversaw during 17 years. their local environments with lecture Austin had been trained at Harvard halls, opera houses and concert halls, University by Paul J. Sachs, whose libraries and museums, and motivated innovative program in art museum Yousuf Karsh (1908-2002), Francis Henry Taylor, the creation of public parks and directing, established in 1922, produced June 1957, 1957, gelatin silver print, 99/16 x 7½ in. monuments, all considered the attributes virtually all of the American art museum Worcester Art Museum, Worcester (MA). Gift from the Artist, 1971.83. © Estate of Yousuf Karsh, used of an enlightened metropolis. While the directors who flourished through much with permission. motives were largely philanthropic, many of the last half of the 20th century. From of the new cultural organizations readily this training, Austin brought a grounding out in the smaller New England arena. turned into closed corporations. in scholarship and connoisseurship, Today, both the Wadsworth Atheneum Art museums tended to mirror but he was also determined to make and the Worcester Art Museum are the tastes and interests of the patrons the museum experience engaging, engaged in the process of re-imagining who sometimes became the amateur interesting and fun. Austin had a deep themselves in a somewhat beleaguered custodians of the collections. Art history theatrical streak that regularly found economy and are achieving a significant was a new discipline, and academic expression in the art he embraced and transformation without new additions. training, as well as the professional in the programming of exhibitions and Chick Austin (1900-1957) can be management of museums and other events at the museum, giving life to a considered as much an impresario cultural organizations, were in their hushed and reverential world. as a conventional museum director. infancy. Museums were overseen by When Austin and his bride, a Although he could boast academic superintendents or managers, collections member of the Goodwin family, who credibility, the concept of what a cared for by untrained amateurs (often were related to and business partners of museum director actually is was still collectors themselves) possessing J.P. Morgan, built a house in a Hartford in the process of formulation when comfortable incomes that allowed them neighborhood, it was a mock Palladian he arrived at the Wadsworth, at age to work for the meager salaries that villa, set amidst an area of Tudor 27 in 1927. The museum was and is characterized the museum field well into mansions. The house appeared more a the oldest continuously operating art the 20th century. The larger museums theatrical backdrop than a solid ancestral museum in the country. It originated with the gift of a wealthy local citizen, Worcester Daniel Wadsworth, a major patron Art Museum, Renaissance of contemporary American artists. Court where The Wadsworth was defined as an mosaics from Atheneum, and ultimately served ancient Antioch are installed. The multiple functions—an art gallery, an museum was a art school, a library, and socieities for co-sponsor of the natural and local history, in three discrete excavations in the 1930s. Photo sections of the Gothic Revival castle, courtesy Worcester which opened in 1844. The last of these Art Museum. sister organizations left the Wadsworth in 1964, allowing the museum to fully occupy the original building and its

JayCantor24_1.indd 45 10/7/15 2:44 PM MY VIEW

international-style museum building, popular retreat during the early years whose theater was regularly employed of the Depression took energy and for staged productions, concerts, ballets imagination. Like Austin, Taylor turned and films, which Austin had begun to the popular medium of film to bring showing in 1929. the public in, showing travelogues, Soon thereafter, he staged the first documentaries and foreign films that museum exhibitions of surrealism were otherwise unavailable. and neo-romanticism. Artists as wide- With a tradition of popular education ranging as Dalí, Miró, Calder, Mondrian, and school programs for the region, Joseph Cornell, Max Ernst, and Worcester was already facing in a good Caravaggio were acquired by Austin for direction. The teaching mission of the Hartford before any other American museum continued as a major focus, museum. And at the urging of Lincoln and exhibitions were actually brought Kirstein, the Wadsworth sponsored the into the schools as a prelude to museum immigration to America of modern visits. Taylor looked boldly outward, ballet master George Balanchine. even securing a grant from the Carnegie Museum activities in Worcester paled Corporation to create a program of art by comparison with Austin’s theatrical education for public and private schools enterprises, although it too was energized across New England. A. Everett “Chick” Austin Jr., in 1927, the year he by a new young director, Francis Henry Teaching at a broader level also assumed the directorship of the Wadsworth Taylor (1903-1957), who came from a was a central focus of his collecting, Atheneum at age 27. Photo courtesy Wadsworth well-heeled Philadelphia family. Taylor’s which he did selectively covering Atheneum Museum of Art. art history training consisted of a year wide-ranging periods and cultures. at the Sorbonne studying medieval art The galleries were complemented by manse. To some degree, it was just under Henri Focillon, and a short stint in departmental study rooms, and books that. It was 86 feet long and one room graduate school at Princeton before he were made available in the galleries for deep. Furnished with bits of European was chosen to be a curator of medieval those with deeper interest. woodwork, decorative paintings and art by the Philadelphia Museum of Art To supplement the collections, sculpture, fabrics and furnishings backed in 1927. thematic and historical special by carefully chosen color harmonies, Despite a rather comfortable exhibitions were organized with loans it was a perfect piece of theater and an background, on taking the reins at from other museums, not simply to appropriate stage for entertaining. The Worcester in 1931, Taylor immediately glorify Worcester’s own holdings but to house and the museum became frequent understood the role of the museum was attract and inform a novice audience. resorts for the most advanced artists, to be “an institution of active public Taylor expanded the reach of his ideas architects and celebrities of the time. service, not simply a repository of art.” and innovations and his enthusiasm Behind the house façade were dressing While he didn’t share Austin’s enthusiasm for a populist embrace of the rarefied rooms in the international style deriving for modern art, he acted to energize museum world through articles in from work at the Bauhaus in Germany his institution with programs and national magazines. (He even very early and considered the first rooms in that exhibitions that could be understood and on wrote about television, first widely vocabulary in America. thus enlighten the visitor. The result for seen by the public at the World’s Fair Austin redefined the character of the the Worcester Art Museum, which had of 1939, and its possible usefulness for museum through intensive acquisitions been founded in 1896 with the bequest museums and art education). in both modern art and baroque of Stephen Salisbury III and had grown None of these seem surprising painting, which was seriously under- haltingly over the decades, was a new today, but in the 1930s, they were an appreciated and undervalued at the time. burst of energy and, yes, engagement astonishing novelty. With those lessons In the modern field, by the time of and accessibility. learned and by now commonplace, what the founding of the Museum of Modern Its collections had grown without the can the Wadsworth and Worcester do Art in New York in 1929, he was already singular impetus of significant bequests to enhance their scholarly position and exhibiting Matisse, Braque, and Picasso, from well-positioned collectors, but their popular appeal? and for the latter, Austin organized the industrial wealth helped to underpin the Both cities have faced significant first full retrospective in 1934. That museum’s evolution as a jewel box of challenges in the last half century, as the year, he oversaw the construction of selectively chosen works. flight of industry, the shrinking of capital the Avery Memorial wing, the first Turning an elite institution into a and the disintegration of inner cities

JayCantor24_1.indd 46 10/7/15 2:44 PM accompanied by population decline have their first solo exhibition at the Wadsworth. that modern knight, Batman, in the all meant difficulty in both defining Worcester, a city more dependent on display. It has encouraged a deeper and attracting audience. Although manufacturing, has experienced greater understanding of this material and a the Wadsworth’s collection numbers difficulty in economic recovery, but the contemporary connection by presenting around 50,000 objects versus 38,000 at museum, following in the imaginative an ancillary photography exhibition: Worcester, their endowments and annual footsteps of Francis Henry Taylor, has the Africa’s Children of Arms (organized budgets are similar. visitor in its crosshairs. Exhibitions are by the Pulitzer Center on Crisis The Wadsworth has the benefit of a considered first for the public and only Reporting) underscoring the presence solid acquisitions endowment, which then for peers. The director, Matthias of guns and violence in modern society. has enabled several recent significant Waschek, has been in place for a few While some visitors are distressed, the purchases filling out their established years and has also confronted a building museum recognizes its responsibility to collections’ strength. Located in the state and additions that date back over 100 link with the present. In answer to its capital, it has the special advantage of years. Along with his architects wHY, he critics, one might suggest paintings of governmental support, most recently has conceived of a treatment described the Crucifixion and other subjects that manifest in the state’s contribution of as archupuncture. Focusing on pressure focus on violence and war have been a $25 million of the $33 million required points that become animating forces for constant theme engaging artists from the for the necessary renovations just the rest of the building and the institution Middle Ages forward. recently completed under the watchful at large, they have revised organic Installations such as Re-Mastered, A eye of current director Susan Talbott. relationships in the building. New New Look at Old Masters and a gallery Although this was necessitated by a display strategies and lighting, hanging devoted to understanding conservation generation of deferred maintenance and juxtapositions, and more casual and changes in works of art have been on its five buildings constructed over seating than the standard and unyielding enhanced with video presentations and 125 years, with this renovation, the wooden bench encourage the sense of supportive text cards. Waschek attempts museum has re-dedicated itself to the retreat and belonging. Re-opening the to “slow the visitors down and encourage elegant presentation of its wide-ranging front door and adding an imaginatively them to enjoy as many works of art as collection. The suite of galleries has designed access ramp readily announces possible…to encourage comparative and been restored to its historical grandeur, the museum’s interest in accommodation. self-guided viewing, without the need to allowing many more objects to be Waschek, with an eye toward openness ‘know.’” Intuitive learning replaces rote displayed. Splendid decorative arts have and enhanced community relations, instruction. been incorporated in the paintings states the “priority is that of access—in The museum pursues its agenda as galleries, and the sequence through the the physical, aesthetic, intellectual and a cultural nexus for the community museum has been improved, thereby social senses.” through creative programming and lively providing the visitor with a more The loss of industry benefitted the partnerships that include other cultural engaging experience. museum when it received the collection institutions and the 12 colleges and The display of the modern collections of the Higgins Armory Museum, universities in town. Worcester’s view is amplified by an ongoing commitment assembled in the early 20th century by extends beyond the local, reaching out to exhibiting contemporary art. In 1975, a prominent iron manufacturer. Not to a regional audience as well as being a following Austin’s lead, then-director only is such material appealing to a national resource. James Elliott inaugurated a MATRIX younger audience, but the museum Hartford resident, Mark Twain, on first gallery with the first museum exhibition found innovative ways to display it, visiting that city in 1868, commented: for Ellsworth Kelly. More than 50 now- connecting its youthful audience “Of all the beautiful towns it has been established contemporary artists can boast through the inclusion of a figure of my fortune to see, this is the chief.” Years later, Twain noted in a talk: “[Hartford] The Wadsworth is more beautiful than any other city Atheneum, circa 1920, showing the excepting Worcester.” While he may original Gothic have believed that, he was addressing Revival Building a group of visitors from Worcester. of 1844 and the Twain acknowledged his audience adjacent Colt and Morgan Memorial and understood how to capture their buildings (1910- attention. In that regard, the Wadsworth 1915). Photo Atheneum and the Worcester Art courtesy Wadsworth Atheneum Museum Museum are truly following in the great of Art. humorist’s footsteps.

JayCantor24_1.indd 47 10/7/15 2:44 PM EX LIBRIS

Joseph Cornell and Surrealism

Joseph Cornell essays, “The conjunction and Surrealism announced in our title can Matthew Aﬀ ron and still generate disagreement. Sylvie Ramond, Editors Surrealism was an avant- The Fralin Museum of Art, garde movement in literature University of Virginia and the visual arts launched his volume of essays by the poet Andre Breton in Ton the life and art Paris in 1924. Cornell lived of Joseph Cornell were his whole life in Queens, published to accompany the New York, and made his exhibition Joseph Cornell career within the New York et les surrealists a New York, art world starting in 1931.” organized by The Fralin While Cornell’s work was Museum of Art at the entirely personal and came University of Virginia and about through his own the Musee des Beaux-Arts experiences and interests de Lyon. Focusing on the in life—Cornell always said 1930s and 1940s, these essays his early works were done establish a link between as games to help entertain Cornell—who by and his brother Robert who large was an outside artist had cerebral palsy—it is working independently for interesting to see how his most of his career—and work throughout his career, the Surrealist group whose especially his famous shadow work he become familiar boxes, can be placed in with through his visits to the context with the work being Julien Levy Gallery in New done by a group of artists far York City. across the Atlantic from his these essays prove the and Sweepings by Jodi As A ron and Ramond single, wooden framed house larger, universal qualities Hauptman all help decipher state in the Preface to on Utopian Parkway. of Cornell’s work. As they this elusive American artists this new collection of For A ron and Ramond, state, “ We believe, to the and place him rmly as one contrary, that our view of of the group of Surrealist Cornell’s work across many artists active in both the mediums is enhanced by United States and Europe considering him as part of before and after World War an international avant-garde II. In fact, Andre Breton, community. His singular in one of his rst public devotion to European statements after moving culture, and to French to New York City even culture above all, is another mentioned Cornell as one crucial part of the story of of the younger American this American artist.” artists enlisted in the Essays such as Cornell Surrealist cause. And, much and the Tradition of Curiosity earlier, around 1933, Cornell by Stephen Bann, Joseph sent Breton a photograph Cornell, Le Chasseur d’Images of one of his early bell jar by Lynda Roscoe Hartigan objects.

Ex Libris 24.indd 48 10/7/15 7:04 PM Artist name, Title, medium, 00 x 00”,

Joseph Cornell at the Julien Levy Gallery, New York, 1939. Joseph Cornell Study Center, Smithsonian American Art Museum, Washington, D.C.

Ex Libris 24.indd 49 10/7/15 7:05 PM PalmBeachNewYork.inddNY15_AmericanFineArt_092415.indd 1 1 9/24/1510/5/15 11:59 9:50 AM 12889 - American Fine Art Magazine – November December 2014 issue_Layout 1 9/18/15 11:49 AM Page 1

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Delaware Antiques Show.indd 1 10/1/15 3:33 PM NEW ACQUISITION Fitz Henry Lane PRINCETON UNIVERSITY ART MUSEUM

Fitz Henry Lane (1804-1865), Ship in Fog, Gloucester Harbor, ca. 1860. Oil on canvas, 24 x 39 in. Princeton University purchase made possible by the Fowler McCormick, Class of 1921, Fund; the Kathleen C. Sherrerd Program Fund for American Art; and Celia A. Felsher, Class of 1976, and John L. Cecil, Class of 1976.

hip in Fog, set in Gloucester Harbor, by Fitz Henry Lane as if to impress them both in time and for all time.” (1804-1865) was procured by the Princeton University The newest addition to the museum’s collection complements SArt Museum. The painting was done from the vantage other works in the American art gallery including a watercolor point of the open water looking toward land, with a covering by Winslow Homer, titled Eastern Point Light, 1880, that is of fog illuminated by the obscure late-afternoon sun. from the same vantage point as Ship in Fog, but looking out Some think the figures in the rowboat in the foreground to sea, rather than toward land. Also included in the existing represent the artist and a friend working as his assistant, because collection are John Kensett’s Lake George, circa 1870, and James Lane was known to sketch compositions from the water. Others Buttersworth’s Clipper Ship “Staghound”, circa 1855. suggest the subject of the painting is the fog itself, which is often “This superb example of 19th-century luminism will the most difficult weather condition for a painter to depict. significantly advance the museum’s missions of facilitating “In certain great works of his late career, Lane gravitated teaching, scholarship, outreach and excellence at Princeton,” away from portrayal of the crystalline light that served as an says James Steward, the museum’s Nancy A. Nasher–David essential feature of his early maturity and toward an exploration J. Haemisegger, Class of 1976, Director. “This painting was of more complex atmospheric conditions, such as fog,” says among the greatest works by Lane still in private hands, and Karl Kusserow, the museum’s John Wilmerding Curator of we are grateful for the foresight and generosity of donors past American Art. “Although Ship in Fog portrays a relatively and present for making this seminal acquisition possible.” modest scene—a variety of ordinary craft in a sizable but not Ship in Fog will be displayed in the Princeton University major port at the end of a late-summer day—what makes Art Museum’s gallery of American art as well as in special the painting extraordinary is Lane’s ability, unsurpassed in exhibitions. Students, both undergraduate and graduate, American art, to impart a resonant grandeur to such moments, attending the school will also be able to study the piece.

Fitz Henry Lane.indd 52 10/7/15 2:55 PM Fine Art Auction December 11, 2015 at 10am

Preview: December 5, 6, 11 and by appointment

Inquiries: Kyrah Reddey (510) 227-2519 [email protected]

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WILLIAM KEITH (Californian 1838-1911) Spring Valley with Snow Capped Mountains Oil on canvas, 18 x 30 inches Estimate: $5,000/8,000

EDMUND OSTHAUS (American 1858-1928) English Setters Watercolor on paper, 14 3/4 x 21 1/2 inches Estimate: $8,000/10,000

JEAN DUFY (French 1888-1964) Seashells Oil on canvas, 14 7/8 x 21 7/8 inches Estimate: $20,000/30,000

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Michaans.indd 1 10/8/15 10:06 AM MARKET REPORTS

WHAT WE’RE HEARING FROM GALLERIES, AUCTION HOUSES AND MUSEUMS ACROSS THE COUNTRY

MARK MURRAY One eminent American collector, who loves Lastly, as a practical financial coda to OWNER, MARK MURRAY FINE PAINTINGS paintings of Venice, repeatedly laments this missive, I would recommend taking upon his visits to the gallery, “Mark, I love this advantage of the cyclical dips in these From its founding painting—if only it were American!” (He has various national markets when they occur. in 1992, our gallery broken his own rule once or twice.) Buy a Hudson River or Victorian landscape has always co- The contrary is also true: London’s now (if you like that sort of thing) while those mingled paintings of National Gallery recently purchased a major markets are still at a significant discount from American, English, George Bellows, and the Royal Academy their heights. Or, similarly, buy a beautiful French, Scandinavian and Mediterranean schools. Avoiding the “I would recommend taking advantage of the cyclical tendency by galleries in many of these countries to specialize exclusively in artists dips in these various national markets when they occur.” of their nation, we have always enjoyed highlighting the multifaceted cross- hosted an important and popular Bellows Spanish or Swedish impressionist work while currents that exist between artists on retrospective. In Giverny, the Museum of they have fallen beneath the radar. both sides of the Atlantic. Virtually every American Art is a favorite of the French. In sum, there are always, in my opinion, significant American painter traveled and The confluence of influences and relative bargains to be found for the savvy studied in Europe, and some, like Sargent, movements amongst all these countries connoisseur who seeks great quality while Cassatt, Weeks, and Whistler, stayed on for was showcased in the various world’s fairs eschewing the latest collecting winds in his the duration. and international exhibitions at the turn or her navigation of the art market. I encourage collectors of American of the 19th century, and evidence of this paintings to enhance and diversify their MARK MURRAY FINE PAINTINGS: benefits and enriches the best private and 159 E. 63rd Street, New York, NY 10065 (212) 585-2380 holdings with gems from across the pond. public collections. www.markmurray.com

DAVID COOK were also active collectors of this genre. The Years of Art in the American West showcases OWNER, DAVID COOK GALLERIES recent groundbreaking exhibition, The Plains American paintings and works on paper in Indians: Artists of Earth and Sky, has strongly tandem with American Indian masterpieces, I have been in the art influenced the way many people view Native celebrating the rich artistic history of the West. business since 1979 American art and also collecting trends. The My advice for collectors is to acquire and have had the what inspires you. Whatever it is, it’s about pleasure of handling touring exhibition, artfully curated by quality versus quantity. I have seen numerous some of the finest Gaylord Torrence, opened last year in Paris, examples of antique Native American material “My advice for collectors is to acquire what inspires you. and historical American paintings. I have no intention of retiring; in Whatever it is, it’s about quality versus quantity.” fact, I am still excited to source and place phenomenal works. traveled to the Nelson-Atkins, and concluded collectors purchasing several good- to I have seen ups, downs and everything great-quality works in order to compile a at the Met. The exhibition reignited an in between in the art market, and while large collection, and later trading multiple interest by collectors in the art of the Plains great material always remains strong even objects in at a time towards one opus work. Indians and also inspired a newfound interest through the downturns, this past year there After going through this phase in my own in collectors outside the Native American has been an active return of the beginning collecting, I have realized I would rather have market—especially aficionados of modern and mid-level collector. One trend as of late is one masterpiece than 10 good works. many collectors are moving to modernist and American art. I think we will see more crossover in the year to come. DAVID COOK GALLERIES: abstract art. Many American modernists were 1637 Wazee Street, Denver, CO 80202 (303) 623-8181 inspired by historical Native American art and Our current exhibition, 15 Decades: 150 www.davidcookgalleries.com

MarketReports 24.indd 54 10/7/15 3:01 PM AUCTION | SUNDAY NOVEMBER 15TH | SANTA FE

Tom Ryan White Horns | Oil on canvas 28 by 36 inches Frank$40,000 Tenney - $60,000 Johnson | Offered| In Old in Wyoming the April -aka- 2015 On Auction the Alert oil on canvas | 16 by 20 inches | $150,000 - $200,000 VISIT OUR WEBSITE TO VIEW AN ONLINE CATALOG, REGISTER FOR THE AUCTION AND PURCHASE A PRINTED CATALOG. BIDDING WILL TAKE PLACE LIVE, OVER THE PHONE AND ONLINE.

ACCEPTING CONSIGNMENTS FOR AUCTION APRIL 1ST 2016 | SCOTTSDALE SUBMIT ARTWORK TO: [email protected] FOR A COMPLIMENTARY ARTWORK EVALUATION 345 CAMINO DEL MONTE SOL, SANTA FE, NM 87501 (855) 945-0448 7172 EAST MAIN STREET, SCOTTSDALE, AZ 85251 2912 MAPLE AVE, DALLAS, TX 75201 ALTERMANN.COM

Use your favorite QR code Altermann.indd 1 reader to go right to our 10/7/15 3:45 PM artwork submission page Photo by Peter Aaron/OTTO, 2015 (detail) Aaron/OTTO, Peter by Photo 2015 (detail) Aaron/OTTO, Peter by Photo Photo by Peter Aaron/OTTO, 2015 (detail) Aaron/OTTO, Peter by Photo Photo by Peter Aaron/OTTO, 2015 (detail) Aaron/OTTO, Peter by Photo Photo by Peter Aaron/OTTO, 2015 (detail) Aaron/OTTO, Peter by Photo 2015 (detail) Aaron/OTTO, Peter by Photo TheTheTheThe Olana Olana Olana Olana Partnership PartnershipPartnership Partnership cordially cordially cordially invites invitesinvites invites you youyou you to to to theto the the the TheThe Olana Olana Partnership Partnership cordially cordially invites invites you you to theto the FredericFredericFredericFrederic E. E.E. E. Church Church Church Award Award Award Gala GalaGala Gala FredericFredericTuesday,Tuesday,Tuesday, E. E. ChurchNovember November ChurchNovember Award 17, 17,Award 17, 2015 2015 2015 Gala Gala Tuesday,Tuesday,Tuesday, November November November 17, 17, 17, 2015 2015 2015 TheTheThe Metropolitan Metropolitan Metropolitan Club, Club, Club, New New New York York York City City City TheTheThe Metropolitan Metropolitan Metropolitan Club, Club, Club, New New New York York York City City City CELEBRATINGCELEBRATINGCELEBRATING CELEBRATINGCELEBRATINGCELEBRATING TheTheThe Launch Launch Launch of of Olana’sof Olana’s Olana’s 50th 50th 50th Anniversary Anniversary Anniversary Season Season Season TheTheThe Launch Launch Launch of of Olana’sof Olana’s Olana’s 50th 50th 50th Anniversary Anniversary Anniversary Season Season Season

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Olana.indd 1 10/7/15 3:03 PM GAWAA-NOV-2015_WAC_NOVEMBER 2015 9/22/15 1:34 PM Page 1

LIVE AUCTION • SATURDAY, OCTOBER 31, 2015 GRAPEVINE, TEXAS

MARTIN GRELLE JAMES REYNOLDS MARTIN GRELLE When Wolves Speak, 2014 The Fun Is Over New Wealth For The Blackfeet, 2012 oil on linen, 46 x 60 inches oil on board, 24 x 30 inches oil on linen, 44 x 52 inches estimate $300,000 - $400,000 estimate $17,500 - $22,500 estimate $300,000 - $350,000

AUCTION ARTWORK PREVIEW • WEDNESDAY, OCTOBER 28 – FRIDAY, OCTOBER 30, 10 AM – 7 PM AUCTION PREVIEW RECEPTION • FRIDAY, OCTOBER 30, 5 – 9 PM Great American West Gallery • 332 S. Main Street, Grapevine, Texas

LIVE AUCTION • SATURDAY, OCTOBER 31, 1:30 – 5 PM Palace Arts Center • 300 S. Main Street, Grapevine, Texas

G. HARVEY JOE BEELER HOWARD TERPNING Wet Weather Morning, 1984 Unaware, 1963 Stopping At The Spring, 1978 oil on canvas, 20 x 16 inches oil on canvas, 30 x 40 inches oil on board, 24 x 20 inches estimate $45,000 - $55,000 estimate $40,000 - $60,000 estimate $100,000 - $150,000

10% BUYER’S PREMIUM • LOWEST IN THE INDUSTRY AUCTION REGISTRATION AND INFORMATION www.greatamericanwestartauction.com

332 S. Main Street • Grapevine, TX 76051 • 817.416.2600

Great Am West Gal.indd 1 9/24/15 11:19 AM Alfred Maurer: From martyr to modernist visionary

AN Eye FOR Accidents OF

by James D. Balestrieri Beauty

Alfred Maurer (1868-1932), Still Life with Pears, ca. 1930-1931. Oil on board, 26 x 36 in. Addison Gallery of American Art, Phillips Academy, Andover, MA, museum purchase, 1945.20.

lfred Maurer. At first glance, his story is the same old story. A young, Alfred Maurer (1868-1932), An promising, award-winning artist has an epiphany and changes the way he Arrangement, 1901. A paints—radically. This incurs the wrath of the critics, and his father—who is Oil on cardboard, himself an artist (cf. Currier and Ives, especially the famous Fireman image) of some 363⁄16 x 321⁄8 in. note. He enjoys some success, largely in the shadow of other artists who manage Whitney Museum of American Art, to break out. All of his peers admire him and his work. Nothing they do helps him New York, gift of Mr. achieve financial or critical success. He lives in a garret in his father’s house. Still, and Mrs. Hudson in spite of all, his art continues to grow and change, to the point, in the late works, D. Walker 50.13. Photography by where it might be said he leapt far ahead of his peers—from our vantage point, he is Geoffrey Clements.

JamesB_24.indd 58 10/7/15 3:48 PM 59

JamesB_24.indd 59 10/7/15 3:48 PM Alfred Maurer (1868-1932), At the Shore, 1901. Oil on board, 23½ x 19¼ in. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photo by Susan A. Cole, Seattle Art Museum.

JamesB_24.indd 60 10/7/15 3:49 PM a visionary, the advance guard of the to be successful, Hollywood-ized Yet Maurer isn’t very well known at avant garde. When his father dies, just himself—while pretending to be an all, apart from the fact some of his after having had a successful exhibition outsider—and succeeded beyond his paintings look a little like Whistler, at the age of 100, our artist, his son, wildest dreams. What greatness he some look like Degas or Cézanne, weeks later, commits suicide. achieved after his auto-rebranding in and others seem to borrow something He stayed faithful to his art, they say. the mid-1920s came as a result of talent from Picasso or Braque. And isn’t that His vision never wavered, they say. His and popularity, not intention. strange? Oh, yes, and the father thing. relationship with his father lies at the So now, this issue—the opposite. For the armchair art historian who root of it, they say. Through the legacy Alfred Maurer. Who didn’t seem to minored in psychology. Pull up a cigar. of his art, we profit by his suffering, know how to compromise. Who Nope. they say. Thus we romantically elevate could have been successful at several We’re going to look at the paintings. the artist from human being to martyr. different moments in his career. He was Stacey B. Epstein and Susan C. Which is the same old story—one of close to the Steins, Gertrude and Leo; Faxon, curators of Alfred Maurer: At them, anyway. exhibited with Marin; knew Stieglitz the Vanguard of Modernism, now at the If you read these pages, in the last and every other artist of note in New Crystal Bridges Museum of American issue I took on the American art York and Paris; helped Barnes amass his Art, go to great lengths to present behemoth, monolith, that is Thomas incredible collection in Philadelphia; Maurer and his work as a continuum, a Hart Benton. And found him wanting. sold all of his paintings, all, every one, natural progression stemming from the A serial compromiser who wanted on a single day to a single dealer. artist’s interests, while minimizing the

Alfred Maurer (1868-1932), Still Life with Doily, ca. 1930. Oil on hardboard, 177⁄8 x 21½ in. The Phillips Collection, acquired 1940. Accession no., 1313.

JamesB_24.indd 61 10/7/15 3:49 PM psychological baggage that has often Maurer pushes the muted, narrow Cézanne and Matisse and the tenets diminished the work. palette, and goes bravura with the of Fauvism (the French fauve means Maurer’s 1901 masterpiece, An blacks in the scalloped oval of the skirt. “wild beast”), a style of painting made Arrangement, won the coveted Carnegie But this isn’t a portrait of Madame popular in France that made use of International (judged by Eakins, Anybody. If anything, it’s a portrait bold, non-naturalistic round and Vonnoh, and Homer, among others) of work, of the labors of a seamstress. jagged masses of color, fast brushwork, and propelled Maurer into the top tier She herself is turned away from us, and a flattened anti-vanishing point of young American artists. Maurer’s concentrating on the job at hand. perspective. handling of the folds in the dress Beauty here is accidental rather than Landscape (Autumn), painted in and shirt in the patterned Japonisme posed; it swirls around the central focus 1909, seems the very antithesis of An cloth the woman works on, and in of the painting, the woman’s strained Arrangement. And yet, consider Maurer’s the contrast of their texture with the back and the ochre yellow belt that interest in form, color and texture. Oriental carpet, the rattan or bamboo- peeks through the folds. Most of all, Consider the notion of accidents of paneled walls and the semi-gloss sheen perhaps, the painting is an arrangement beauty. Consider Maurer’s desire, one of of the Asian jars, neatly encompasses the of colors, forms and textures, and it is the lynchpins of modernism, to paint preoccupations of post-impressionism this, as opposed to representation, that not—or not merely—what he sees, but as exemplified in Sargent, Hassam, and will shape Maurer’s art. what he feels. Consider these concepts, Whistler. By 1909, Maurer had taken in and Epstein and Faxon’s thesis—the

Alfred Maurer (1868-1932), Landscape (Autumn), 1909. Oil on canvas, 255⁄8 x 32 in. Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. Gift of Ione and Hudson D. Walker, 1953.299.

JamesB_24.indd 62 10/7/15 3:49 PM Alfred Maurer (1868-1932), Weyhe Gallery Sign, 1924. Oil on panel, 22 ⁄ x 19 in. Private collection.

continuity they see in his work—begins while Maurer lets the white ground 1924 for gallery owner Erhard Weyhe to make sense. outline and highlight smaller shapes: (it was he who purchased Maurer’s What we see in Landscape (Autumn) the buildings in the narrow, distant entire studio, thus becoming his is the work of an artist acutely in valley and the patches of green in the dealer), shows the artist’s progression touch with the latest currents in art, near foreground. The overall e ect as a gurative painter. Yes, they nod transforming and adapting them to makes the viewer’s eyes restless; this to cubism, to the simpli cations his own vision. Maurer’s palette is restlessness imitates the shimmer of and elongations that characterize, broad here, but still tightly controlled. sunlight. The painting is, in the end, say, Modigliani. But where his Hues of green and pink dominate representational, but what it represents contemporaries’ paintings—think of the canvas, while blues and purples exceeds expectation. Picasso, or Modigliani—exude a kind seem to sprinkle from the sky. Thick Head of a Woman, executed around of abstract, otherworldly detachment, black shadows some of the forms, 1908, and Weyhe Gallery Sign, done in Maurer’s women are very much

JamesB_24.indd 63 10/7/15 3:49 PM 64

JamesB_24.indd 64 10/7/15 3:49 PM Alfred Maurer (1868-1932), Head of a Woman, ca. 1908. Tempera on French cardboard mounted on gessoed panel, 18¼ x 15 in. Curtis Galleries, Minneapolis, MN.

be a time-elapsed image of movement and of the play of light. The doilies in each painting anchor the composition, bringing us full circle, back to the cloth in An Arrangement. Maurer knew where he came from and where he wanted to go. In the alembic of his vision, he reduced each iteration of his art to what he saw as its essence, distilling it into something new, making short stories of novels, sonnets of short stories, epigrams of sonnets. We treat artists the way we treat characters in books, plays, comic books and films, casting them in our minds as types: the hero; the martyr (often one and the same—both triumph over adversity, the former without sacrificing their lives); the journeyman, the charlatan; the visionary; the subversive (who can belong, overtly, to any of the other categories); the enthusiast; the natural. There are villainous artists (Hudson Mindell Kitchell springs instantly to mind—story to follow, at some point, perhaps); still, villainy in art is typically reserved for dealers, collectors and critics. of the moment, warmly engaged moments, this poet has caught…” The essay you have just read and the with the larger world in attitudes of (Exhibition catalogue, p. 164). exhibition to which it refers shifts Alfred contemplation and seduction. The Even later in Maurer’s career, Maurer from man to artist, from martyr great 20th-century American writer portrayals of young women, often to visionary, with a bit of hero, perhaps, Sherwood Anderson (Winesburg, Ohio) two together (which were not, sadly, mixed in. Infinitely preferable to a story saw the affinities between his words and available to the press) become transparent of a martyr who suffered greatly for his Maurer’s 1920s paintings of “Girls and scaffoldings, cubistic renderings reduced art, it is, in the end, a different same old Heads,” as they have rather dismissively to cubes, doubled, redoubled and story. But Alfred Maurer’s art is anything come to be called. Anderson described mirrored, as if they have been bounced but the same old thing. them as “half-mystic wonders,” off of and refracted through prisms. Selves reflecting, “Life twisted, beaten down, are assemblages of shards of otherness, perverted often enough, life as it is—in Maurer seems to say, yet somehow they Through January 4, 2016 young girls in the back streets of cities, are possessed of—by?—souls. Alfred Maurer: At the in tired old women having its wonder Accidental beauties. Vanguard of Modernism We glimpse some of this in the late Crystal Bridges Museum still life paintings, Still Life with Doily, of American Art circa 1930, and, especially, Still Life 600 Museum Way Alfred Maurer (1868-1932), with Pears, circa 1930-31, where the Bentonville, AR 72712 Model with a Japanese Fan repetition and variation of the fruit (Jeanne), ca. 1902-1904. Oil on t: (479) 418-5700 canvas, 32 x 257⁄8 in. Karen and inside an abstraction of angled shapes www.crystalbridges.org Kevin Kennedy Collection. in one and three dimensions appears to

JamesB_24.indd 65 10/7/15 3:49 PM COLLECTOR’S HOMES

is LIFE A Connecticut collector assembles an important collection of American art by John O’Hern | Photography by Francis Smith

CollectorHome.indd 66 Art 10/7/15 3:24 PM On the facing wall is a nude by Williams Glackens (1870-1938) and a painting of Monhegan by Robert Henri (1865-1929). Beneath are works by Robert Brackman (1898-1980) and Ivan Olinsky (1878-1962). On the wall to the right is John Sloan’s (1871-1951) Girl Undressing (Stockings), 1927. To its right is Depot Canteen (Penn Station Canteen), 1944, by Henry Schnakenberg (1892-1970). Beneath the Schnakenberg is Chase’s Tenth Street Studio, circa 1894, by Reynolds Beal (1866-1951). The large painting at the upper right is Schnakenberg’s Across the Tracks (The Watering Hole), 1916. Beneath it is a watercolor, one of the collector’s many works by Reginald Marsh (1898-1954).

CollectorHome.indd 67 10/7/15 3:25 PM On the upper left is John Sloan’s (1871-1951), Girl Undressing (Stockings), 1927. To its right is Depot Canteen (Penn Station Canteen), 1944, by Henry Schnakenberg (1892-1970). Beneath the Schnakenberg is Chase’s Tenth Street Studio, circa 1894, by Reynolds Beal (1866-1951). The large painting to the left of the fireplace is Schnakenberg’s Across the Tracks (The Watering Hole), 1916. Beneath it is one of the collector’s many watercolors by Reginald Marsh (1898-1954). Above the fireplace is a painting of Penn Station from the 1940s by Hilde Kahn. To the right in the gilded frame is Head of Jean, 1918, by William Glackens (1870-1938). Beneath it is a painting by Guy Pène Du Bois (1884-1958). Behind the sofa are two new acquisitions, two etchings by James Abbott McNeill Whistler (1834-1903).

homas Hoving, who was credit card on their honeymoon by the art, and had a Picasso and an Andy director of the Metropolitan time she discovered a colorful abstract Warhol, but began to concentrate on T Museum of Art for 10 years, by Paul Jenkins in Los Angeles. “It American art, particularly the artists of wrote, “To appreciate a work of art, is was fabulous,” she remembers. “I had The Eight. The group, which exhibited it okay to like what you like, and the a visceral feeling. I was overwhelmed. only once in 1908, celebrated the heck with the art critics and experts? But I had no money.” When they everyday aspects of life and established a Absolutely.” returned to New York, she tracked major trend in American art. Barbara Belgrade calls her collecting down Jenkins’ gallery and went to see Katherine Degn, director and bug her “obsessive quest.” Douglas more of his work. “I thought, ‘Oh, partner at the gallery, comments, Hyland, who is retiring as the director of God. Maybe if I choose the smallest,’” “Barbara is passionate and committed the New Britain Museum of American she recalls. “When they gave me the to building a well-rounded collection Art, after seeing her collection, admits price, I almost fainted.” Her husband that’s her own. It’s not a textbook to having been “blown away by its size said, “Take out a car loan,” which she collection. It enables a much fuller and quality.” He describes her as “very did. The painting still has pride of story of the history of American art to astute, very passionate, very thorough,” place as her first major acquisition, be told.” Degn continues, “I showed and comments that an exhibition of part although her interests have taken a her a 1912 urban scene by Henry of the collection at the museum was “a different direction. Glintenkamp (1887-1946) that other celebration of everything she’s achieved.” A chance visit to the Kraushaar collectors wouldn’t consider because She began with passion and, almost Galleries in New York began a long they hadn’t heard of him. She loved literally, with no money. In 1975, she collaboration and brought a focus to her it! She can recognize a great piece. and her husband had maxed out their collecting. She had acquired European It’s a treasure to work with collectors

CollectorHome.indd 68 10/7/15 3:26 PM Reaching, 1988, a bronze by Andrew DeVries, sets the tone in the dining A mobile by Alexander Calder (1898-1976) hangs above a two-sided room. The table legs and chandelier were chosen by the collector to echo painting on an easel by Gifford Beal (1879-1956). This side is titled The its uplifted arms. Portrait of a Lady in Yellow and Red by Margarett Sargent Storm. On the bottom left is a painting by John Koch (1909-1978). Above (1892–1978), a cousin of John Singer Sargent, hangs above the DeVries. A the Koch is a painting by Robert Phillips of two women in Central Park. painting by Gifford Beal (1879-1956) hangs above the Sargent.

over a long period. You discover things together. They open your eyes, and you open their eyes.” Belgrade’s collecting is always passionate and sometimes fraught with complications. She recalls when she was working at AT&T she had to go into the city to their headquarters. Arriving at the station in Connecticut, she couldn’t find a place to park, so she left the car behind a restaurant. In the city, she went into a gallery that was closing down and spotted a Reginald Marsh she “had to have. I adore him. I love the way his figures move. They’re fluid.” The gallery owner insisted on her paying on the spot with her credit card. With the William Zorach’s (1887-1966) bronze, Mother and Child, circa 1950, sits beneath Aspens, 1928, by Ernest Marsh under her arm, she stopped to Lawson (1873-1939). To the left of the door is a painting by Jane Peterson (1876–1965), Palma, Mallorca buy a bag of bagels and headed back (Spain). A painting, Nirvana on Long Island, 1949, by Philip Evergood (1901-1973) hangs above it. to Connecticut. Her car was gone. She

CollectorHome.indd 69 10/7/15 3:26 PM The second piece on the stairwell is a portrait of a woman dancer by Leon Kroll (1884-1974), which greets visitors as they come in the front door. The large work on the upper left is a watercolor, Flying Acrobats, 1940, by Reginald Marsh (1898-1954). Beneath it is a painting of McSorley’s Bar, 1912, by John Whorf (1903-1959). At the top right is a pastel of the Brooklyn Bridge by Ernest Lawson (1873-1939). Below that is a painting by Jerome Myers (1867-1940), and below that a painting by Edith Dimock (1876-1955) that was in the famed 1913 Armory Show.

went to the police, who told her it had been towed because it was parked illegally. She had spent her last cash on the bagels and didn’t have money to call her husband, but she had her Reginald Marsh and her bagels. She finally got through to him, and he went to an ATM to get cash to bail out the car. Another time, she was in the city with a small convertible and bought a painting that was too big for the car. She had to get the loan of a van. She recalls, “My husband and I were looking for a house, and I was in the city with friends touring museums and got a call: ‘Congratulations, you just bought a house.’ And we hadn’t sold our other one! Then Katherine called with a wonderful Prendergast, and I said, The verso of a two-sided painting by Gifford Beal (1879-1956) is a ballerina. Above it on the wall is a drawing, Study of a Nude Woman, 1901, by Edward Hopper (1882-1967). To the left are drawings and ‘I can’t buy it. I just bought a house!’” a watercolor by Paul Cadmus (1904-1999) and a drawing by John Sloan (1871-1951). Above the door She admits, “I have bartered, on the right is Model Fixing Her Hair, 1930, a painting by Louis Bouché (1896-1969). The painting to the groveled and had things on layaway, left is In the Boudoir by Everett Shinn (1876-1953). Between them is a female nude drawing by George Bellows (1882-1925). The drawings to the left are by Kenneth Hayes Miller (1876-1952), Abraham and when the galleries knew I was Walkowitz (1878-1965), Gaston Lachaise (1882-1935), and Walt Kuhn (1877-1949). 70

CollectorHome.indd 70 10/7/15 3:26 PM At the top of the narrow wall is a Santa Fe, New Mexico, landscape by Helen Farr Sloan (1911-2005), wife of John Sloan (1871-1951), whose painting The Moors hangs beneath it. At the bottom is Step Right Up by Amy Jones (1899-1968). In the kitchen are works by Joan Mirό (1893-1983), Reginald Marsh (1898-1954), Gifford Beal (1879-1956), Peggy Bacon (1895-1987), Hilla Rebay (1890-1967), and George Luks (1867-1933).

trustworthy, they shipped things to me, puzzled look. It was for a Jane Peterson. she explains. “These are real people.” and I just paid in dribs and drabs. It I said, ‘You’re going to love it!’” She came late to art and probably took me five years to pay for In addition to her visceral reaction acknowledges, “My mother never had the Prendergast.” to each piece, Belgrade wants to know art work in the house, and I never went Occasionally, she makes a promise about the artists, the period they were to a museum as a kid.” She earned a not to buy any more art. “One day, working in, and what was going on in B.A. at Connecticut College. “Years I was returning from touring museums their lives. Belgrade considers herself a later, I went to Wesleyan, while I was with friends in New York and met my feminist and chooses not only to honor on the road working full time as a husband for pizza. He had an invoice women artists, but the female models in saleswoman for AT&T and then MCI. with him that had been faxed to his the works she buys. “The people who My husband was also going to night office, which he showed to me with a posed are as important as the artists,” school for his MBA and law degree.

CollectorHome.indd 71 10/7/15 3:26 PM On the upper left is Venetian Brooklyn by Wilmot Emerton Heitland (1893-1969). Other works are (left to right, top to bottom) a pastel of lower Manhattan by Frederick De Voll (1873-1941) and a painting by Kyra Markham (1891-1967), who worked for the Works Progress Administration. Beneath them is a scene by George Overbury (“Pop”) Hart (1868-1933), a winter scene by Arthur C. Goodwin (1864-1929), and Two Dancing Figures, 1920, a gouache by Alfred Maurer (1868-1932). On the bottom row are an abstract drawing by Dorothy Dehner (1901-1994), Interior of a Boudoir by Louis Bouché (1896-1969), Breton Women by Martha Walter (1875-1976), and Women Shopping, by Lydia Cooley Freeman (1906-1996). On the adjacent wall, upper left, is a winter scene of the Chrysler Building by Frederick De Voll (1873-1941). To its right is Winter Snowstorm, Washington Square by Ragnar Olson (1884-1949). Beneath is an industrial scene by Reginald Marsh (1898-1954), and to its left is a drawing by Henry Raleigh (1880-1944) titled Woman, Cat and Gentleman Caller, 1914.

I received two masters in art history Barbara Belgrade with her dog, Pablo and liberal studies and then became a Picasso. The large docent at Yale.” painting above her She has dedicated the collection head is Two Dancing to her mother, Ruth Belgrade, and Figures, 1920, by Alfred Maurer her gifts to the Florence Griswold (1868-1932). Beneath Museum in Old Lyme, Connecticut, it is a painting, are given in her memory. A number of Women Shopping, by Lydia Cooley pieces in the collection are promised Freeman gifts to the Griswold, and a large (1906-1996), and portion are promised gifts to the New to its left is Breton Women by Martha Britain Museum of American Art, the Walter (1875-1976). country’s first museum dedicated to The drawing on the American art. right is by Henry “As a docent at Yale and at the Raleigh (1880-1944) titled Woman, Cat Griswold, I learned how to look,” and Gentleman she explains. “Never judge a work Caller, 1914. until you learn what the artist was talking to you about. It’s that visceral feeling.” On her kitchen wall in red lettering is the question, “What is art, and why does it matter?” Her answer? “Art is life!”

CollectorHome.indd 72 10/7/15 3:27 PM Gallery Shows Previews of upcoming shows of historic American art at galleries across the country.

Irving Ramsey Wiles (1861-1948), Sunlight in the Studio, 1888. Oil on canvas, 181/8 x 223/16 in., signed and dated lower right: ‘Irving R. Wiles 1888’. On view at A.J. Kollar Fine Paintings.

PREVIEWS Picturing Music Sally Michel: Working Artist 74 Avery Galleries traces a century 90 D. Wigmore Fine Art focuses on Michel’s of the relationship between painting career and her influence on Milton Avery and music in American art A Finger on the Pulse Seeing with His 94 78 of American Life Consciousness Winslow Homer on display Gerald Peters Gallery presents at Michael Altman Fine Art a Max Weber retrospective Fransioli: The Extraordinary The Artists’ Model Reveals 98 82 Made Simple the American Woman The magic realist paintings of Thomas Fransioli New exhibition at A.J. Kollar Fine Paintings are featured at Hirschl & Adler Galleries focuses on the unique relationship between artist and model Electrical in Movement 102 Hawthorne Fine Art examines 21 women Metal Menagerie artists active throughout the late 19th 86 A new survey of sculpture examines and early 20th centuries the abstract expressionist movement in metal at Michael Rosenfeld Gallery

Mining the Subconscious 88 Paul Kasmin Gallery exhibits Max Ernst’s sculpture 73

TOC Gallery.indd 73 10/7/15 3:08 PM GALLERY PREVIEW: BRYN MAWR, PA Picturing Music Avery Galleries traces a century of the relationship between painting and music in American art

Through November 13 Avery Galleries 100 Chetwynd Drive Bryn Mawr, PA 19010 t: (610) 896-0680 www.averygalleries.com

he timelessly powerful dynamic between music and art is explored in about 25 diverse T th paintings spanning the mid-19 to mid-20th centuries at Avery Galleries in Bryn Mawr, Pennsylvania, in the gallery’s Picturing Music exhibition. From artists depicting musicians in portraits, to painters using musical scales to guide their color schemes, the two expressive mediums evoke impassioned reactions sans words and produce unique products when they intersect. “No matter where in the world you are from, you can feel the power and emotion from a great piece of music or an exquisite painting,” says Avery Galleries owner Richard Rossello. “At William Merritt Chase (1849-1916), The Music Lesson, 1906. Oil on canvas, 40¼ x 40¼ in., signed the start of this project, the nature of the lower left: ‘Wm M. Chase’. Private collection. relationship between painting and music was unclear to us. We knew it existed, but we couldn’t define it. What did these artists learn from one another? What did they see and admire in one another? Trying to explore those questions was an amazing educational journey, and we hope our exploration has shed a bit of light on this enduring relationship.” Director Nicole Amoroso and gallery associate Laura Adams delved into the Arthur Dove history of the connection between (1880-1946), High music and painting in a comprehensive Fidelity, ca. 1940. essay accompanying the exhibition Crayon on paper, 5 x 7 in., signed and its catalogue, whose works come lower center: from a variety of galleries, as well ‘Dove’.

Picturing Music.indd 74 10/7/15 3:13 PM Childe Hassam (1859-1935), Paris, The Opera House, 1888. Oil on canvas, 13¼ x 9½ in., signed, dated and inscribed lower right: ‘SOUVENIR from Childe / Hassam / 1888 / To W.H. DOWNES’.

Picturing Music.indd 75 10/7/15 3:13 PM as private collections. Artists in the symbol, whether through playing to show the “musicality of a painting,” exhibition include Romare Bearden, instruments or singing. Artists began to showing the play of color and form Oscar Bluemner, Stuart Davis, Thomas depict musical instruments with sheet capable of producing an emotional Wilmer Dewing, Eastman Johnson, music, such as William Merritt Chase in response similar to music. Beginning in and Everett Shinn, with works in the his 1906 oil on canvas The Music Lesson. the mid-19th century, concert halls, opera exhibition starting with examples of The piece spotlights American parlor houses and assembly rooms appeared in music portrayed through representation music as its subject, a reflection of the more American cities. While the subject and narrative. William Morris Hunt’s increasing popularity of playing piano wasn’t American, Childe Hassam’s 1888 circa 1859 oil on canvas The Listeners is a in the parlor as a female leisure pursuit. oil on canvas Paris, The Opera House, display of the importance of sacred music “Chase uses the subject of music to mirrors the increasing importance of and traditional songs, as girls solemnly promote American art and culture as American concert halls in cultural listening to sacred music. In the early to equal in sophistication and importance sophistication, as the opera house mid-19th century, singing in church was to Europe’s,” the essay notes. “His viewers appears majestic in this work. how many Americans came into contact would certainly have aspired to the Professional performing musicians with music, and folk songs were also lifestyle he so beautifully paints, even if in also started to appear in works, such as passed down by families during this time. actuality, it was far from their reach.” in Thomas Eakins’ 1907 oil on canvas By the 1880s, music became a status In the late 19th century, artists strove Portrait of Major Manuel Waldteufel, a

Stanton MacDonald-Wright (1890-1973), Beethoven Series-Sonata Form, 1973. Oil on panel, 401/8 x 30 in., signed and dated verso: ‘S. Wright 1973’; inscribed verso: ‘Beethoven Series-Sonata Form / California’. Courtesy Debra Force Fine Art, New York.

Marsden Hartley (1877-1943), Musical Thomas Eakins (1844-1916), Portrait of Major Manuel Waldteufel, 1907. Oil on canvas, 24 x 20 in., Theme No. 1 (Bach Preludes), 1912. Oil on signed, dated and inscribed lower right: ‘E. / 1907’; inscribed verso: ‘A SO[N] A[MI] / LE COMMANDANT / canvas, 26 x 21 in. Private collection. WADTEUFEL / THOMAS EAKINS’. Courtesy Hirschl & Adler, New York.

Picturing Music.indd 76 10/7/15 3:14 PM Max Weber (1881-1961), Soloist at Wanamaker’s, 1910. Gouache and mixed media on paper laid down on board, 30 x 18 in., signed and dated lower right: ‘Max Weber ‘10’. William Morris Hunt (1824-1879), The Listeners, ca. 1859. Oil on canvas, 243/8 x 201/8 in. Courtesy Jonathan Boos Fine Art, New York. Coutesy Vose Galleries, Boston.

piece of the artist’s friend and renowned Work in 1912. Kandinsky’s ideas were “color scales” that used the same physical violinist. While this portrait is refined, enthusiastically received by the Stieglitz basis between color and sound. While the as music theater and the popular song circle, including Georgia O’Keeffe and style was not commercially or critically trade grew in the early 20th century, the Marsden Hartley. Hartley explored praised, Macdonald-Wright painted in Ashcan School artists captured the grit music through abstraction in his 1912 the style up until his death in 1973, as of bawdy musical theater through a less Musical Theme No. 1 (Bach Preludes), part seen in his work of the same year, oil on refined painting style. of a series of “Musical Theme” paintings. panel Beethoven Series-Sonata Form. The access to music on inventions The work combines musical allusions As jazz became popular in the 1920s, such as the gramophone, radio and with mystical symbolism and is one of artists such as Arthur Dove would listen disc recording, and the distribution of the first examples of an American artist to the genre while they painted. Dove recorded music gave artists something picturing the abstract qualities of music. became an enthusiastic fan of George to listen to as they worked. Artist and Stieglitz’s 291 gallery artist Max Weber Gershwin, and the artist’s circa 1940 educator Arthur Wesley Dow, who was an accomplished cellist and singer crayon drawing High Fidelity spoke to his published his theories about music and who showed his love for music in his interest in phonography. The essay notes art in Composition in 1899, encouraged semi-abstract 1910 gouache and mixed Dove’s musical works “were shaped by his students to listen to music while media on paper laid down on board American music and modern technology they painted and described desirable Soloist at Wanamaker’s. He also created as much as they were personal expressions compositional effects in musical terms, completely abstract paintings of music in of his extraordinary artistic vision.” such as “rhythmic order,” “harmony” “music pictures” from 1912 to 1917. Regarding the effect music has and “tone.” In 1911, artists Stanton Macdonald- had on art, the essayists note, “The More was written about music by Wright and Morgan Russell developed symbiotic relationship between art Russian-born artist Wassily Kandinsky, an elaborate and precise system of and music is never-ending, and only whose ideas about synesthesia, mysticism musical analogy based on the color time will reveal how their continuing and abstraction were published in Alfred theory of Percyval Tudor-Hart, called dialogue will shape the evolution of art Stieglitz’s photographic journal Camera Synchromism, which adopted a use of in all its forms.”

GALLERY PREVIEW: BRYN MAWR, PA 77

Picturing Music.indd 77 10/7/15 3:14 PM GALLERY PREVIEW: NEW YORK, NY AND SANTA FE, NM

Seeing with His Consciousness Gerald Peters Gallery presents a Max Weber retrospective

Through November 20 Gerald Peters Gallery 24 E. 78th Street New York, NY 10075 t: (212) 628-9760 December 11-January 16, 2016 Gerald Peters Gallery 1011 Paseo de Peralta Santa Fe, NM 87501 t: (505) 954-5700 www.gpgallery.com

by John O’Hern

ussian-born Max Weber (1881-1961) was 10 when he and his parents Rmoved to Brooklyn, New York. He was fortunate in his early training to study with Arthur Wesley Dow, who he said was an “enlightened and vital teacher.” Dow was more Max Weber (1881-1961), Three Crystal Figures, 1910. Oil avant-garde than many of the teachers of the on panel, 12 x 83/8 in. day and set Weber on a path of innovation. Dow wrote, “Painting, which is essentially a Right: Max Weber (1881-1961), rhythmic harmony of coloured spaces. Realism The Muses, 1944. Oil on board, 48 x 48 in. was the death of art. Great art should come from the harmony of two lines.” The gallery notes, “His experiments with cubism Weber went to Paris, took a studio class and his exploration of abstraction were revelations with Henri Matisse and became friends with to American artists, collectors and critics. This Henri Rousseau and met other artists at Leo new aesthetic, its freedom of expression and and Gertrude Stein’s salons. He returned technique, came to define American modernism to the states and became known as the for the next four decades. And, unlike many of his “godfather” of American modernism. In 1945, contemporaries, Weber’s stylistic advancement did Life magazine declared he was “the greatest not end with the changes wrought by World War living artist in America.” II. He transformed his style into a midcentury Gerald Peters began representing the Weber aesthetic and continued to innovate through the estate 15 years ago and has put together its first end of his life.” retrospective of the artist’s work since 2000. The Young Model, 1907, was painted the year Max Weber: In Retrospect includes paintings he studied with Matisse in Paris, showing the and drawings from throughout his career. The influence of the art he saw there. Over the exhibition will be shown in New York through ensuing years, Weber transformed the figure November 20 and in Santa Fe, New Mexico, from its more traditional representation to December 11 through January 16, 2016. one of extraordinary energy. The Muses, 1944,

Max Weber.indd 78 10/7/15 2:25 PM Max Weber (1881-1961), Three Crystal Figures, 1910. Oil on panel, 12 x 83/8 in.

Right: Max Weber (1881-1961), The Muses, 1944. Oil on board, 48 x 48 in.

Max Weber.indd 79 10/7/15 2:25 PM Max Weber (1881-1961), Chinese Platter, ca. 1918. Oil on canvas, 16 x 18 in.

Max Weber (1881-1961), Brown Pitcher, 1953. Oil on canvas, 20 x 24 in. Max Weber (1881-1961), The Barn, 1922. Oil on canvas, 13 x 161/8 in.

cavort in an ambiguous space. In 1915, early career are still present in his search for an ideal classicized female he wrote his purpose was to portray later work, as he balanced abstraction type placed in imaginary settings to “not what I see with my eye but with and representation and developed an give universal and timeless context…” my consciousness…mental impressions, energetic and lyrical expressionism. He sought “the archetypal female not mere literal matter-of-fact copying In her essay for the exhibition Max image, a powerful pervasive presence, of line and form. I want to put the Weber’s Women, Percy North comments embodying the ideals of creation as the abstract into concrete terms.” that Weber’s paintings of women most important and most basic element The ideas and influences of his throughout his career demonstrated “a of life.”

GALLERY PREVIEW: NEW YORK, NY AND SANTA FE, NM 81

Max Weber.indd 81 10/7/15 2:26 PM GALLERY PREVIEW: SEATTLE, WA The Artists’ Model Reveals the American Woman New exhibition at A.J. Kollar Fine Paintings focuses on the unique relationship between artist and model

November 1-December 18 A.J. Kollar Fine Paintings 1421 E. Aloha Street Seattle, WA 98112 t: (206) 323-2156 www.ajkollar.com

by Kimberly Hereford, Ph.D.

he late 19th century hastened a cultural transition in which TAmerican women assumed new roles that inspired artists’ interests. Though often overlooked, the artists’ models played a key role in revealing these new archetypes. Now on view at A.J. Kollar Fine Paintings, The Artists’ Model and The American Woman focuses on this relationship in some significant American paintings. The collection provides an intriguing glimpse into the essential role models played in translating a new American femininity. Kenyon Cox’s (1856-1919) dazzling May is one of the finest examples of the artist’s classical nudes and a rare example from a group of nudes he painted from 1884 to 1894. Inspired by Renaissance art, it won a bronze medal at the 1893 World’s Columbian Exposition in Chicago. Cox’s nudes were so realistically rendered that they were William McGregor Paxton (1869-1941), The Visitor, 1910. Oil on canvas laid down on board, often accused of lasciviousness, even 18 x 147⁄8 in., signed and dated upper left: ‘PAXTON / 1910’. inciting protests. Yet to temper May’s eroticism, Cox removes the nude from any contemporary context, instead title so it becomes a personification languishes, symbolically blending the enveloping her in a sun-drenched of spring, as reinforced by lush cherry naked female form with nature. Her classical landscape. The ravine in the blossoms in the background. fiery halo of red hair is reminiscent foreground ensures a safe visual distance In May, the dandelion-yellow of the “Stunners,” the famous Pre- from the woman’s unabashed nudity. background echoes the diaphanous Raphaelite female models. This freshly Cox gives the work an allegorical gold blanket on which the goddess awakened Venus blithely stretches her

AJKollar_ArtistModel.indd 82 10/7/15 2:27 PM Albert Herter (1871-1950), Young Woman with Dogwood – Symphony in Green, Reginald Marsh (1898-1954), Two Girls or Women Strolling, 1891. Oil on canvas, 27 x 22 in., signed lower left: ‘Albert Herter’. ca. 1938-1940. Oil on paper on board, 303⁄8 x 217⁄8 in.

sensuality towards the viewer. in Chicago. In Sunlight in the Studio, What’s Your Name? represents the regular Recent scholarship suggests Cox Wiles, a student and lifelong friend of practice of artists using family members employed Julia (“Dudie”) Baird, a William Merritt Chase, employs an as models. The model is likely Belle chameleonic talent who became impressionistic brushstroke reminiscent Brown, the artist’s daughter by his first New York’s most famous artist’s of Chase–a quick dashing technique wife, Mary Owen. Belle was born in model. At the turn of the century, that captures a filtered golden light 1864 and would have been 12 years the American “female model reigned that illuminates the studio’s handsome old at the time Brown completed this supreme—not in the style of the racy appointments. Such decor includes work. The female is exceptional as not demimondaine found in Paris, but as an Oriental rug, a silver samovar, an only the youngest model represented a quasi-autonomous, glamorous…if overstuffed artist’s portfolio and stately in the exhibition, but also the boldest. not outlandish professional.” Dudie’s furnishings, some of which appear in Assuming the role of classroom celebrity catapulted when she modeled Wiles’ other paintings. In the darkly lit monitor, presumably in the teacher’s for Diana, Augustus Saint Gaudens’ studio, a woman attired in a low-cut absence, the young girl engages the monumental nude sculpture, about turquoise gown that falls provocatively viewer with her pert and precocious which she boasted in a scintillating New off her shoulder reclines on a white gaze, acutely fixed on an implied York Herald full-page expose. sofa. Thus far, research has not audience of young, and perhaps unruly, The model for Irving Ramsey Wiles’ identified the model, but her costume schoolchildren. She even appears (1861-1948) Sunlight in the Studio is also recalls the one worn in The Sonata. The to demand the students’ attention notable, albeit in a different context. woman’s arm drapes wearily over the by scratching the blackboard with a This work first appeared at the winter couch, her upturned hand directing our fingernail. “Her hand is poised at the exhibition of the National Academy attention on the vase of sunlit flowers. blackboard, and she has just completed of Design. Later, along with six other The subject’s languor in this aesthetic writing two columns of names under paintings—including The Sonata suggests she is a precious object or a ‘bad’ and ‘excellent.’ At the top of the (1889), also by Wiles—it accompanied source of inspiration, a popular trope ‘bad’ column, the name ‘Belle Brown’ a sampling of American paintings at embraced by many artists of the period. appears, perhaps offering a clue to the the 1893 World’s Columbian Exposition John George Brown’s (1831-1913) young girl’s identity,” writes Jennifer

AJKollar_ArtistModel.indd 83 10/7/15 2:28 PM Hardin in “The Nude in the Era of the New Movement in American Art: Thomas Eakins, Kenyon, and Augustus Saint-Gaudens.” [(PhD diss., Princeton University, 2000), 196.] The young model’s commanding schoolroom presence foretells American women’s great gains in education after the Civil War. These gains included secondary and higher education as many new women’s colleges were established. Brown’s work often depicts children imitating adults, and in this image, Belle confidently adopts the authoritative carriage of an older teacher, perhaps foreshadowing her own promising future. Copying the Canticle, by Charles Sprague Pearce (1851-1914), provides an enchanting permutation of the American female scholar and reflects the period’s rage for Japonisme. Here, Pearce, one of the leading American Irving Ramsey Wiles (1861-1948), Sunlight in the Studio, 1888. Oil on canvas, 181⁄8 x 223⁄16 in., signed and dated lower right: ‘Irving R. Wiles 1888’. expatriates of the Parisian art scene, has reduced the narrative to blend the exotic with the popular. Throughout small vase of what appears to be red arduous work. The sparkling turquoise the history of art, models and artists forget-me-nots, which, according to kimono also demonstrates the copyist’s were often tied romantically. The The Victorian “Language of Flowers,” cultured refinement and recalls those enchanting model for this painting symbolize true love. worn by the progressively modern may be Louise Catherine Bonjean This painting’s title is slightly women associated with the aesthetic (known as Antonia), the artist’s student misleading, as recent scholarship movement. Despite the erudite task and favorite model who later became speculates she may be copying at hand, a delicate smile lights her his wife. At the time of this painting, the hymns “Festa Novembris” and youthful face. Antonia (born August 5, 1856) would “Omnium Sanctorum”—not a canticle. Albert Herter’s (1871-1950) Young have been approximately 27, though Such a title does imbue the painting Woman with Dogwood—Symphony she is made to look much younger. with gravitas, since in the 19th century, in Green shows the influence of the Clues to their pending betrothal only educated women of a certain class aesthetic movement and how it include the ring on her finger and the would have been responsible for such fashioned a new type of American woman. Influenced by James McNeill Whistler, Herter painted popular portraits of society’s upper echelons. A young woman in a hermetically sealed interior sits in deep contemplation of a small bouquet of dogwood flowers. In this painting, these blooms may have two different implications. According to the Victorian “Language of Flowers,” certain varieties were part of a silent code in a complex courtship ritual. In 1898, an etiquette writer advised, “If dogwood blossoms are sent in reply, it means ‘I’m perfectly indifferent to you.’” Thus, these particular blooms imply an unfolding and unresolved Kenyon Cox (1856-1919), May, 1890. Oil on canvas, 15½ x 30 in., signed and dated lower left: drama. Within the context of the ‘Kenyon Cox 1890’.

AJKollar_ArtistModel.indd 84 10/7/15 2:28 PM aesthetic movement, dogwood flowers identity remains a mystery, this “delicate, supple, but enduring” and also convey a representation of women juxtaposition of East and West reveals “intellectual…[yet] refined.” in deep contemplation. Studying her as an embodiment of the aesthetic Here, a woman depicts the etiquette flowers and/or Oriental objects was a movement, an artistic “beauty” whose of “calling,” an important activity for popular subject among aesthetic artists. allure is an intentional component of the lady of leisure pursuing social Here, the young girl seems enraptured the “total work of art.” advancement. Paxton situates his with the flowers cradled in her lap, and William McGregor Paxton model in the entry hall, that domestic her eyes, heavily shadowed, convey a (1869 -1941), a leading artist of the intermediate space that thwarts the profound introspection. Herter artfully Boston Art School, is notable for his interloper and admits only bona fide enhances an aura of interiority with meticulous compositions of interiors guests. Clothed in the latest fashion—a the profiled arc of her hair, which that surround an elegantly attired subdued tailleur femme with a extends to the curve of the chair’s arm female. In treatment and subject, one prodigiously plumed hat and luxurious and on to the source of her reverie: the can see the influence of Johannes muff and stole—the woman expertly bouquet in her grasp. Vermeer in The Visitor, which depicts places her card in the designated “card Japanese art was also an important the statuesque figure of Paxton’s receiver.” Nearby is a florid Kangxi influence on aesthetic artists, and favorite model, Lizzie Young, bathed in vase, its cobalt blue echoed on her Herter collected and exhibited Japanese soft, subtle light. From approximately hat’s rim. Finally, in this windowless prints. Some of these may be included 1910 through 1919, Young’s distinctly domestic space infused by the sounds in the painting’s background. These firm chin, luminous blue eyes and of silence, there is a mild undercurrent woodblock prints are likely in the “bee-stung” lips graced many of of ambiguity, and perhaps subtle style of Kitagawa Utamaro (1753- Paxton’s most important paintings. Her anticipation. Like Vermeer, Paxton only 1806), whose works often depicted regal beauty embodied the archetype hints at the narrative and ultimately women described as “Beauties.” In of the Boston woman, one of the leads us to fashion our own story. Herter’s painting, note the Japanese city’s cultural gatekeepers at that time. Beginning in the 1920s, American emblem embellishing the sitter’s silk A contemporary writer described women are increasingly visible in public dress. Though the young subject’s the Boston woman as physically as they become sales clerks, secretaries and telephone operators. Considered John George the great chronicler of New York City, Brown Reginald Marsh (1898-1954), an urban (1831-1913), What’s Your realist painter, captures a female’s brassy Name?, 1876. confidence and unabashed sensuality Oil on canvas, in Two Girls Walking. “The walking 30 x 20 in., signed and dated lower woman” was, in fact, one of his favorite right: ‘J.G. Brown subjects. Marsh’s American woman, N.A./ N.Y. 1876’. known as a “Marsh girl,” has been described as “powerful and dangerous, desirable yet attainable.” The platinum blonde in particular recalls the era’s glamorous screen “siren,” an archetype the artist often portrayed. Marsh exaggerates both women’s scintillating curves with elliptical calligraphic strokes. The strutting rhythm is exhilarating, radiating from their broad shoulders down to their narrow waists, robust calves and fearless high heels. The Artists’ Model and the American Woman reveals diverse prototypes of a transitioning American woman. From the languor of Cox’s May to the arresting exuberance of Marsh’s walking women, this exhibition illuminates the essential role of the artist’s model and furthers our embracing artistic transitions in American femininity.

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AJKollar_ArtistModel.indd 85 10/7/15 2:28 PM GALLERY PREVIEW: NEW YORK, NY Metal Menagerie A new survey of sculpture examines the abstract expressionist movement in metal at Michael Rosenfeld Gallery

November 6-January 9, 2016 Michael Rosenfeld Gallery 100 11th Avenue New York, NY 10011 t: (212) 247-0082 www.michaelrosenfeldart.com

n a parallel set of developments throughout the 1940s, ’50s and ’60s, Iabstract expressionism was sweeping through art on two fronts—in painted works and in sculpture. The sculpture aspect of the movement’s explosive growth, and its sustained importance in a modern context, is explored in Michael Rosenfeld Gallery’s new survey of metal sculptures. The exhibition, which opens Seymour Lipton (1903-1986), Casanova, ca. 1969. Bronze and Monel metal, 33½ x 49 x 14 in. November 6 in New York, will feature © The Estate of Seymour Lipton. Courtesy Michael Rosenfeld Gallery LLC, New York, NY. an array of floor, pedestal and wall pieces from artists such as Ruth Asawa, Harry Bertoia, Lee Bontecou, Dorothy Dehner, Ossorio, and Barbara Chase-Riboud— says she has wanted to present an Melvin Edwards, Richard Hunt, Ibram all artists whose works and estates are exhibition like this for many years Lassaw, and David Smith. Additionally, represented by the gallery—will have because it will put modern sculpture Seymour Lipton, Theodore Roszak, Claire pieces in the two-month exhibition. into perspective with painted works that Falkenstein, Nancy Grossman, Alfonso Gallery director Halley K. Harrisburg were being created around the same time. “Throughout the 19th and 20th centuries, sculptors had a rich history with traditional figurative works in metal, but what we saw in the ’40s, ’50s and ’60s is pure modernism, from Seymour Lipton to Theodore Roszak and others,” Harrisburg says. “They were aware of their painting contemporaries working in an abstract manner. What we see is them using line and form in a very Claire Falkenstein spontaneous and abstract language. They (1908-1997), Suspension, 1958. Copper tubing and copper wire, used the material as if it were a 49 x 96½ x 38½ in. paintbrush, exploring all the movement © The Falkenstein Foundation. they could.” Courtesy Michael Rosenfeld Gallery LLC, One of the more striking aspects New York, NY. of the survey, and one that will likely

Metal Sculpture Survey_GP.indd 86 10/7/15 2:40 PM thrill viewers, is the use of materials, from Falkenstein’s copper tubing to Bertoia’s welded bronze to Lipton’s bronze on Monel. “This is the beginning of the breaking down of the de nition of the materials and the associated ‘–isms’ with them,” Harrisburg adds. “Welded and brazed, shaped and molded, the work was in many forms, and it helped rede ne an American aesthetic.” Works in the survey include Bertoia’s untitled welded bronze piece based on sound. The exible looped forms were designed to be pulled back and released, creating a miniature symphony of sound. Guests won’t be able to touch the piece, but they will be able to see how the piece works and how it explores the music of shapes and spaces. In an untitled 1963 piece by Bontecou, the artist has used metal gears to create a smiling mouth that looks grimacing and tough. “That aggressive and gritty aesthetic was associated with the male gender, and it certainly played a role with Lee Bontecou, who even had a name that was slightly ambiguous. She dealt with issues involving gender and identity much of her career,” Harrisburg says. Lipton’s Casanova, with its waves of bronze folding over a horizontal axis that runs almost entirely through the piece, was inspired by mythological themes and subject matter. “Lipton was an extraordinary welder, and what he achieved with surface, color and manipulations of the form is remarkable,” she says. “There’s a reason he’s in every major museum collection in the United States. We’re fortunate to represent his work.” The metal survey will be on display through January 9, 2016.

Harry Bertoia (1915-1978), Untitled, ca. 1955. Welded bronze, 35½ x 23½ x 23 in. Courtesy Michael Rosenfeld Gallery LLC, New York, NY.

Lee Bontecou (b. 1931), Untitled, 1963. Welded steel and paint, 21½ x 31¼ x 6½ in., signed and dated. Courtesy Michael Rosenfeld Gallery LLC, New York, NY.

Metal Sculpture Survey_GP.indd 87 10/7/15 2:40 PM GALLERY PREVIEW: NEW YORK, NY

Mining the Subconscious Paul Kasmin Gallery exhibits Max Ernst’s sculpture

by John O’Hern Through December 5 Paul Kasmin Gallery ax Ernst (1891-1976) was born 515 W. 27th Street in Germany—or, as he New York, NY 10001 explained, “The Mnd t: (212) 563-4474 2 of April (1891) at 9:45 www.paulkasmingallery.com a.m. Max Ernst had his first contact with the sensible world, when he came out of the egg which his mother had laid in an eagle’s nest and which the bird had brooded for seven years.” He began studying philosophy in college in 1909 but soon left to pursue art and his interests in psychology and the art of the mentally ill. He served in World War I but continued painting, eventually becoming involved with the Dada and surrealist movements. His first museum Max Ernst (1891-1976), exhibition in the United States. was at the La Belle Allemande, Museum of Modern Art in 1936. He received 1934-35, P 2/6 1999. the Grand Prize in painting at the Venice Bronze and green and brown patina, 23¾ x 10¼ Biennale in 1954. The Solomon R. Guggenheim x 6½ in., signed, numbered, Museum gave him a major retrospective in inscribed and dated on 1975, the year before his death. back of base: ‘max ernst 2/6 AA cast 99’. Werke Ernst was noted for sculpture as well 1929-38. #2158,l, p.307. as painting. Paul Kasmin Gallery in New York observes, “Max Ernst turned to three- dimensional materials and sculpture in intense bursts of activity at various moments in his career, from his Cologne Dada period Max Ernst (1891-1976), Oedipe I, 1934, numeriert 0/6, ed. 2/2. Bronze and green patina, 24 x 11 x 7 in. in the 1920s onwards. After Werke, pg. 20-21. spending the summer of 1934

Max Ernst_GP.indd 88 10/7/15 3:02 PM in Switzerland with [sculptor Alberto] of courage or liberating procedures...of Giacometti quarrying and carving works voyages into the unconscious, to bring pure in stone, he returned to Paris with a and unadulterated found objects to light.” serious commitment to sculpture and In his sculpture he literally used found developed the processes he would utilize objects, transforming them into something for the rest of his career. Paramyths unexpected. The gallery explains, “Ernst explores several phases of the artist’s would often accumulate and recombine sculptural output, with iconic works these ordinary shapes, initially cast in ranging from 1934-1974 that emphasize plaster, to create anthropomorphic the importance of sculpture within his sculptures of rare poetry, humor and artistic oeuvre.” symbolic power…La Belle Allemande, The gallery’s exhibition Max Ernst: 1934-35, demonstrates this method of Paramyths, Sculpture 1934-1967 is shown appropriating quotidian objects such through December 5. as flowerpots, containers and shells first Ernst’s interest in the mentally ill molded in plaster and later cast in bronze. stemmed from his determination to delve Ernst assigns new identities to these deep into the psyche to learn about the seemingly mundane, utilitarian forms universal creative impulse. He thought the by configuring them into constructions mentally ill would have freer access to the that embody a new language of modern depths and fewer inhibitions in expressing sculpture. ‘The sculpture originates in an what they had found. He left college early embrace, two-handed like love itself,’ says because he wanted a course of study that the artist. ‘It is the most simple, the most was considered “futile by his professors— primeval art.’” predominately painting…seditious philosophers, and unorthodox poetry.” Later, he wrote, “Every normal human Max Ernst (1891-1976), Apaisement, 1961, P 6/6 being (and not merely the ‘artist’) has an 2006. Bronze and green patina, 26½ x 117/10 x 9 in., signed, numbered, inscribed and dated on back of inexhaustible store of buried images in base: ‘max ernst 5/6 AA06 cast 99’. Werke 1954-63. his subconscious. It is merely a matter #3823, l, p. 407.

Max Ernst (1891-1976), La Belle Allemande, 1934-35, P 2/6 1999. Bronze and green and brown patina, 23¾ x 10¼ x 6½ in., signed, numbered, inscribed and dated on back of base: ‘max ernst 2/6 AA cast 99’. Werke 1929-38. #2158,l, p.307.

Max Ernst (1891-1976), Bosse de Nage (detail), 1959. Bronze and black Max Ernst (1891-1976), Jeune femme en forme de fleur, 1944, P 1/3 1999. Bronze patina, 25 3/8 x 8½ x 7 7/8 in., signed and numbered on top of base: and black patina, 141/16 x 14¼ x 8 7/8 in., signed, numbered, inscribed and dated ‘max ernst 3/3’; inscribed with foundry mark and dated on back of on back of base: ‘max ernst 1/3 AA 99’. Werke 1939-53. #2464, l, p.85. base: ‘Susse Fondeur Paris, 2000’.

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Sally Michel: Working Artist D. Wigmore Fine Art, Inc., focuses on Michel’s career and her influence on Milton Avery

November 16- Within these parameters she achieved February 13, 2016 a wide range of expression, as can be D. Wigmore Fine Art, Inc. seen in some of her landscape paintings 730 Fifth Avenue, Suite 602 in this exhibition. In a scene set in New York, NY 10019 Provincetown, Massachusetts, where t: (212) 581-1657 an elevated shed sits by the edge of the www.dwigmore.com sea, Michel rendered the objects as flat profiles, including the birds on the roof and the echoing sail boats in the water. by Tom Wolf They become vehicles for a rich play of muted colors, dull greens, tans, browns, ally Michel lived her life dedicated subtly ignited by a thin band of blue to making art. She decided on water. In contrast, Spring Forest erupts Sthat goal when she was a teenager with bright color as Michel put pale and pursued it with determination and purple bushes in dialogue with yellows dedication. This is what attracted Milton and electric blue foliage. In Dense Forest, Avery, 17 years her senior, when he met with its blue tree trunks and orange and her in Gloucester, Massachusetts, in red earth, Michel pushed her arbitrary, 1924, and what charmed him to pursue intuitive color to extremes that approach her to New York to woo and marry her. expressionism. The hotly hued scene Together they formed an indissoluble is divided into a few frontal planes, unit until the time of his death in 1965. similar to the three horizontal bands that They lived together, had one daughter comprise Spring Landscape and Wooded together, traveled together and painted Shore. The frontal planes of loosely together. Her vivacious personality brushed, luminous color remind us that complemented his taciturn manner. in these years, the Averys were close From extensive interviews with her it is friends with the up-and-coming abstract clear she was convinced he was a great expressionist painters, Mark Rothko and artist, and that she had no problems Adolph Gottlieb. The tripartite structure having him seen as the front man in of Wooded Shore, with its horizontal their artistic relationship: “I wanted all planes of pale green, blue and yellow tied the spotlight to be on Milton,” she said together by upright meandering lines Sally Michel (1902-2003), Guitar Player. Oil on board, 18 x 24 in., estate stamped verso. in an interview with Nancy Accord that represent tree trunks, recalls Rothko’s for the Fresno Art Museum, December mythic watercolors from the mid-1940s. 2 and 3, 1989. She believed his were Similarly, in Birds the combination contemplating the beauty of nature that the best paintings that could be made of the slender band representing the surrounds her. Her pale lavender arm at the time, and hers were coextensive water at the bottom and the vast, bird- resting at her side is both a complicated with his. They shared the same style of filled sky resembles some of Gottlieb’s abstract shape and a form that clearly simplified forms and thinly brushed pre-Burst abstracted landscapes. But expresses the anatomy of the arm and its areas of expressive colors, approaching Michel always retained a reference to function. This is one small example of abstraction but always retaining an recognizable nature, which she sketched the skill in drawing that inspired Michel’s element of recognizable imagery rooted from almost daily. The figure in Woman passion for art when she was just a young in the experiences of everyday life. by the Lake stands in for the artist, quietly child, and that was a central part of her

Sally Michel_GP.indd 90 10/7/15 2:36 PM Sally Michel (1902-2003), Guitar Player. Oil on board, 18 x 24 in., estate stamped verso.

practice as an adult artist. Her Guitar For decades, her husband had the freedom Avery was on the government’s WPA aid Player is rendered as a series of flattened, to spend his days painting because she to artists program, he would get $35 for a simplified forms, her skin an unnatural was working as a commercial illustrator painting, which was about what she was grey. But her pose, seated, leaning forward, to support them. Thanks to her drawing making per hour for her commercial head bowed towards her instrument, talent, she had a steady stream of work. work. Early on in her marriage to Avery, conveys her immersion in the music she She supported her family through her she had jobs illustrating for Macy’s is making, another example of Michel’s art, unlike many of the other artists’ department store; the magazine Progressive ability to convey real life experience with wives, or for that matter, male artists in Grocer, a trade publication founded in the extremely distilled drawing. her circle. During the Depression, when 1920s that is still in business; and the

Sally Michel_GP.indd 91 10/7/15 2:36 PM Cannon Towel Company, among other clients. Her large, lively Cannon Towel poster, with its bright flat colors and assertive words, bridges the gap between the posters of Toulouse- Lautrec and pop art. Her most consistent employment was illustrating the “Parent and Child” column that appeared weekly in the New York Times, a job she held for most of two decades, from around 1940 to 1960. When she retired from this job due to Avery’s failing health, the Times discontinued the column. Michel earned the respect of her fellow artists by having a steady income that was a product of her artistic skills. As she said, “It’s possible to be a commercial artist and yet have a fine arts attitude.” Working in the world of commercial art to support her fine art practice allied her with other American women artists of the period, like Peggy Bacon, Esphyr Slobodkina, Mabel Dwight, and Michel’s good friend, Doris Lee. Michel’s “Parent and Child” drawings reveal her talent for communicating narratives visually, a skill shunned Sally Michel (1902-2003), Woman by the Lake. Oil on board, 237/8 x 23¾ in., estate stamped verso. by the progressive artists who were moving towards pure abstraction. A few examples of her original ink drawings for the 1957 “Parent and Child” column have been preserved, and they show her skill at capturing human experiences and conveying everyday dramas with a concise vocabulary. Made for reproduction in the newspaper, her images are exclusively black and white. Like her paintings, she built her images of juxtapositions of flat forms, with no shading and occasional perspectival passages, plus a sophisticated handling of patterns. These limited means relied on her closely observed insights into the behavior of children and their interactions with adults. Michel and Avery had one daughter, March, born in 1932, and raising her exposed Michel to the activities of children and parents in the first half of Sally Michel (1902-2003), At a Gallop. Oil on board, 18 x 24 in., estate stamped verso. the 20th century. Beyond that, she clearly was a perceptive observer of human grades of C, D and F. A symphony of of the three protagonists. The father, as in experiences of all ages, as evidenced by patterns articulates the image and gives all these illustrations, is a dapper version her drawings. In one scene, a sympathetic it visual punch, while the body language of Milton Avery, tall and thin, always with counselor meets with two concerned and concisely rendered facial expressions a moustache. parents over a report card that displays of the figures communicate the concern Another little known facet of

Sally Michel_GP.indd 92 10/7/15 2:36 PM Michel’s art is she made many portraits mountains and sky, each rendered in of gender are raised by the image, as of her artist husband, works on paper poetically unrealistic color—witness they often were in Michel’s illustrations with a striking range of moods, executed the pale blues of the ground and the for the “Parent and Child” column. in a broad variety of styles and media. light orange sky. A comparable scene of The treatment of gender in her There are probably several hundred a girl and a boy on galloping horses hundreds of illustrations raises intriguing of these, and they have rarely been appears in a book she illustrated in her questions, complicated by the fact the seen. In some, he is calm and peaceful, role as a commercial artist. Comparing drawings were made in dialogue with but others are almost expressionist in the two reveals the relationship between the texts of the articles. For example, their expressive color and distorted her art and her illustrations. The couple Time Out for Hobbies features four physiognomies. In 1949, Avery suffered in the book is also rendered flat, with scenes: a boy plays with toy airplanes, a major heart attack and suffered from no modeling; the horses are also seen another with a chemistry set, while poor health for much of the rest of his in profile. But the black outlines a girl organizes shells, a scientific life, and the intensity of these works surrounding the images make them activity, and the second girl works seems to express his struggles as well as more graphic, less pure painting. Horse printing photographs. But in the essay her empathy. She was both his caretaker Jumping is typically thinly painted, but that accompanies the illustration in and his companion, and true to the Michel also used the physical texture of the Times, it is a boy who practices Avery/Michel practice, the subjects of the paint to expressive effect, with photography. Michel changed the gender her art came directly from their shared horizontal strokes of the brush visible in her illustration, as her girls pursue everyday lives. in the blue ground and impasto patches pre-professional activities that have In Horse Jumping from around 1955, of white paint for clouds. Compared to nothing to do with being housewives. Michel created a luminous landscape the illustration, the painting features A horse dominates the 1955 painting where two horses with riders face each less anecdote, as broad areas of pure Harness Racing, against a typically other in profile, the one on the right color replace storytelling with visual simplified space, with a richly varied leaping over a hurdle. The hurdle, the delight. But Michel’s illustration does range of greens defining the land, hills only perspectival element in the have narrative: the wide-eyed boy looks and sky. In the center the galloping painting, is set against flat bands of land, admiringly at the spirited girl, and issues horse drags a small human figure whose pink shirt contributes a sharp note of contrasting color. The horse itself is a fine demonstration of Michel’s drawing talent: foreshortened, its head turns to its left while its body moves right, all encapsulated in one complex irregular shape, painted an unrealistic pale blue gray that indicates it is art, not illustration. Another horse in At a Gallop, with its tiny rider perched on it as it races around a dark ring, recalls the haunting Death on a Pale Horse by Albert Pinkham Ryder, an artist greatly admired by the Averys. In Michel’s version, the glowing colors of the landscape, surmounted by a pale orange sky, set off the dark environment of the racing horse and rider. The loneliness of the solitary figure evokes an existential mood uncharacteristic of the artist, but also hinted at in her Woman by the Lake, with its lone woman isolated before nature, reminiscent of 19th-century Romantic imagery. These two paintings stray from the sense of well-being and the harmony of everyday existence that characterize the Avery aesthetic, suggesting again that Sally Michel’s artistic achievement is deeper than Sally Michel (1902-2003), Spring Forest, 1956. Oil on board, 24 x 24 in., signed and dated lower right. presently recognized.

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Sally Michel_GP.indd 93 10/7/15 2:37 PM GALLERY PREVIEW: NEW YORK, NY

A Finger on the Pulse of American Life Winslow Homer on display at Michael Altman Fine Art

just before and after the Civil War… Through November 20 For insights into what people felt Michael Altman Fine Art and did on street corners, in parks, 38 E. 70th Street on battlefields or in backyards, as the New York, NY 10021 times moved along, there are few better t: (212) 879-0002 sources of our visible history.” www.mnafineart.com Homer’s depictions of solitary figures during the Civil War showed the ways in which the logistics of fighting wars were changing, as well as war’s impact uring the Civil War, Winslow on the people who fought in them and Homer (1836-1910) was those who were affected by them. Demployed as a “Special Throughout his career, Homer Artist” by Harper’s Weekly to make depicted solitary figures—a wood engravings of life at the front sharpshooter in a tree, a woman and behind the lines. Homer worked reading, fishermen calmly floating for the news weekly from 1857 to on an Adirondack lake or rowing 1876, perfecting his observation and valiantly against the sea. His insights his drawing skills while simultaneously were, perhaps, heightened by his working to expand his career in oil own solitary nature, which allowed painting and watercolor. him to capture the simple truth of a The art historian Philip Beam character or a moment. Henry James wrote Homer “had his finger on the wrote, “Barbarously simple…He has pulse of American life and his eye on chosen the least pictorial features of the American scene in an unexcelled the least pictorial range of scenery fashion during a vibrant and important and civilization as if they were every time in our national life, the years inch as good as Capri or Tangier; and,

Winslow Homer (18 36-1910), Boy with Blue Dory, 1880. Watercolor and pencil on paper, 9 x 17 in., signed lower right: ‘Winslow Homer, ’80’.

Winslow Homer.indd 94 10/7/15 3:13 PM Winslow Homer (1836-1910), Girl Reading Under Oaks, 1879. Oil on canvas, 15½ x 22½ in., signed lower right: ‘Homer / 1879’.

Winslow Homer.indd 95 10/7/15 3:12 PM Winslow Homer (1836-1910), Winter, Prout’s Neck, Maine, 1890. Oil on canvas, 13 x 22 in.

Winslow Homer (1836-1910), Boy on a Log (Outlet, the Sawkill), 1869. Oil on canvas, 12 x 18 in., signed and dated: ‘1869’.

Winslow Homer.indd 96 10/7/15 3:14 PM to reward his audacity, he has incontestably succeeded.” A range of Homer’s work will be shown at Michael Altman Fine Art in New York through November 20. Among the works are two solitary women. In the years after the war, Homer turned to subjects of quiet domesticity, childhood and farm life. Elizabeth Loring Grant posed for several drawings in 1886 at Homer’s home in Belmont, Massachusetts. The intense 14-year-old is shown deep in thought, drawn with a simplicity that illustrates Homer’s mastery of line, the highlights in chalk suggesting the complex folds of the young girl’s dress. The independent-minded Grant, who acquired the drawing from the artist, insisted it be passed down only through the females in her family. Girl Reading Under Oaks, 1879, shows Homer’s successful attempts to lighten his palette and to capture the subtleties of Winslow Homer (1836-1910), Portrait of Elizabeth Loring Grant, 1866. Charcoal, chalk and pencil on paper, light in peaceful settings. At the 10 x 10 in., signed and dated with artist’s initials lower right: ‘W.H. / 66’. time, he was experimenting with light and color using watercolor, and beginning to express his new skills in oil. In his book on Homer, Lloyd Goodrich commented the depictions of women in this period were “less remote, more intimate.” He continued, “Still not idealized, they were pictured with a delicate precision, a sensitiveness to individual character, that would have made him one of our finest portraitists.” Successful in his own lifetime for his paintings that went far beyond portraiture, Homer wrote to Thomas B. Clarke, who had purchased 31 of his works, “Only think of my being alive with a reputation (that you have made for me).” At another time, he wrote, “The Sun will not rise or set without my notice and thanks.” Winslow Homer (1836-1910), The Rendezvous, 1880. Watercolor, 8½ x 113/8 in., signed lower left: ‘Homer / 1880’.

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Winslow Homer.indd 97 10/7/15 3:14 PM GALLERY PREVIEW: NEW YORK, NY

Fransioli: The Extraordinary Made Simple The magic realist paintings of Thomas Fransioli are featured at Hirschl & Adler Galleries

hile designing the credits the experience with his interest November 5-December 31 National Gallery of Art in painting. He painted miniatures Hirschl & Adler Galleries Win Washington, D.C., of the Old Master paintings for scale 730 Fifth Avenue, 4th Floor John Russell Pope (1874-1937) was models of the galleries. Pope died New York, NY 10019 assisted by a young graduate of the before the building was completed in t: (212) 535-8810 architecture school of the University 1941, and Fransioli went off to war www.hirschlandadler.com of Pennsylvania. Thomas Fransioli from 1943 to 1946. He worked in (1906–1997) worked with Pope on the photo reconnaissance for the U.S. Army designs for the exhibition galleries and and was one of the first U.S. soldiers to

Thomas Fransioli (1906-1997), Copley Square, Boston, 1959-61. Oil on canvas, 24 x 30 in.

Thomas Fransioli.indd 98 10/7/15 2:31 PM Thomas Fransioli (1906-1997), Harvard Street, Brookline, 1948. Oil on Masonite, 18 x 21½ in.

survey Hiroshima after the detonation for 30 years. Now with more than 25 catalog, magic realism was a ‘widespread of the first atomic bomb. works available from the late 1940s but not yet generally recognized trend Returning from war, he dedicated through early 1970s, they are showing in contemporary American art...It is himself to painting and was based in them in the context of works by John limited, in the main, to pictures of Boston. Many of his Boston paintings Guglielmi, Zama Vanessa Helder, sharp focus and precise representation, are in the exhibition An Architect’s Edmund Lewandowski, and Andrew whether the subject has been observed Dream: The Magic Realist World of Wyeth, who, along with Fransioli, are in the outer world—realism, or Thomas Fransioli at Hirschl & Adler considered to be magic realists. contrived by the imagination—magic Galleries in New York, November 5 The gallery notes, “Magic realism realism.’ In his introductory essay, through December 31. It is the first neatly characterizes Fransioli’s artistic Lincoln Kirstein took the concept retrospective exhibition of his work viewpoint. The term was first broadly a step further: ‘Magic realists try to since 1954, when the Farnsworth Art applied to contemporary American art convince us that extraordinary things Museum in Rockland, Maine, showed in the 1943 Museum of Modern Art are possible simply by painting them as 53 paintings. exhibition, American Realists and Magic if they existed.’ Hirschl & Adler Galleries has been Realists. As exhibition curator Dorothy “This is Fransioli, in a nutshell. His patiently gathering Fransioli’s paintings Miller noted in her foreword to the cityscapes exist in time and space, but

Thomas Fransioli.indd 99 10/7/15 2:30 PM Thomas Fransioli (1906-1997), Street Scene in Bar-le-Duc, 1952. Oil on canvas, 20 x 20 in.

Thomas Fransioli (1906-1997), Winter in Boston (Warren Street, East of the Back Bay Station), 1952. Oil on wood panel, 11 x 16 in.

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Thomas Fransioli.indd 100 10/7/15 2:31 PM Thomas Fransioli (1906-1997), View from The Hill, Castine, 1946. Oil on wood panel, 20 x 24 in. Images photographed by Eric W. Baumgartner.

certainly not in the manner in which the shadows or through falling snow. brick townhouses in Winter in Boston he portrays them.” An aura of melancholy pervades many (Warren Street, East of the Back Bay Station), Fransioli’s paintings are as precise of the paintings. His paintings impose a 1952; and two architectural marvels in as if they came off his architectural sense of order that may be inspired by Copley Square, Boston, 1959–61: McKim, drawing board, echoing an earlier his witnessing the devastations of war Mead, and White’s Boston Public Library movement in American modernism. and the peopleless streets and emptiness and Charles Amos Cummings and Precisionism focused on the geometries of Hiroshima, in particular. Willard T. Sears’ New Old South Church. of an industrialized country, but Although there are idyllic scenes, The architect in Fransioli admired both Fransioli more often concentrated on such as View from The Hill, Castine, 1946, the humble and the proud. the urban landscape. his scenes of the city portray, in the case Light and shadow and rich color His cityscapes are oddly devoid of of Boston, decay, in Street Scene, South typify Fransioli’s paintings and bring people, although a few appear out of Boston, 1951; ordered and French-inspired life to their surreal emptiness.

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Thomas Fransioli.indd 101 10/7/15 2:31 PM GALLERY PREVIEW: NEW YORK, NY Electrical in Movement Hawthorne Fine Art examines 21 women artists active throughout the late 19th and early 20th centuries

November 19-January 29, 2016 Hawthorne Fine Art 12 E. 86th Street, Suite 527 New York, NY 10028 t: (212) 731-0550 www.hawthornefineart.com

Sarah Cole (1805-1857), Ancient Column Near Syracuse, ca. 1848. Oil on canvas, 117/8 x 117/8 in.

lara Perry’s landscapes have sold for thousands at auction, Cincluding an $8,500 hammer price at Nadeau’s Auction Gallery, Inc., in 2006. Yet she, like many fellow women artists, has been overlooked in the art history realm. When you search for her entry in the Benezit Dictionary of Artists, for example, the result is: “See PERRY, Walter Scott”—her husband. Lilian Westcott Hale (1880-1963), Portrait of a Lady (The Veil). Pencil and charcoal on paper, 9 x 7 in. Clara Perry’s work, along with two dozen pieces by women artists active in the late considered in the context of her women they were, and to shine a light 19th and early 20th centuries, is spotlighted husband’s,” says Hawthorne Fine Art on their singular talents.” in the new Hawthorne Fine Art Electrical senior researcher Courtney Anne The exhibition title comes from in Movement: American Women Artists at Lynch. “This is the perfect example for Margaret Fuller’s quote, “The especial Work exhibition in New York City. the motivation behind the Electrical in genius of women I believe to be “It’s not the case we know nothing Movement exhibition: it aims to bring electrical in movement, intuitive in about Clara or her life—rather, her figures like Clara out of the shadows, function, spiritual in tendency,” from the life and work are almost exclusively to consider them for the independent 1845 publication Woman in the Nineteenth

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Hawthorne.indd 102 10/7/15 2:47 PM Marguerite Zorach (1887-1968), Flowers and Shells. Oil on canvas, 23½ x 19½ in., signed lower right.

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Hawthorne.indd 103 10/7/15 2:47 PM Alice Hirsch (1888-1935), Chrysler Building, 1931. Oil on canvas board, Clara Perry (1870-1941), Tree in Bloom. Oil on board, 14 x 11 in., 16 x 12 in., signed lower right, titled and dated: ‘1931’. signed lower right.

Century. In the essay, Fuller advocated century was a complicated time for the exhibition’s artists had as pillars of self-reliance among women for achieving women artists, who actively pursued their artistic communities. Palmer, for equality with their male counterparts, a training and exhibited their work example, was the first woman president sentiment evident in the exhibition. but were often unable to make art of the Chicago Society of Artists and “While researching the exhibition, their professions because of societal was a constant feature in Chicago-area I came to find these women were circumstance and the emphasis of women newspapers throughout the 1920s and almost unanimously strong-minded, living in domestic roles. Artists such as ’30s, where she was covered as a well- strong-willed art critics and outspoken these in the exhibition include Sarah loved teacher, advocate and champion advocates for women in general who, Cole and H. Sophie Loury. Cole created of the arts. Another artist, Harriet R. for whatever reason—be it the passage breathtaking Hudson River School Lumis, whose oil on canvas The Pine of time, or the societal circumstances landscapes, such as her circa 1848 oil Forest is in the exhibition, was founder under which they were working—have Ancient Column Near Syracuse, but most of the Academic Artists Association, been relegated to the background of are familiar with her brother, Thomas which advocated for realist artists. the art historical record,” Lynch says. Cole. Many female artists during this time Hawthorne Fine Art managing partner The exhibition features diverse styles, used only initials or their last name when Jennifer Krieger says her participation in from sporting works such as Elizabeth signing works to conceal their gender, the 2010 Thomas Cole National Historic Strong’s In Full Cry; to pieces showing such as Loury, who signed works, such as site exhibition Remember the Ladies: the influence of impressionism, such as her 1887 A Bevy of Quail, H.S. Loury. Women of the Hudson River School makes Maud Mary Mason’s oil View of Gramercy Artists in the early 20th century, as well her excited to again curate the art of Park [from 36 Gramercy Park East] and as the three contemporary artists who talented American women artists. Pauline Palmer’s circa 1920s oil Girl with are also in the exhibition, were more “What I have enjoyed most in Red Parasol. Mediums such as pencil and able to become professional artists and composing this show is experiencing charcoal are seen in Lilian Westcott Hale’s be publicly celebrated. One such artist, the diversity of their aesthetic Portrait of a Lady (The Veil), while Alice Marguerite Zorach, is represented in the contributions, over a span of centuries,” Hirsch’s 1931 oil Chrysler Building depicts exhibition with her oil Flowers and Shells. says Krieger, “encompassing major an iconic New York landmark at night. Lynch says during her research, she movements and a wide range of subject Lynch notes the early to mid-19th was constantly impressed with the roles matter, all handled with great success.”

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Hawthorne.indd 104 10/7/15 2:48 PM Events & Fairs Coverage of all the major art fairs and events taking place across the country.

Willard Leroy Metcalf (1858-1925), Poppy Field (Landscape at Giverny), 1886. Oil on canvas, 105/8 x 185/16 in., signed and dated lower left: ‘W.L. Metcalf/86’; signed and dated verso: ‘La Maison de Claude Monet Giverny / Looking across from the end of my garden / W.L. Metcalf’. Courtesy Questroyal Fine Art, LLC. Available at The American Art Fair in New York City, November 15-18.

PREVIEWS 106 A Focused Fair 116 Honoring Past and The American Art Fair Contemporary Masters The Olana Partnership Masters in the Morning Frederic E. Church Award Gala 112 Just Off Madison

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TOC Events.indd 105 10/7/15 3:32 PM EVENT PREVIEW: NEW YORK, NY A Focused Fair Seventeen premier dealers exhibit American 19th- and 20th-century works during The American Art Fair in New York City

environment of artwork. such as Kensett, Gifford, Cole, Church, November 15-18 The American Art Fair will run and Cropsey; also the later painters th The American Art Fair November 15 to 18 at the Bohemian of the 19 -century landscape: Inness, Bohemian National Hall National Hall, with an invitation- La Farge, Whistler; also after that the 321 E. 73rd Street only Gala Preview on November impressionists: Chase, Hassam, Benson, New York, NY 10021 14 that marks the beginning of Tarbell, Theodore Robinson; we move th www.theamericanartfair.com American Art Week. Participants include from that to the late 19 -century figure Adelson Galleries; Avery Galleries; painters and into the early modernist Driscoll Babcock Galleries; Conner • painters of the Stieglitz school.” Rosenkranz, LLC; DC Moore Gallery; Questroyal Fine Art, located on Park ith a focus on everything Debra Force Fine Art; Forum Gallery; Avenue in New York City, will present from the Hudson River Godel & Co. Fine Art; Hirschl & Adler a number of works at the fair, including WSchool to Stieglitz Circle, Galleries; James Reinish & Associates; several landscape and city scenes. Among The American Art Fair brings among the John H. Surovek Gallery; Jonathan the gallery’s offerings are Sanford best in American 19th- and 20th-century Boos; Menconi + Schoelkopf; Meredith Robinson Gifford’s 1861 oil on canvas artwork together under one roof. The Ward Fine Art; Questroyal Fine Art, The Wilderness; Willard Leroy Metcalf’s fair, now in its eighth year, was formed LLC; Thomas Colville Fine Art; and Poppy Field (Landscape at Giverny) from with this specific concentration in Thomas Veilleux Gallery. 1886, when the artist lived and studied mind to distinguish itself from more “The majority of the works are going art in Europe; and Paris, at the Opera contemporary events and to coincide to span from about 1850 to 1950,” House by Childe Hassam, who painted with the major art auctions that take Thomas Colville, owner of Thomas the work in 1888 while he lived abroad. place during American Art Week in New Colville Fine Art and co-founder “The American Art Fair gives both York City. Today, 17 historic fine art of The American Art Fair, says of the dealers and collectors an opportunity to dealers exhibit at The American Art Fair, offerings during the four-day event. see the best of what’s available on the creating an intimate and well-curated “[Included are] Hudson River painters market, all in one venue,” says Brent L. Salerno, co-owner of Questroyal Fine Art. “We continue to buy aggressively and are excited to exhibit many new acquisitions that represent quality at competitive values.” Katherine W. Baumgartner, director of Godel. & Co. Fine Art, shares a similar sentiment to Salerno when commenting on the fair. Baumgartner says, “Our clients always look forward to [The American Art Fair], as it gives them the opportunity to see exceptional American art from the best and most knowledgeable dealers in the field, all under one roof.”

Charles E. Burchfield (1893-1967), Lilacs No. 2, 1939-63. Watercolor on pieced paper, 33 x 45 in., signed and inscribed with estate stamp at lower center: ‘C. BURCHFIELD / 10 / FOUNDATION’. Courtesy Hirschl & Adler Galleries.

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The Am Art Fair.indd 106 10/7/15 3:07 PM Sanford Robinson Gifford (1823-1880), The Wilderness, 1861. Oil on canvas, 121/16 x 223/16 in., signed and dated indistinctly lower left: ‘S R Gifford 1861’. Courtesy Questroyal Fine Art, LLC.

Willard Leroy Metcalf (1858-1925), My Wife and Daughter (Summer at Waterford), 1917-18. Oil on canvas, 29¼ x 33 in. Courtesy Avery Galleries.

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The Am Art Fair.indd 107 10/7/15 3:07 PM Werner Drewes (1899-1985), Lighthouse and John Singer Sargent (1856-1925), Pomegranates Majorca, 1908. Oil on canvas, 22½ x 28½ in. Gulls, 1948. Oil on canvas, 28 x 18 in., signed Courtesy Jonathan Boos. lower right: ‘DREWES 48’. Courtesy Thomas Colville Fine Art.

Asher B. Durand (1796-1886), Catskill Mountains Near Shandaken, ca. 1853. Oil on canvas, 18 x 26 in. Courtesy Driscoll Babcock Galleries.

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The Am Art Fair.indd 108 10/7/15 3:07 PM Thomas Anshutz (1851-1912), Woman Reading at a Desk, ca. 1910. Oil on canvas, signed lower right. Courtesy Godel & Co. Fine Art.

Godel & Co. Fine Art, which recently Jervis McEntee, and Jasper Francis at Waterford), 1917-18, and Frederick moved to a new location at York Avenue Cropsey. Among the artwork displayed MacMonnies’ Woman in Red from 1902. and 74th Street, will bring to the event will be Woman Reading at a Desk, by “We look forward to The American Art still lifes by Martin Johnson Heade, John Anshutz, which shows a young woman Fair ever year,” says Richard Rossello, F. Peto, William Harnett, and Severin in period dress intently reading a book. owner of the gallery. “It’s always Roesen; figurative pieces by Thomas Avery Galleries, with showrooms the most exhilarating collection of Wartman Wood, Thomas Anshutz, Lilla in Bryn Mawr, Pennsylvania, and New American paintings on the market, and Cabot Perry, and Louis Ritman; and York City, will exhibit works such as we are privileged to be a part of it.” landscapes by George Henry Durrie, Metcalf’s My Wife and Daughter (Summer In addition to the exhibitor booths,

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The Am Art Fair.indd 109 10/7/15 3:07 PM John Singer Sargent (1856-1925), Portrait of Charles Alexander Giron, ca. 1884. Oil on canvas, 25½ x 195/8 in. Courtesy Debra Force Fine Art.

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The Am Art Fair.indd 110 10/7/15 3:08 PM John Marin (1870-1953), Movement in Greys and Yellows, 1946. Oil on canvas, 22 x 28 in. Courtesy Meredith Ward Fine Art.

The American Art Fair will host two special lectures. Writer and historian Avis Berman will present Distilling the American Flavor: Gertrude Vanderbilt Whitney, Juliana Force and the Making of the Whitney Museum on November 15 at 2 p.m. Then, November 18 at 4 p.m., Stephanie L. Herdrich, assistant research curator at the Metropolitan Museum of Art, will hold a lecture titled Collecting Sargent: Posers and Patrons in the Gilded Age, which corresponds to the museum’s recent exhibition on John Singer Sargent. The American Art Fair is open November 15 from noon to 8 p.m., and November 16 to 18 from noon to 6 p.m. Admission to the fair and the lectures are complimentary. American Fine Art Magazine is a proud media sponsor of the annual fair.

Hiram Powers (1805-1873), America, 1850. Marble on original socle, ed. of 28, 28 x 19½ x 14 in., signed rear of socle: ‘H.Powers Sculp.’. Courtesy Conner • Rosenkranz, LLC.

Milton Avery (1885-1965), Garden Basket, 1949. Oil on canvasboard, 24 x 17¾ in. Courtesy DC Moore Gallery.

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The Am Art Fair.indd 111 10/7/15 3:08 PM EVENT PREVIEW: NEW YORK, NY Masters in the Morning Upper East Side art walk of private dealer spaces debuts new time with a breakfast open house during American Art Week

November 18, 9 a.m.–noon Just Off Madison New York, NY www.justoffmadison.com

his November, during American Art Week in New York City, the TJust Off Madison art walk will will have its first-ever morning event to accommodate an evening American art auction. Taking place Wednesday, November 18, from 9 a.m. to noon, Just Off Madison will feature a breakfast open house. Thirteen private dealers participate in the event, including Betty Krulik Fine Art, Ltd.; Jonathan Boos; Menconi + Schoelkopf; Conner • Rosenkranz, Irving Ramsey LLC; MME Fine Art, LLC; Debra Wiles (1861-1948), Force Fine Art, Inc.; James Reinish & White Sloop, Peconic Associates, Inc.; and Meredith Ward Bay, 1907. Oil on canvas, 21 x 28 in. Fine Art, among others. Signed and dated. Betty Krulik, owner of Betty Krulik Courtesy MME Fine Fine Art, will have various works Art, LLC. available, beyond the usual inventory for the event. “I am thrilled to have quite a number of modern works including Lucas Samaras, John Graham, Norman Bluhm, and Richard Pousette-Dart,” she says. “Together with works by American Hudson River through impressionist works, for which I am

generally known, I can show the Stanton breadth of American creativity.” MacDonald- Mark Ostrander, director of Wright (1890- Conner • Rosenkranz, says Just Off 1973), II Sole 2 Edissi , 1971. Madison, now in its eighth year, has Watercolor on been held long enough that clients paper, 267/10 x 20½ anticipate and plan for the event. in. Signed and dated lower right. “As private galleries, we offer Courtesy Betty access to objects and paintings of the Krulik Fine Art, Ltd.

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Just Off madison.indd 112 10/7/15 2:49 PM HOW TO FIND US

1. TAYLOR | GRAHAM: 32 E. 67th Street, New York, NY 10065 2. Jonathan Boos: 801 Madison Avenue, New York, New York 10065 9 3. Debra Force Fine Art, Inc.: 13 E. 69th Street, Suite 4F, New York, NY 10021 Menconi + Schoelkopf: 13 E. 69th Street, Suite 2F New York, NY 10021 David Tunick, Inc.: 13 E. 69th Street, New York, NY 10021 4. Lois Wagner Fine Arts, Inc.: 15 E. 71st Street, Suite 2A, New York, NY 10021 Kraushaar Galleries: 15 E. 71st Street, 8 Suite 2B, New York, NY 10075 7 5. Betty Krulik Fine Art, Ltd.: 50 E. 6 72nd Street, Suite 2A, Harriet Hosmer (1830-1908), Puck on a Toadstool, ca. 1856. Marble New York, NY, 10021 on original wood, gesso and faux marble pedestal, 31 x 16¼ x 16¾ in.; 36 x 18¾ x 18¾ in. (original pedestal). Signed rear of self-base: Avery Galleries: ‘Harriet Hosmer Fecit Romae’. Courtesy Conner • Rosenkranz, LLC. 50 E. 72nd Street, Apt. 2A, New York, NY 10021 6. James Reinish & Associates: 5 25 E. 73rd Street, 4 2nd Floor, New York, NY 10021 7. Meredith Ward Fine Art: 44 E. 74th Street, Suite G, New York, NY 10021 8. Conner • Rosenkranz, LLC: 19 E. 74th Street, 3 New York, NY 10021 9. MME Fine Art, LLC: 74 E. 79th Street, PH 18B, New York, NY 10075

1 Otis Kaye (1885-1974), Checks and Balances, 1959. Oil on board, 34 x 31 in. Signed and dated: ‘O.KAYE 1959’. Courtesy Menconi + Schoelkopf.

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Just Off madison.indd 113 10/7/15 2:50 PM highest quality in intimate settings— an experience very unlike art fairs or auction. Attendance is always good and we look forward to the evening,” Ostrander says. Every Just Off Madison provides an opportunity for MME Fine Art, LLC to share recent acquisitions with enthusiastic collectors of American fine art, says Elizabeth M. Stallman, principal of MME Fine Art. “It is always a pleasure to welcome clients and friends to our homelike salon, and we are very happy to be a part of this popular biannual event,” she says. “On display will be wonderful examples by James Buttersworth, William Trost Richards, Irving Ramsey Wiles, J.G. Tyler, Antonio Jacobsen, Aldro Thompson Hibbard, Sanford Robinson Gifford, and many more important American artists.” Meredith Ward Fine Art will have a selection of mid-20th-century abstraction available during American Art Week. “This is a field that has been growing in popularity in recent years as collectors expand their interests and move more into the 1930s and 1940s,” says Meredith Ward, owner of the gallery. “We’ve had a great deal of success with it and are excited to discover new works by these artists all the time.” Menconi + Schoelkopf will exhibit pieces by members of the Stieglitz Circle as well as the American Abstract Artists group and the Park Avenue Cubists, from 1910 to 1935. “Those dates of ‘pre-war American modernism’ aren’t hard and fast by any means—we will also have on view a later, circa 1980, collage by Romare Bearden, as well work by the fantastically interesting— and under-known—Otis Kaye,” says Jonathan Spies of Menconi + Schoelkopf. Debra Force Fine Art will showcase works by George Bellows, Charles Burchfield, William Merritt Chase, Walter Gay, William Glackens, Robert Henri,

Top: Gertrude Barrer (1921-1992), Untitled Abstraction, ca. 1940s. Watercolor, ink and gouache on paper, 15 x 22 in. Courtesy Meredith Ward Fine Art. Left: Norman Lewis (1909-1979), Untitled, 1967. Oil on canvas, 61 x 36 in. Signed and dated lower left. Courtesy Jonathan Boos.

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Just Off madison.indd 114 10/7/15 2:50 PM Guy Pène du Bois (1884-1958), The Puritan, ca. 1945. Oil on canvas, 18 x 22 in. Courtesy Debra Force Fine Art, Inc.

Edward Hopper, Alfred Maurer, John Frederick Peto, Everett Shinn, Julian Alden Weir, and Andrew Wyeth. “We look forward to seeing both our local and visiting collectors and curators at the gallery during an exciting week of American art events,” says Bethany Dobson, director at Debra Force Fine Art. All dealers participating in Just Off Madison are located between Fifth and Park avenues from East 67th to 79th streets.

Stuart Davis (1892-1964), Art Space #1, 1940. Oil on canvas, 10 x 14 in. Signed upper right: ‘STUART DAVIS’; signed on bottom stretcher: ‘STUART DAVIS’; dated and inscribed on top stretcher: ‘ART SPACE #1 JAN/1940’. Courtesy James Reinish & Associates, Inc.

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Just Off madison.indd 115 10/7/15 2:51 PM EVENT PREVIEW: NEW YORK, NY Honoring Past and Contemporary Masters The Olana Partnership Frederic E. Church Award Gala celebrates the mission of the National Historic Landmark

November 17, 7 p.m. The Metropolitan Club 1 E. 60th Street New York, NY 10022 t: (518) 828-0135 www.olana.org

he Olana Partnership, which works to ensure the restoration Tand conservation of National Historic Landmark Olana—the home, studio and designed landscape of Self-Portrait (Yellow Raincoat), by Chuck Close in Silver River- Hudson, by Maya Lin, in the Sitting Frederic Edwin Church—kicks off its the stair hall of the Main House at Olana. Room of the Main House at Olana. © Peter © Peter Aaron/OTTO. Aaron/OTTO. 50th anniversary season with the Frederic E. Church Award Gala November 17 at the Metropolitan Club in New York Partnership Chairman David Redden, May Lin, and Martin Puryear, one of the City. The gala includes a cocktail hour, as well as an awards ceremony featuring gala’s honorees. dinner and a live auction by The Olana honorees who have made outstanding Sawyer says he looks forward to accomplishments in the fields associated Olana’s growth, as it embodies Church’s with Church’s endeavors. Around 300 vision as a leader of the Hudson River people are expected to attend the event, School and an early environmentalist, in which has taken place for the past decade. that it encompasses the remarkable house “This is a signal opportunity for and collections, the 250-acre picturesque The Olana Partnership to honor those landscape and the stunning, sweeping who make our world a better and more 360-degree views—as if visitors are beautiful and inspiring place,” says Sean E. walking through a three-dimensional Sawyer, Washburn and Susan Oberwager Hudson River School painting. President of The Olana Partnership, “I love this place that is the creation who was appointed this past May after of a brilliant artistic mind,” Sawyer says. a national search. “The funds raised are “Its essential beauty is astounding, but absolutely critical to our work to preserve its ephemeral beauty is revelatory and all of Olana—the art, architecture, constantly changing with the time of landscape and viewshed—and to interpret day, the weather, the seasons. I also love Church’s vision through our exhibitions that it’s at the center of contemporary and programs.” artistic endeavor in the Hudson Valley and Future plans for the site include that it’s just two hours from New York restoring its historic farm and landscape, City—this was so essential to Church’s as well as continuing to collaborate endeavors, as it is to ours today.” and connect with contemporary To purchase tickets to the black tie artists. The site’s current exhibition event, email [email protected]. through November 1, River Crossings: American Fine Art Magazine is a proud The new Wasburn and Susan Oberwager President of The Olana Partnership, Sean E. Contemporary Art Comes Home, includes media sponsor of The Olana Partnership Sawyer, Ph.D. Photo by Martyn Gallina-Jones. works by artists such as Chuck Close, Frederic E. Church Award Gala.

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Olana.indd 116 10/7/15 4:15 PM Museum Exhibitions Insights from top curators about the major exhibitions of historic American art being organized at key American museums.

Jervis McEntee (1828-1891), The Danger Signal (detail), 1871. Oil on board, 16 x 24½ in. Courtesy Lois Wagner Fine Arts. On view at the Samuel Dorsky Museum of Art.

PREVIEWS

A Place in the Sun McEntee: Poetry in Nature 118 The Southwest paintings of Walter Ufer 122 Jervis McEntee’s paintings are brought out and E. Martin Hennings are exhibited of obscurity and shown at the Samuel Dorsky at the Denver Art Museum Museum of Art 117

TOC Museums.indd 117 10/7/15 4:15 PM MUSEUM PREVIEW: DENVER, CO A Place in the Sun The Southwest paintings of Walter Ufer and E. Martin Hennings are exhibited at the Denver Art Museum

by James D. Balestrieri Rolshoven to their number), called December 13-April 24, 2016 harp. Blumenschein. Higgins. themselves the Taos Society of Artists. Denver Art Museum Dunton. Phillips. Couse. From 1915 to 1927, living and working 100 W. 14th Avenue Parkway SBerninghaus. Ufer. Hennings. in Taos, New Mexico, the Taos Society Denver, CO 80204 Western art’s answer to the Avengers. rambled and painted and exhibited t: (720) 865-5000 Superheroes, these nine painters, together and fed off one another’s ideas. www.denverartmuseum.org (they would later add Kenneth They attracted the best and brightest: Adams, Catharine Critcher, and Julius other artists like John Marin and Nicolai

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Ufer-Hennings_MP.indd 118 10/7/15 3:09 PM E. Martin Hennings (1886-1956), A Friendly Encounter, ca. 1922. Oil on canvas, 45 x 50 in. Denver Art Museum; The Roath Collection by exchange; William Sr. and Dorothy Harmsen Collection by exchange; funds from Henry Roath, Lanny and Sharon Martin, 2013 Collectors’ Choice, and The Second Decade Fund, 2014.28. Opposite page: Walter Ufer (1876-1936), Going East, 1917. Oil on canvas, 51 x 51 in. The Eugene B. Adkins Collection at Philbrook Museum of Art, Tulsa, and the Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, Oklahoma.

Fechin, writers like D. H. Lawrence, Museum, is a masterstroke that invites his exhibition at New York’s Macbeth aesthetes from everywhere. us to discuss—and, one hopes, argue Gallery, Ufer wrote, “I believe that if Solo shows and exhibitions of works about—the relative merits of two America gets a National Art it will featuring Taos artists are not unusual, superheroes of American art. come more from the Southwest than but a dynamic duo show, one that pairs Walter Ufer was born in Germany, from the Atlantic Board. Because we are some of the greatest works by two Taos but his family emigrated when he was really different from Europeans, and the Founders, is as eagerly anticipated as a 2 years old. Ufer took pride in being farther away from European influence, 1970s Marvel Team-Up. To pair Walter an American—he told everyone he the better for us.” The son of a master Ufer with Ernest Martin Hennings, was born here, and he came to have a engraver, Ufer came to painting after as in A Place in the Sun: The Southwest strong view of American art and the an apprenticeship in lithography. He Paintings of Walter Ufer and E. Martin central role Taos would play. In 1928, in viewed the world through the lenses Hennings, opening at the Denver Art a letter Ufer printed in the catalog for of class and race and was an avowed

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Ufer-Hennings_MP.indd 119 10/7/15 3:09 PM socialist—a position not at all incompatible with patriotism, at least not then, and his deep sympathy with the plight of working people, a sympathy that would extend to Native Americans in Taos, is reflected in the way he handles paint and point of view. Color on his canvases is as turbulent as his politics, and he places us close to his subjects, with them, among them, and they often look back at us as they go about their daily tasks. Ufer enjoyed consistent success, but the world was too much for him. He suffered from depression, was an alcoholic, and succumbed to both in 1936. Ernest Martin Hennings was born in New Jersey, but his family moved to Chicago when he was a child. No one in his family had any interest in art, but when he was 12 or 13, Hennings and a friend visited the Art Institute of Chicago, and the spark was lit. Hennings eventually studied in Munich, where he was attracted to the controlled design inspired by natural forms that had become a hallmark of the Art Nouveau movement, known in Germany as jugendstil, or “youth style.” In Munich, Hennings would meet Ufer and Walter Ufer (1876-1936), Me and Him, 1918. Oil on canvas, 40 x 36 in. Private collection.

another future Taos superhero, Victor Higgins. In contrast to Ufer, Hennings’s landscapes have a smooth, undulant quality; his idealized figures move through them, almost as if they are floating through and over the design. Both men wound up in Chicago. Both found a strong supporter in Carter Harrison, the former mayor of the city and an important patron of the arts. Harrison encouraged the young artists to travel to Taos to paint and funded their journeys. Ufer would settle in Taos around 1914 to 1915. Hennings would travel there to paint but did not settle there until 1922, when he, too, became one of the Taos Founders. Characteristically, Ufer would ultimately disdain Harrison as a capitalist who knew nothing about art. Hennings was cut from different cloth, adding patron to patron throughout his long career. Both Ufer and Hennings were political animals, but in entirely disparate ways, yet somehow they found inspiration in the same landscapes and subjects and became and remained close friends. Hennings is smooth; Ufer is rough. Hennings is a studio painter; Ufer prefers sunlight. Hennings distances; Ufer includes. Walter Ufer (1876-1936), Bob Abbott and His Assistant, 1935. Oil on canvas, 50¼ x 50½ in. Collection of the Speed Art Museum, Louisville, Kentucky, Bequest of Mrs. Walter Ufer. Hennings is control; Ufer is release. Where Ufer’s paintings are in and of time,

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Ufer-Hennings_MP.indd 120 10/7/15 3:09 PM depicting a captured present moment, Hennings wants his art to be above and outside of time itself. Perhaps, after the horrific cataclysm of World War I, there was ample room both for artists who dove into their times and for those who strove to escape time. For Ufer, life is a struggle. The Taos Indians are waging a losing struggle, pitting their traditional culture against the present and future. Ufer paints in the first and second person; there’s always a defined “I” in his paintings, a subject, as well as a “you,” the viewer. Hennings, however, paints in the third person. For Hennings, Taos is a lost, hidden paradise, a place we are already detached from; like a magician, he pulls the curtain back on it, briefly allowing us to glimpse Eden from a distance. Where Ufer’s point of view is political, Hennings seems to see Taos in almost religious terms. Stand two of their works easel by easel, and you see this. In Ufer’s Me and Him, we interrupt some tough agricultural work. E. Martin Hennings (1886-1956), Passing By, ca. 1924. Oil on canvas, 44 x 49 in. Museum of Fine Arts, Houston, Texas; Gift of the Ranger Fund, National Academy of Design / Bridgeman Images. Despite the gorgeous dappled sky, it’s a hot day, and those green bands of tilled fields don’t come easy. You can hear the two men say, “Really?” and “Are you done yet?” Each fold and crease in their shirts and brows is earned; the painting oozes with both the suffering and the dignity of humanity. Now consider Hennings’s Through the Greasewood. Three mounted Indians zig-zag through a dreamy, sun- frosted landscape set in motion by the breeze. At far right, one of the riders notices us dispassionately. Where they are going, or why, is unclear. They know, but we do not, nor do we need to. What we see is all we’re going to see. There is no engagement for us beyond our grasp of the beauty of the reverie. “Ufer is visceral.” “But Hennings is beautiful.” Thor or Captain America? Iron Man or Hulk? Just as in those endless schoolyard debates, arguing whether Ufer or Hennings is tops won’t produce a winner. A superhero is a superhero, after all. But such comparison forces us to hone our critical skills as lovers of art and tells us a great deal, not, ultimately, about who Ufer and Hennings were, but about who we are. May the galleries in the exhibition E. Martin Hennings (1886-1956), Through the Greasewood, ca. 1922. Oil on canvas, 45 x 43 in. ring with honest give-and-take. But let’s Collection of Richard and Nedra Matteucci. use our inside voices, shall we?

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Ufer-Hennings_MP.indd 121 10/7/15 3:09 PM MUSEUM PREVIEW: NEW PALTZ, NY

McEntee: Poetry in Nature Jervis McEntee’s paintings are brought out of obscurity

Through December 13 Samuel Dorsky Museum of Art State University of New York at New Paltz 1 Hawk Drive New Paltz, NY 12561 t: (845) 257-3844 www.newpaltz.edu/museum

ervis McEntee: Painter-Poet of the Hudson River School, the first J public exhibition of the breadth of his work since a memorial exhibition in 1891, is now at the Samuel Dorsky Museum of Art at State University of New York at New Paltz. The museum’s director, Sara J. Pasti, describes his work as “subdued yet intense.” The exhibition’s curator, Lee A. Vedder, contrasts his work with Frederic Edwin Church’s “penchant for large panoramic landscapes and grandiose atmospheric spectacle. Rather, quiet meditations on the autumn season and the thoughts and moods of a landscape interested him most as a painter.” McEntee (1828-1891) heard less complimentary comments. In a letter to George William Sheldon, author of American Painters, he wrote, “Some people call my landscapes gloomy and disagreeable. They say that I paint the sorrowful side of Nature, that I am attracted by the shadows more than by the sunshine. But this is a mistake. I would not reproduce a late Napoleon Sarony (1821-1896), Jervis McEntee, ca. 1867. Albumen silver print, November scene if it saddened me or 95/16 x 713/16 in. The Century Association, New York. seemed sad to me. In that season of the year Nature is not sad to me, but his graphite drawings, typical of the Sheldon, McEntee comments, “What quiet, pensive, restful. She is not dying, finely observed studies of nature that I do like to paint is my impression of but resting.” are an often overlooked treasure of the a simple scene in Nature. That which The exhibition contains several of Hudson River School. In his letter to has been suggested is more interesting

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Jervis McEntee.indd 122 10/7/15 2:53 PM Jervis McEntee (1828-1891), Mist Rising Near New Paltz, ca. 1861. Oil on panel, 18 x 23¾ in. Barrie and Deedee Wigmore.

than that which has been copied. The copying that an artist does should appear in a study rather than in a picture proper. In all my studies you will see servile copying; for example, in my tree-drawings I have produced every little twig and leaf, and the knowledge so obtained is used afterward for the purpose of suggesting.” The title of the exhibition refers to him as a “painter-poet.” His poetic approach to the landscape is evident in a further passage in his letter to Sheldon: “I look upon a landscape as I look upon a human being—its thoughts, its feelings, its moods, are what interest me; and to these I try to give expression. What it says, and thinks, and experiences, this is the matter that concerns the landscape-painter. All art is based upon a knowledge of Nature Jervis McEntee (1828-1891), Vermont Sugaring, ca. 1874. Oil on canvas, 20 x 30 in. Hawthorne Fine Art, LLC, New York. and a sympathy for her; but in order 123

Jervis McEntee.indd 123 10/7/15 2:54 PM Jervis McEntee (1828-1891), Autumn Reverie, 1880. Oil on canvas, 201/8 x 317/8 in. David and Laura Grey Collection.

Jervis McEntee (1828-1891), View Facing the Catskills, 1863. Oil on canvas, 161/8 x 32 in. Jervis McEntee (1828-1891), Autumn, Private collection. ca. 1862. Oil on canvas, 18 x 151/8 in. The Century Association, New York.

to represent her, it is not necessary to study with Church, who wrote full academician. to make a thing exactly like a thing. to McEntee’s sister after his death, Vedder concludes her catalog Imitation is not what we want, but “You have lost a brother and I a essay, “In cultivating an ever more suggestion…” lifelong friend—a man pure, upright contemplative, spiritual and poetic vision Typical of his paintings of fleeting and as modest as he was gifted...” of nature’s landscape, McEntee both moments and vignettes rather than He exhibited his first painting at exemplified and transcended the artistic sweeping, dramatic vistas is Mist Rising the National Academy of Design in precepts of the Hudson River School, Near New Paltz, circa 1861. 1850 before he began his studies with creating a singular aesthetic all his own.” He was born in the Hudson River Church. In 1860, he was elected an The exhibition continues at the Valley and went to New York in 1850 associate of the academy, and in 1861, a museum through December 13.

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Jervis McEntee.indd 124 10/7/15 2:54 PM Auctions Major works coming up for sale at the most important auction houses dealing in historic American art.

Stuart Davis (1892-1964), Composition, 1940 (detail). Oil on canvas, 8 x 12 in., signed lower right: ‘Stuart Davis’. Estimate: $300/500,000. Available at the Christie’s American Paintings Sale, November 19 in New York City. Courtesy Christie’s Images Ltd. 2015. PREVIEWS American Giants Variety of Offerings 126 Christie’s American Paintings Sale 154 Michaan’s Auctions’ Fine Art, Furniture, Decorative Arts and Jewelry Auction From Private Hands 132 Bonhams’ American Art Auction Magnificent Trio 156 Sotheby’s American Art Auction Wyeth Wonders 136 Freeman’s American Art & Pennsylvania Joint Auction Preview Impressionists Auction 158

REPORTS American Masterpieces 140 Heritage Auctions’ American Midseason Achievements Art Signature Auction 160 Christie’s American Art Auction

144 Immersed in History Significant Offerings Dallas Auction Gallery’s Fall Fine Art Sale 162 Spark Interest Leslie Hindman Auctioneers’ American Glimpses of the West and European Art Auction 148 Santa Fe Art Auction Joint Auction Report High Expectations 164 152 Bonhams’ California & Western Paintings & Sculpture Sale 125

TOC Auctions.indd 125 10/7/15 5:20 PM AUCTION PREVIEW: NEW YORK, NY

American Giants Thomas Moran, Norman Rockwell, and William Merritt Chase loom large at Christie’s American Paintings Sale November 19 in New York City

or the past 17 years, the National Saturday Evening Post on May 25, 1946. November 19 Press Club Journalism Institute On November 19, the painting will Christie’s Fhas had Norman Rockwell’s cross the auction block at Christie’s in painting Norman Rockwell Visits a New York City, where it is estimated 20 Rockefeller Plaza New York, NY 10020 Country Editor hanging proudly in the to fetch between $10 million and $15 t: (212) 636-2000 space it shares with the National Press million. The painting is being sold by www.christies.com Club in Washington, D.C. The painting, the National Press Club Journalism at nearly 3 feet wide by 5 feet long, Institute, with the approval of the was gifted to the National Press Club National Press Club, and the proceeds by Rockwell himself after it ran in The from the sale will benefit both

George Wesley Bellows (1882-1925), The Dock, 1913. Oil on panel, 15 x 19½ in., signed lower right: ‘Geo Bellows’; signed again and inscribed with title verso. Estimate: $1.5/2.5 million

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ChristiesAuction.indd 126 10/7/15 6:42 PM Charles Sheeler (1883-1965), Ore into Iron, 1953. Tempera and pencil on paper laid down on board, 9 x 67⁄8 in., signed and dated lower left: ‘Sheeler/1953’; signed and dated again and inscribed with title on the backing. The Kayden Collection. Estimate $150/250,000

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ChristiesAuction.indd 127 10/7/15 6:30 PM Stuart Davis (1892-1964), Ways & Means, 1960. Oil on canvas, 24 x 32 in., signed lower left: ‘Stuart Davis’; signed again, dated and inscribed with title on stretcher: ‘1960’. The Kayden Collection. Estimate: $2/3 million

nonprofit organizations. “By 1946, not only had Rockwell’s myriad covers of the Post captured the imagination of the nation, but the artist himself was becoming a celebrity in his own right,” says Elizabeth Beaman, Christie’s head of American art. “Perhaps just as importantly, Rockwell’s work adopted a new sense of earnestness in order to more accurately reflect the realities that many faced in post-War America. While Rockwell’s classic sense of idealism remained intact, his imaginative images confronting issues of the present allowed the public to identify with his interpretation of life in America.” The painting is classic Rockwell, depicting a small-town America newsroom of the first half of the 20th century. The scene of this painting, Marsden Hartley (1877-1943), Camden Hills from Baker’s Island, 1938. Oil on canvas, 21½ x 27½ in., though, is the office of the Monroe signed with initials lower left: ‘M.H.’ Estimate: $1/1.5 million County Appeal, based in Paris, Missouri.

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ChristiesAuction.indd 128 10/7/15 6:31 PM Georgia O’Keeffe (1887-1986), Grapes No. 2, 1927. Oil on canvas, 16 x 12 in., signed and dated verso: ‘Georgia OKeeffe/1927’. Estimate: $600/800,000

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ChristiesAuction.indd 129 10/7/15 6:30 PM Joseph Christian Leyendecker (1874-1951), Spring—Apollo and Animals, 1929. Oil on canvas, 281⁄8 x 211⁄8 in., signed with initials in monogram lower right: ‘JCL’; inscribed with title lower center. Estimate: $80/120,000

“The focal point of the picture, seated at the central typewriter and set before the office window, is longtime editor of the Appeal, Jack Blanton,” Beaman says. “That picture above his desk is one of his father, who founded the Appeal. The gold-star service flag hangs beneath the picture of a grandson of Blanton’s who would have succeeded him as editor if he hadn’t lost his life in the Army Air Force.” William Merritt Chase’s Sketch- Children Playing Parlor Croquet is one of the most significant pieces by this classic American artist to come up to auction in at least 10 years. According to Christie’s, the painting is “exemplary of Chase’s ability to evoke these ‘familiar moments’ customary to late 19th-century American life, as well as an impeccable manifestation of an important moment of stylistic transition in his career.” Dated around 1888, Sketch-Children Playing Parlor Croquet displays a combination of Chase’s unique set of talents and styles.

“While its dark golden and red hues place it well within the tradition of the Munich school, its rapid brushwork with glints of yellow and white suggest, in the impressionist style, that the work captures a fleeting moment of time,” Beaman says. “The fluttering white dresses of the two children reflect the light of the room and create a focal point on the left side of the picture plane, while the figures’ setting deep within the pictorial plane allows the expansive foreground to draw the eye toward the center of the work. While the work reflects a particular moment in his career, and cultural moment in American society,

Colin Campbell Cooper (1856-1937), New York Public Library. Oil on canvas, 29 x 36 in., signed lower right: ‘Colin Campbell Cooper’. Estimate: $500/700,000

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ChristiesAuction.indd 130 10/7/15 6:31 PM Georgia O’Keeffe (1887-1986), Brooklyn Bridge, 1949. Charcoal and Georgia O’Keeffe (1887-1986), Leaves Under Water, 1922. Oil on chalk on paper, 397⁄8 x 29½ in. Estimate: $250/350,000 canvas, 91⁄8 x 61⁄8 in. Estimate: $300/500,000 Images courtesy Christie’s Images Ltd. 2015.

Chase masterfully imbues the scene the lyrical and expressive canvases of in New York City. She also wrote the with a timeless elegance.” Pollock but is representative of the catalog for the 1958 exhibition of Several important paintings by Stuart persistent re-evaluation of the themes Stieglitz’s work at the National Gallery Davis will also surely draw the eye of Davis had explored throughout his of Art in Washington, D.C. experienced American art collectors as career and his pursuit of the Cubist Of the group of O’Keeffe’s works, well as crossover collectors from other doctrine of ‘alloverness.’” Ways & Means Grapes No. 2 carries the highest fields. Davis was an early American carries a pre-auction estimate of $2 estimate, between $600,000 and modernist, who studied with Robert million to $3 million. $800,000. The painting is “a striking Henri and was one of the youngest The November sale also includes still life of dark purple grapes, which American painters to exhibit in the a grouping of Georgia O’Keeffe seem to push forward out of the picture famed 1913 Armory Show. paintings from the collection of Doris plane. It is a beautiful study of line, Davis’ painting Ways & Means Bry. Bry was a leading authority on color and the relation of forms in space. “represents an important culmination the works of O’Keeffe and Alfred The work is one of three grape still of Davis’ artistic exploration,” Beaman Stieglitz. Bry began working with lifes O’Keeffe painted in the 1920s says. “Unlike his abstract expressionist O’Keeffe in 1946, and she became and is noteworthy as the only vertical contemporaries, most notably Jackson “integral to the sale of O’Keeffe’s composition.” Pollock, Davis’ mature work is defined artworks and the creation and Thomas Moran’s Jupiter Terrace, by abstract imagery that was rooted in organization of her record binders.” In Yellowstone dates to 1893 and is a ‘bold assimilation of the environment,’ 1970 Bry, along with Lloyd Goodrich, later addition to the November sale. which he deemed the ‘classic function curated the traveling exhibition of The painting is 20 by 30 inches and of art.’ The energy and vitality depicted O’Keeffe’s work, which began at the is expected to bring in between $4.5 in works such as Ways & Means parallels Whitney Museum of American Art million and $5.5 million.

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ChristiesAuction.indd 131 10/7/15 6:31 PM AUCTION PREVIEW: NEW YORK, NY

From Private Hands Bonhams’ November 18 American Art auction is highlighted by art from two collections, as well as items from various owners

uring the November 18 and more; and 22 Western artworks November 18 American Art sale at Bonhams from the collection of Patrick Anson Bonhams Din New York City, items Doheny, which prominently features from two prominent art collections C.M. Russell watercolors. Rounding 580 Madison Avenue New York, NY 10022 will arrive to market. Featured will be out the auction, which will have in t: (212) 644-9001 property from the collection of Dr. excess of 120 total lots, are items from a www.bonhams.com John Driscoll, including modernism, variety of other owners. Ashcan examples, 19th-century works, Offered from the Driscoll collection is George Benjamin Luks’ Copley Square, Boston, from circa 1904. Estimated at $300,000 to $500,000, the piece is an exemplary Ashcan painting by the artist. Kayla Carlsen, director of American art at Bonhams, explains of the piece, “[It is] one of the best Ashcan pictures that has come to market in a long time. A lot of the work is in institutions and private collections.” Depicting a nighttime scene of Copley Square in Boston, Carlsen says the work has both aesthetic and historic appeal. “The general aesthetic has dramatic color, with the deep blues and golds and yellows,” she explains. “Copley Square in Boston is significant because a lot of Ashcan artists worked in Boston and New York City. It’s rare to get a city scene from one of these artists…There are a couple of things I’d say are working for it. The George Luks market in general hasn’t had a tremendous amount of strong material come up recently, maybe a few select pieces. For the most part, nothing this important has come to market in the last few years.” Also among the property from the Driscoll collection is Color Sketch for Drake University Mural (Study for Allée) No. 2 by Stuart Davis. Completed in 1954, the rendering was the third Marsden Hartley (1878-1943), Calla Lilies in a Vase. Oil on canvas, 24 x 19¾ in., signed and dated on verso: ‘Marsden Hartley/1928’. Estimate: $300/500,000 of four created for the artist’s work at Drake University, and the second

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Bonhams.indd 132 10/7/15 6:32 PM Childe Hassam (1859-1935), The Cove, Isles of Shoals. Oil on canvas, 25¼ x 30¼ in., signed and dated lower right: ‘Childe Hassam 1901’. Estimate: $400/600,000

Stuart Davis (1892-1964), Color Sketch for Drake University Mural (Study for Allée) No. 2, 1954. Gouache on photostat, 8 x 35 in. Estimate: $300/500,000

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Bonhams.indd 133 10/7/15 6:32 PM color sketch of the grouping. Davis’ is another item from the Driscoll are Scouting Party (est. $300/500,000), piece is estimated for $300,000 to grouping. “In general, oils by Marin Women of the Plains (est. $250/350,000), $500,000. are rare,” says Carlsen. “He worked Indians Scouting (est. $150/250,000) Modernist selections, including most extensively in watercolor. It’s and A Crow Chief (est. $80/120,000), art by Marsden Hartley and Charles nice to have this come up in this along with others. Also in the sale Sheeler, are also prominent among the medium.” is the painting Buffalo Herd (est. works collected by Driscoll. Two still Among the 22 offerings from the $200/300,000). life paintings by the artists will hit the Doheny collection are 18 Russells— “This one I find interesting simply block: Hartley’s Calla Lilies in a Vase and including 12 watercolors and a because of the lack of figures,” Carlsen Sheeler’s Tulips – Suspended Forms. The bronze—and a bronze and work says of Buffalo Herd. “It’s not typical, but pieces each carry a presale estimate of on paper by Frederic Remington. the stampede of buffalo creates a nice $300,000 to $500,000. Russell was widely recognized for illusion of the West. It’s really meant to John Marin’s Sea in Red (Version II), his depictions of Native Americans sort of look back at the West prior to a 22-by-28-inch oil on canvas that is on the Plains, with a number of the inhabitation by the cowboys.” estimated at $200,000 to $300,000, watercolors fitting this theme. Included Remington pieces coming from the Doheny collection are the bronze The Cheyenne (est. $80/120,000), and the illustration Choose Whichever One of These Barkers You Want (est. $40/60,000) that was created for the October 17, 1891, issue of Harper’s Weekly. Outside of the collections is Childe Hassam’s The Cove, Isles of Shoals (est. $400/600,000) from the estate of Michael St. Clair of New York, who was once the proprietor of Babcock Galleries. “It’s a fairly large scale work, and it’s of the cove of the Isles of Shoals, which was one of the artist’s favorite summer destinations,” Carlsen says. Henrietta Shore’s Semi-Abstraction No. 8 (est. $100/150,000) comes to market from a private collection in Northern California. “She is very, very rare to come to market,” Carlsen shares. “Only recently have a handful surfaced, and very little in terms of large-scale oils have been offered at auction.” A small selection of illustration art from various owners also will be available in the sale. Of note is Joseph Christian Leyendecker’s Christmas (est. $100/150,000), which was painted for the December 24, 1927, Christmas issue of The Saturday Evening Post.

Charles Sheeler (1883-1965), Tulips – Suspended Forms. Tempera and conté crayon on paper, 20 x 15½ in., signed and dated lower right: ‘Sheeler/1922’. Estimate: $300/500,000

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Bonhams.indd 134 10/7/15 6:32 PM Charles M. Russell (1864-1926), Buffalo Herd. Watercolor on paper, 10 x 15 in., signed and dated: ‘C.M. Russell 1904’; inscribed with skull insignia lower left. Estimate: $200/300,000

George Benjamin Luks (1867-1933), Copley Square, Boston, ca. 1904. Oil on canvas, 20 x 24 in., signed lower left: ‘George Luks’. Estimate: $300/500,000

John Marin (1870-1953), Sea in Red (Version II). Oil on canvas, 22 x 28 in., signed and dated lower right: ‘Marin 48’. Estimate: $200/300,000

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Bonhams.indd 135 10/7/15 6:32 PM AUCTION PREVIEW: PHILADELPHIA, PA

Wyeth Wonders Freeman’s American Art & Pennsylvania Impressionists auction brings several Andrew and N.C. Wyeth works to the auction block

December 6, 2 p.m. Freeman’s 1808 Chestnut Street Philadelphia, PA 19103 (t): (215) 563-9275 www.freemansauction.com

everal of Andrew Wyeth’s works with a very special personal Sprovenance come to the auction block during Freeman’s American Art & Pennsylvania Impressionists auction December 6. The three works come from the estate of his childhood friend, Nancy duPont Reynolds Cooch, a sculptor who displayed several of Wyeth’s works in her home. The 1942 Winter Corn Fields, estimated to bring in between $600,000 and $800,000, is a substantially sized, rare tempera on board from the artist and is expected to be the standout lot of the more than 120 offerings at the auction. Edward Willis Redfield (1869-1965), The South Window, ca. 1941. Oil on canvas, 50 x 56 in., signed The painting depicts the same house bottom right: ‘E.W. Redfield’. Estimate: $100/150,000 in Wyeth’s Winter Fields, which was painted in the same year and same medium and is part of the Whitney New York with auctions devoted with Fruit, estimated to garner between Museum of American Art’s permanent solely to American art and a specific $25,000 and $40,000. Four Norman collection. The house belonged to John section exclusively to Pennsylvania Rockwell Brown & Bigelow pencil on Andress of Bullock Road in Chadds impressionism, Freeman’s is delighted paper illustrations will be available for Ford, Pennsylvania. Other Wyeth works to consistently present high-quality bidding, a group in a Two Old Men and from Cooch’s collection, six pieces works in various media and subject Dog series depicting favorite American of which will be represented in the matter,” says Freeman’s cataloguer pastimes such as swimming, fishing auction, are watercolors Gray Barn and and fine art department administrator and hunting. The drawings come from Young Buck, both from the 1940s and Molly Morrow. “Our December 6 a private collection in Virginia and will both estimated at between $30,000 auction will temporally span from be shown at auction for the first time and $50,000. The works join a diverse historically significant, early American during the Freeman’s event. offering, including several landscape artists, such as Rubens Peale, Gilbert “They’re typical Rockwell,” paintings by N.C. Wyeth, Andrew’s Stuart, and George Henry Durrie, up to says Alasdair Nichol, Freeman’s vice father. N.C.’s oil on canvas Country contemporary pieces by Clyde Aspevig.” chairman. “There’s a bit of humor Lane (Untitled) is estimated to bring in About 10 Aspevig works come to there, there’s great detail, and they’re between $20,000 and $30,000. the auction via a Montana collection, very charming.” Each illustration is “As the only house outside of joining Peale’s oil on canvas Still Life estimated to bring in between

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FreemansAuction.indd 136 10/7/15 3:18 PM Daniel Garber (1880-1958), The Mary Maxwell House (The Milk Wagon). Oil on canvas, 30 x 25¼ in., signed bottom left: ‘Daniel Garber’. Estimate: $150/250,000

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FreemansAuction.indd 137 10/7/15 3:18 PM N.C. Wyeth (1882-1945), Country Lane (Untitled), ca. 1922-23. Oil on canvas, 20 x 16 in. Estimate: $20/30,000

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FreemansAuction.indd 138 10/7/15 3:18 PM Thomas Eakins (1844-1916), Study of Old Man. Oil on board, 13 x 10 in., inscribed verso: ‘Study of Old Man/ painted by/ Thomas Eakins’. Estimate: $15/25,000

$60,000 and $100,000. The Freeman’s auction house is known for its prominence of Bucks County artists, including frequent standout Daniel Garber, whose oil on canvas The Mary Maxwell House (The Milk Wagon) is expected to bring in between $150,000 and $250,000. The early 20th century work portrays the house opposite of where Garber lived in Cuttalossa, Pennsylvania, and is placed in a regional frame. Another Bucks County artist, Edward Willis Redfield, is represented in the auction with his oil on canvas The South Window, estimated between $100,000 and $150,000. After the last Freeman’s American Art & Pennsylvania Impressionists auction that took place this past June and garnered $3.4 million, more than 240 percent higher sales results compared to auctions in 2013, Nichol says Freeman’s looks forward to continued interest in the genres they’ve honed and are working to expose international buyers to them.

Rubens Peale (1784-1865), Still Life with Fruit, 1863. Oil on canvas, 20 x 271⁄8 in., Norman Rockwell (1894-1978), Two Old Men and Dog: The Catch. signed bottom right: ‘Rubens Peale’. Estimate: $25/40,000 Pencil on paper, 20 x 19¼ in., signed lower right with initials. Estimate: $60/100,000

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FreemansAuction.indd 139 10/7/15 3:19 PM AUCTION PREVIEW: NEW YORK, NY

American Masterpieces Heritage Auction’s American Art Signature Auction heads to New York City with significant lots from Maxfield Parrish and Martin Johnson Heade

in Japan, boasting an impressive including a Saturday Evening Post November 16, 2 p.m. provenance that includes being part watercolor and gouache on paper, Heritage Auctions American of the American Illustrators Gallery called Norman Rockwell Visits a County in New York. Agent in Jay, Indiana. The piece is Art Signature Auction Heade’s 1867 oil on canvas Sunset: estimated to bring in between $50,000 Ukrainian Institute of America at the Sky and Marsh, is also estimated to and $70,000, while LeRoy Neiman’s Fletcher-Sinclair Mansion 2 E. 79th Street be one of the biggest draws, and is 1965 Playboy illustration Admiring the New York, NY 10075 expected to bring in between $700,000 View, an oil on Masonite, joins about (t): (877) 437-4824 and $1 million. The work probably five other Neiman works in the sale www.fineart.ha.com depicts marshes near Newbury, and is estimated between $60,000 and Massachusetts, an area Heade often $80,000. painted, and features a beautiful sunset An illustrative work by Stevan and luminist lighting. Dohanos, Menemsha, Massachusetts, ore than 170 lots of Illustration will have a strong Post Office, Saturday Evening Post American fine art by artists presence in the American Art Signature cover, August 26, 1950, is an oil on Msuch as Martin Johnson Auction, which features at least canvas Cape Cod scene depicting Heade, Dean Cornwell, Childe five works by Norman Rockwell, the Menemsha Post Office, featuring Hassam, and G. Harvey come to the auction block for Heritage Auction’s American Art Signature Auction Monday, November 16, in New York City. The auction features American impressionism care of works by Hassam and Frederick Carl Frieseke; landscapes by artists such as Sanford Robinson Gifford; and Western art by names like contemporary artist Ed Mell. Compared to the auction house’s last auction, which featured Western works from the Judson C. and Nancy Sue Ball Collection, Heritage Auctions senior vice president Ed Jaster says, “I think this auction is going to be a little bit more something for everyone, rather than a very specific focus.” The cover lot comes courtesy of Maxfield Parrish (1870-1966), Jason and his Maxfield Parrish, whose 1909 oil Teacher, Collier’s magazine frontispiece and on canvas laid on board Jason and his A Wonder Book and Tanglewood Tales interior illustration, 1909. Oil on canvas laid on board, Teacher, which was a Collier’s magazine 40 x 32 in. Estimate: $1/1.5 million frontispiece and A Wonder Book and Tanglewood Tales interior illustration, is estimated to bring between $1 million to $1.5 million. The work, at Martin Johnson Heade (1819-1904), Sunset: Sky and Marsh, 1867. Oil on canvas, 12 x 28¼ in., 40 by 32 inches, is quite large for a signed and dated lower left: ‘M J Heade – 67’. Parrish work and has been exhibited Estimate: $700/1,000,000

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Heritage.indd 140 10/7/15 3:04 PM Norman Rockwell (1894-1978), Norman Rockwell Visits a County Agent in Jay, Indiana, The Saturday Evening Post, July 24, 1948. Watercolor and gouache on paper, 9½ x 12¾ in., signed with artist initials lower right: ‘NR’. Estimate: $50/70,000

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Heritage.indd 141 10/7/15 3:04 PM Nicolai Fechin (1881-1955), Russian Girl. Oil on canvas laid on Masonite, 91/8 x 65/8 in., signed lower right: ‘N Fechin’. Estimate: $60/80,000

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Heritage.indd 142 10/7/15 3:04 PM Dohanos’ contemporary Ben Stahl holding one of his paintings for an admirer. The “painting in a painting,” as Jaster describes it, is estimated to bring in between $40,000 and $60,000. Jaster attributes ever- increasing interest in illustration art to its accessibility, as it was specifically created to tell a story and tends to embrace traditional values. “Illustrative works are just really easy to like and teach you little life lessons,” says Jaster. “You don’t have to read a lot into it or bring a lot of art history to the piece.” Another illustrator featured in the auction is Clark Hulings, who created book and magazine covers before settling into easel painting. The artist often painted open air markets he encountered in Europe, New Mexico and South America, and his oil on canvas Kaleidoscope depicts one such market. Jaster says the large painting at 29 by 46 inches is “a potpourri of color” that shows off the artist’s master of lighting and detail. The work is expected to fetch between $150,000 and $250,000. A Western artist represented at the auction who transcended the Western genre is Nicolai Fechin, a Russian American who settled in Taos, New Mexico. Fechin’s oil on canvas laid on Masonite Russian Girl carries an estimate between $60,000 and $80,000, and Jaster says works such as these garner strong interest among Russian collectors. The work comes from the collection of photographer Richard Gordon Matzene, who had donated a significant portion of his collection to LeRoy Neiman (1921-2012), Admiring the View, Playboy, 1965. Oil on Masonite, 30 x 22½ in., signed the Ponca City Library. and dated lower center: 'LeRoy Neiman ’65’. Estimate: $60/80,000 “It’s really darling,” Jaster says. “The girl couldn’t be any cuter or more adorable, with a heart-shaped mouth consigner—the piece is estimated partly credited to our ability to source and giant eyes. There’s a lot to like in between $50,000 and $70,000. artworks that have not been offered Fechin pieces.” Because of the auction’s diverse publically for either the first time An additional work by Fechin, offerings of fresh-to-market, high- or in many decades,” says Lehmann. oil on canvas Still Life with Cherries, quality works that are great examples “Likewise, this auction also offers Pitcher, and Bouquet, is inscribed with of the artists featured, Heritage seldom-seen works. Fresh-to-market the price of $600 on the back and Auctions director of American art Aviva artworks that are highly representative was the property of Fechin’s ex- Lehmann says collectors have much to of an artist’s most recognized style, wife Alexandra. After their divorce, look forward to. subject and form are irresistible to Alexandra kept the piece and sold “Our spring American auction market right now.” it to the grandmother of the work’s set 15 artist records, which can be

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Heritage.indd 143 10/7/15 3:04 PM AUCTION PREVIEW: DALLAS, TX

Immersed in History On November 4, Dallas Auction Gallery presents a second selection of art from the collection of Sam Wyly, with pieces showing the collector’s affinity for American history

allas Auction Gallery’s Fall location, the Fall Fine Art Sale will feature November 4 Fine Art Sale on November 4 just under 100 lots total, with a strong Dallas Auction Gallery Dwill bring to market a second focus on the Wyly collection. offering of fine American art from the Included in the Wyly collection Dallas Design District 2235 Monitor Street collection of Dallas entrepreneur and are pieces by masters of American and Dallas, TX 75207 philanthropist Sam Wyly. The auction Western art, such as Thomas Hart Benton, t: (866) 653-3900 house first sold work from the collection Norman Rockwell, Gilbert Stuart, www.dallasauctiongallery.com in its May 20 spring sale. Beginning at 6 Andrew Wyeth, Frederic Remington, and p.m. at the firm’s Dallas Design District Frank Tenney Johnson, to name a few. “There are concentrations within the collection. It’s very much like the material we presented in the spring,” says Brandon Kennedy, director of fine art and design at Dallas Auction Gallery. “He really followed things that spoke to him personally or had a linkage to his family history…We see a love of American history [in the collection] time and time again.” One of the standouts from Wyly is Benton’s tempera and penicl on board A Social History of Missouri: Mural Study. Estimated at $200,000 to $300,000, the work is a maquette for the artist’s mural at the Missouri State Capitol. As Kennedy explains, the section of the mural depicted in the rendering is called Pioneer Days and Early Settlers and shows the beginning era of the state. At the center of the mural, above the doorway, are Mark Twain’s classic characters Huck Finn and Jim and a steamboat named Sam Clemens in tribute to the author. Benton once said of the completed mural, “If I have any right to make judgments, I would say that the Missouri mural was my best work.” Another work by Benton is the 1945 gouache on paper Cotton Loading (est. $70/90,000). “It’s this really rich,

Norman Rockwell (1894-1978), Easter (Solider Watering Tulip), 1918. Oil on canvas, 27 x 24 in. Estimate: $300/500,000

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November sale.indd 144 10/7/15 2:23 PM Thomas Hart Benton (1889-1975), A Social History of Missouri: Mural Study. Tempera and pencil on board, 18 x 31½ in. Estimate: $200/300,000

Thomas Hart Benton (1889-1975), Cotton Loading, 1945. Gouache on paper. Estimate: $70/90,000

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November sale.indd 145 10/7/15 2:23 PM Andrew Wyeth (1917-2009), Maine Door, 1970. Watercolor on paper, 29½ x 21¼ in. Estimate: $40/60,000

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November sale.indd 146 10/7/15 2:23 PM Gilbert Stuart (1775-1828), Portrait of George Washington, 1798. Oil on Frederic Remington (1861-1909), The Herd at Night. Oil on paper canvas. Estimate: $150/250,000 mounted on canvas, 18 x 14 in. Estimate: $125/175,000

beautiful image of workers taking the glow, kind of echoing the war that is The Herd at Night by Remington is raw material, putting it in baskets and obviously still taking place in the world. another notable painting in the sale. loading it back on the truck…It is Yet, he’s fostering the world and rebirth The grisaille was commissioned as an subject matter that really evokes the spirit and looking toward the future and illustration by Theodore Roosevelt. of the time and the place,” Kennedy says. celebrating something that he hasn’t had “Originally, Teddy Roosevelt had come Also representing Wyly’s love of time to slow down and appreciate.” to Remington and asked him to illustrate history is Gilbert Stuart’s 1798 piece Fresh to the market is Wyeth’s Maine a group of stories he was going to present Portrait of George Washington (est. Door, (est. $40/60,000) Painted in 1970, in Century Magazine,” Kennedy explains. $150/250,000). Stuart was recognized the watercolor is one of several featuring “This portion was called ‘Round Up’ and for his series of Washington paintings, this doorway. Kennedy says, one of the published in April 1888.” including the unfinished 1796 work, things Wyeth is recognized for is his play The Herd at Night (est. $125/175,000) known familiarly as The Athenaeum, that of texture and light in his watercolors. He also highlights Remington’s knowledge is currently portrayed on the $1 bill. adds, “Through a variety of techniques of the horse, as does Study of Bellini, Rockwell’s painting Easter (Solider and layers of watercolors, he’s really able A Trotter (est. $70/90,000). “Being Watering Tulip), which appeared as the to create depth and illusion, which is presented obliquely with the side of the cover for Leslie’s illustrated weekly on quite difficult to do with the medium.” horse, you really appreciate Remington’s March 30, 1918, is another in the sale. Two pieces by Johnson arrive at mastery of the form,” Kennedy shares. This was one of six pieces Rockwell auction: Don, the Horse Wrangler (est. “It’s not something where there’s a lot created for the publication, and is $70/90,000) and Camp on the Overland of motion or action involved, but it’s estimated at $300,000 to $500,000. Trail (est. $80/120,000). “Both of these something that gets back to the root of “This is the beginning of the spring works, in addition to having great his understanding of the animal.” of the last year of World War I, and it’s luminous qualities that Frank Tenney Outside of the collection are items a really haunting, pointed portrait of Johnson was able to describe quite well in such as a Guy C. Wiggins New York a man in his gear who is planting and his painting technique, I find appeal not snow scene that is estimated at $30,000 watering a tulip out of his helmet,” only to Western collectors but to people to $50,000, and 11 Audubon prints, Kennedy describes of Easter. “On who appreciate masters of technique and with key birds such as the Great Blue the left side of his body is a soft red composition,” says Kennedy. Heron and the Brown Pelican.

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November sale.indd 147 10/7/15 2:23 PM AUCTION PREVIEW: SANTA FE, NM

Glimpses of the West Santa Fe Art Auction offering significant Western works by Robert Henri, George Bellows, Albert Biertsadt and others at November 14 sale.

century artists will be the stars of the how important New Mexico was in November 14 Santa Fe Art Auction, which takes place establishing modernism as an important Santa Fe Art Auction November 14 in New Mexico. art movement in the United States. Pieces crossing the auction block One of the highlights of the 927 Paseo de Peralta Santa Fe, NM 87501 include vivid landscapes, dramatic upcoming sale is Robert Henri’s 1914 t: (505) 954-5771 Western scenes, floral still lifes, Native oil Portrait of Po Tse (Water Eagle), which www.santafeartauction.com American portraits, and many other is expected to sell between $2.3 and $3 genres representing a full cross-section of million. Henri’s delicate and nuanced Western art’s history in the Santa Fe area portraits are treasured by collectors for and beyond. Also in the sale are a variety their soft features and the artist’s ability he timelessness of the Southwest of modernist works—from artists such to capture his subjects’ revealing facial and its strong influence on a as Raymond Jonson, Victor Higgins, expressions. Even if the piece sells at its Tvariety of great 19th- and 20th- John Marin and others—that accentuate low estimate, it would be the second-

Albert Bierstadt (1830-1902), Mountain Scene. Oil on canvas, 22 x 305/8 in. Estimate: $700/1,200,000

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Santa Fe Art Auction_AP.indd 148 10/7/15 4:55 PM Robert Henri (1865-1929), Portrait of Po Tse (Water Eagle), 1914. Oil on canvas, 41½ x 32¾ in. Estimate: $2.3/3 million

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Santa Fe Art Auction_AP.indd 149 10/7/15 4:55 PM Leon Gaspard (1882-1964), Girl with Melons. Oil on canvas, 20 x 12½ in. Estimate: $75/125,000

highest auction record for a Henri— Jessica Penn in Black with White Plumes, the current auction record, sold for $3.6 million in 2005. Another top lot is Albert Bierstadt’s luminist landscape Mountain Scene. It is expected to realize between $700,000 and $1.2 million. The catalog entry for the piece describes its importance: “In her essay on the painting, Melissa Webster Speidel, Director of the Albert Bierstadt Catalogue Raisonné Project, notes that: ‘In his lifetime, [Bierstadt] traveled extensively through mountain ranges in North America and Europe, sketching and painting and producing a voluminous oeuvre of both real and imaginary scenes. The location depicted in Mountain Scene has not been identified and the artwork most likely falls into the latter category…[The artist] freely rearranged geographic elements, left objects out to simplify a scene, and embellished aspects to create his own interpretation of the glorious beauty of the mountains…The composition, land in one corner, water in the other extending into the distance with mountains in the background, was a favorite construction of the artist and is seen in many of his Sierra Nevada paintings including Mount Corcoran

John Marin (1870-1953), Road to Santa Fe, 1929. Watercolor on paper, Raymond Jonson (1891-1982), Blue Roofs, 1922. Oil on panel, 18 x 24 in. 15 x 20 in. Estimate: $125/175,000 Estimate: $55/75,000

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Santa Fe Art Auction_AP.indd 150 10/7/15 4:55 PM George Bellows (1882-1925), Santa Fe Canyon, 1917. Oil on canvas, 18 x 22 in. Estimate: $225/275,000

(1874-77) and Sierra Nevada (ca. other mediums. “True to fashion, the high-energy afternoon.” 1871)…Mountain Scene, solidly 22nd annual Santa Fe Art Auction will A number of works that were constructed and deftly painted is a feature a rich and varied selection painted in Santa Fe, or based on superb example of this artist’s vision of of classic and contemporary Western locations in the famous Western city, a pristine mountain landscape.’” paintings, fresh works from the Taos will be featured in the sale including Other top lots are Charles M. Society of Artists and Santa Fe Art George Bellows’ Santa Fe Canyon Russell’s Buffalo Hunt ($500/700,000), Colony, historic prints, works on (est. $225/275,000), E. Martin Hennings’ Frank Tenney Johnson’s California’s paper, and sculpture,” says Adam Veil, Chili Peppers (est. $25/45,000), and First Theatre (est. $100/150,000), vice president and executive director LaVerne Nelson Black’s Taos Winter Thomas Hart Benton’s The High Plains of the Santa Fe Art Auction. “Carefully Morning (est. $150/200,000). Joining (est. $200/300,000), and Gerard Curtis curated to pique the interest (and them in appreciation of Santa Fe Delano’s In the Shadow of the Canyon suit the budget) of new and seasoned will be Marin’s Road to Santa Fe (est. $85/125,000). collectors alike, this year’s sale co- (est. $125/175,000), Higgins’ Still Life Not only will the sale feature mingles high-quality with affordability (Coreopsis) (est. $200/250,000), and painted works, but also bronze and and should, once more, prove a fun, Jonson’s Blue Roofs (est. $55/75,000).

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Santa Fe Art Auction_AP.indd 151 10/8/15 10:04 AM AUCTION PREVIEW: LOS ANGELES, CA

High Expectations After successful auctions in April and August, Bonhams’ California and Western auction returns with works by Frost, Payne, Dixon and others

top-quality works to bidders. One of November 23 the top lots is Maynard Dixon’s 1911 Bonhams illustration Buck Peters, Ranchman, 7601 W. Sunset Boulevard which adorned the cover of a book Los Angeles, CA 90046 of the same name by Clarence t: (323) 850-7500 E. Mulford. The painting, which www.bonhams.com features two men on horseback, has a description of the piece on the back of the board: “As he spoke he hurled his horse against Hopalong’s while his right hand flashed to his hip.” The piece is expected to sell at $200,000 to $300,000. Accompanying the piece in the lot is a copy of the Mulford book with Dixon’s painting on the cover. Other works include John Frost’s 1921 oil on canvas The Beach Santa, Monica, which comes from Stendahl Galleries in Los Angeles via a private collection in Ohio. It is expected to fetch between $100,000 and $150,000. Also available are Granville Redmond’s oil on canvas Poppies and Lupine, estimated to sell at $60,000 to Edgar Payne (1883-1947), Sierra Lake. $80,000, and Edgar Payne’s Sierra Lake, Oil on canvas, 24 x 28 in., signed lower left. Estimate: $50/70,000 estimated at $50,000 to $70,000. The Payne piece appears in his 1941 book, n April, Bonhams’ popular Composition of Outdoor Painting, a copy California & Western Paintings & of which accompanies the lot. ISculpture sale came back with Bonhams’ California & Western an impressive $5.2 million haul, in Paintings & Sculpture will take place addition to a new artist world record November 23 in Los Angeles, with a for William Wendt, whose Old Coast simulcast in San Francisco. Previews Road more than doubled its presale for the works will be held November high estimate of $600,000 when it 13 through 15 in San Francisco sold for $1,565,000. August’s version and November 20 through 22 in of California & Western Paintings & Los Angeles. Sculpture produced similarly high results for Wendt, Maurice Braun, Armin Hansen, and others. On November 23, the California- John Frost (1890-1937), The Beach, Santa Monica, 1921. Oil on canvas, 24 x 28 in., and Western-themed show returns signed and dated lower right: ‘John Frost ‘21’. to Los Angeles, once again bringing Estimate: $100/150,000

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Bonhams cal west.indd 153 10/7/15 2:49 PM AUCTION PREVIEW: ALAMEDA, CA

Variety of Offerings Four segments of fine art available during Michaan’s Auctions’ December 11 Fine Art, Furniture, Decorative Arts and Jewelry Auction

December 11 Michaan’s Auctions 2751 Todd Street Alameda, CA 94501 t: (510) 740-0220 www.michaans.com

ichaan’s Auctions in Alameda, California, will host its next MFine Art, Furniture, Decorative Arts and Jewelry Auction on December 11. Coming to market will be approximately 80 lots of fine artwork across four segments—European, American, California and modern. Included among the highlights of the sale, which begins at 10 a.m., are California landscapes from several key artists. “We have seen absolutely gorgeous Hanson Duvall Puthuff (1875-1972), Paso Robles. Oil on canvas, 24¼ x 36¼ in., signed lower right: California landscapes,” says Susan Paffrath, ‘H Puthuff’. Estimate: $20/30,000 a fine art specialist with Michaan’s. “We have Percy Gray, Edgar Payne, [Hanson Duvall] Puthuff, Theodore Wores, Thomas Hill, William Keith, Sam Hyde Harris, Jules Pages. It’s been pretty phenomenal the amount of beautiful California landscapes that have come in.” Among the California paintings available is Gray’s watercolor Eucalyptus Trees (est. $8/10,000), which shows the artist’s iconic eucalyptus trees against a sunny landscape. “It’s a really lovely, solid representation of what buyers expect from Percy Gray,” Paffrath says. Puthuff’s Paso Robles, which carries a presale estimate of $20,000 to $30,000, is another California landscape available. “The main subject is those two great, big oak trees, and it has the rolling California hills behind them. They’re really solid. They take up the entire Attributed to Charles Le Brun (1619-1690), The Crossing of the Red Sea after Poussin. Oil on canvas, canvas, almost,” describes Paffrath. “It is 62½ x 84 in. Estimate: $500/700,000

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MichaansAuction.indd 154 10/7/15 5:13 PM Percy Gray (1869-1952), Eucalyptus Trees. Watercolor and pencil on paper, 161⁄8 x 20 in., signed lower left: ‘Percy Gary’. Estimate: $8/10,000

very typical [of Puthuff’s work]. He did $20,000; a fantasy-style painting by (est. $7/9,000), which is also available a great deal of landscapes. To me, it feels Wores titled In Lotus Dreamland that during the auction. Seen in the more like a portrait of the trees, where carries a presale estimate of $20,000 to painting are big orange buttes, and a a lot of the other landscapes are busier $25,000; and Harris’ oil on Masonite vantage point that looks down on the or more complex.” titled Malibu (est. $4/6,000). valley below. Others from the segment include James Guilford Swinnerton features In the European segment of the Payne’s High Country, a 12-by-16-inch a scene outside of California in his sale is Henri Lebasque’s Reclining Nude oil painting estimated at $15,000 to aptly titled work Arizona Landscape (est. $100/120,000), which is going to be featured in the upcoming revision to the catalogue raisonné for the artist. “What I like about [Reclining Nude] is the background and [the woman] are painted with similar textures,” Paffrath says. “…It’s quiet, but dramatic how the cloth and her shape of leg and body sort of blend and move together.” Another European work available is one that is attributed to Charles Le Burn. According to Paffrath, “[T]his 17th-century painting, The Crossing of the Red Sea is a historic work, a direct copy of Poussin’s painting of the same title. It comes to Michaan’s from the Cantor Museum in Stanford, California, where it has been on loan.” The painting was used to help Carl Villis with the restoration of the Poussin painting, which is at the Victoria Henri Lebasque (1865-1937), Reclining Nude, ca. 1925. Oil on canvas, 181⁄8 x 255⁄8 in., signed lower National Gallery. The Le Brun is left: ‘Lebasque’. Estimate: $100/120,000 estimated for $500,000 to $700,000.

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MichaansAuction.indd 155 10/7/15 5:13 PM AUCTION PREVIEW: NEW YORK, NY

Magnificent Trio Sotheby’s November 18 American art sale to feature works from the collections of A. Alfred Taubman, Charlton Heston, and Sam Simon

November 18 Sotheby’s 1334 York Avenue New York, NY 10021 t: (212) 606-7000 www.sothebys.com

ajor works from the collections of three public Mfigures—philanthropist and businessman A. Alfred Taubman, actor Charlton Heston, and Simpsons co-creator and TV producer Sam Simon—are highlights of Sotheby’s American Art auction November 18 in New York City. Taubman was quite private about his collection, but after he passed away in April at the age 91 the importance of his treasure trove of fine art slowly trickled out to the astonishment of art enthusiasts as well as Sotheby’s, which he owned for more than 20 years beginning in 1983. The collection will be sold across several Sotheby’s sales. American art offerings available on November 18 include Charles Burchfield’s The Red Admiral (est. $600/800,000), Winslow Homer’s In Charge of Baby (est. $2/3 million), and Martin Johnson Heade’s The Great Florida Sunset, which is expected to sell between $7 million and $10 million. If it comes even remotely near the estimates, it will break Heade’s auction record, which now stands at $2.7 million from 2005. “Mr. Taubman was a visionary in the field of American art. He was particularly prophetic in collecting works from the 20th century that had yet Thomas Hart Benton (1889-1975), T.P. and Jake, 1938. Tempera on canvas mounted on board, 48 to be appreciated by the larger market— x 31 in., signed lower right: ‘Benton’; inscribed verso: ‘For T.P.’s birthday/11 years old/from Dad’. his group of watercolors by Charles Estimate: $1.5/2.5 million

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Sothebys.indd 156 10/7/15 2:34 PM Andrew Wyeth (1917-2009), Flood Plain, 1986. Estimate: $2/3 million

George Copeland Ault (1891-1948), Daylight at Russell’s Corner. Oil Martin Johnson Heade (1819-1904), The Great Florida Sunset, 1887. Oil on board, on canvas, 181/8 x 281/8 in., signed and dated lower right: ‘G.C. Ault’, 53 x 90 in. Estimate: $7/10 million Images courtesy Sotheyby’s. ‘44’. Estimate: $250/350,000

Burchfield, for example, is among the Plain (est. $2/3 million), which he Thomas Hart Benton’s T.P. and Jake, most distinguished in private hands, acquired in 1988 as an anniversary gift estimated to sell between $1.5 million while the broad planes of vibrant color for his wife Lydia Heston; and Study and $2.5 million, is a highlight from the in Milton Avery’s Blue Figure – Blue for ‘Flood Plain’ (est. $20/30,000), Simon collection. Simon, who passed Sea illustrate the impact of the artist’s given to him by Wyeth in 1991. away in March helped bring Cheers and work on the development of American Study for ‘Flood Plains’ arrived on the Taxi to television as well as many other abstraction,” says Elizabeth Goldberg, Heston doorstep in December 1991 in shows. The Benton piece held such a head of Sotheby’s American art a box marked “A. Wyeth.” The Ben Hur personal significance to Simon that he department. “Mr. Taubman’s sharp eye actor, who passed away in 2008, waited used it as the logo for the Sam Simon extended to the 19th century as well, and until Christmas morning to open the Foundation, which helps place service the November auction is led by one of package. Afterward, Heston wrote to animals in homes. Proceeds from the the most ambitious and stunning works Wyeth in a letter: “I haven’t been so Simon pieces will go to the Sam Simon ever painted by Martin Johnson Heade.” excited about a Christmas gift since Charitable Giving Foundation. Works from the Heston collection I was 10 years old…You’ve given our Other works in the November sale include three pieces by Andrew Wyeth: family not only a piece of your work, include John Philip Falter’s The Visit Ice Pool (est. $150/250,000), the first which is both your livelihood and your (est. $50/70,000) and George Copeland Wyeth piece he purchased after the life, but also a part of the process…a Ault’s Daylight at Russell’s Corner (est. two became friends in the 1980s; Flood private part of your working insides.” $250/350,000).

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Sothebys.indd 157 10/7/15 2:34 PM AUCTION PREVIEWS: DALLAS, HILLSBOROUGH, NEW ORLEANS, NEW YORK, OAKLAND, PHILADELPHIA, THOMASTON

Prints Featuring American Prints Mr. Philip H. Huggins of from a Private Collection sale. Fayetteville, North Carolina. The private collection will be From the collection are offered November 3 at 2 p.m., several important American and on November 4, part two paintings, such as Frederick happens across two sessions at Williams’ oil on canvas 10:30 a.m. and 2 p.m. Seaside Pasturage Normandy; Available are Thomas Hart Franklin Dullin Briscoe’s Benton’s 1942 lithograph Julian Onderdonk (1882-1922), Shipwreck; and William Aiken The Race (est. $20/30,000); Texas Landscapes with Bluebonnets. Walker’s Cotton Picker. Also Harry Bertoia (1915-1978), Untitled Martin Lewis’ 1933 drypoint Oil on canvas, 25 x 30 in. Courtesy from the offerings are two (Steel Construction), ca. 1950. Wet Night, Route 6 (est. Heritage Auctions. Estimate: antique portraits: an 18th- Brass metal-coated steel plates $150/250,000 mounted on central steel tube $20/30,000); the 1931 century female portrait and stem, 51 in. Courtesy Freeman’s. The sale, which happens a portrait of a U.S. naval Estimate: $30/50,000 November 7 at 11 a.m., officer dating to circa 1820, features Onderdonk’s Texas purportedly Alexander Slidell PHILADELPHIA, PA Landscape with Bluebonnets (est. Mackenzie (1803-1848). FREEMAN’S $150/250,000) as its cover lot. NOVEMBER 1 The piece is a prime example THOMASTON, ME Modern & Contemporary Art of one of the artist’s most THOMASTON PLACE At 1 p.m. on November 1, recognized subject matters. AUCTION GALLERIES Freeman’s in Philadelphia Childe Hassam (1859-1935), Lion The other by Onderdonk, will host its next Modern Gardiner House, 1920. Etching. Stone Bridge in Winter, Central NOVEMBER 14-15 Courtesy Swann Auction Galleries. Fall Feature Auction of Fine & Contemporary Art sale. Park (est. $10/15,000), was Estimate: $15/20,000 Art & Antiques Included among the sculpture painted while the artist lived lots is Italian-born artist lithograph Financial District by in New York. Fine paintings, important Harry Bertoia’s Untitled Howard Cook, estimated at Other works available documents and books, (Steel Construction), which $7,000 to $10,000; and a 1926 are Robert William jewelry, silver and decorative was executed circa 1950 color woodcut by Gustave Wood’s Autumn in Texas antiques will be among the and has a presale estimate Baumann titled Grandma (est. $10/15,000); Everett items available at Thomaston of $30,000 to $50,000. Battin’s Garden (Hoosier Franklin Spruce’s Untitled Place Auction Galleries’ Fall Color screenprints by Roy Garden) (est. $10/15,000). (Summer in the Country) that Feature Auction of Fine Art & Lichtenstein and Andy Warhol Another standout is the is estimated at $3,000 to Antiques on November 14 will also arrive at market, etching Lion Gardiner House $5,000; and Opening Cabinets and 15. From the paintings such as Lichtenstein’s 1985 created by Childe Hassam in (est. $4/6,000) by Fort Worth category is Andrew Wyeth’s piece Forms in Space (est. 1920. The piece is expected Circle artist Bror Utter. The Mall, Thomaston, 1942, $30/50,000) and Warhol’s to fetch $15,000 to $20,000. which depicts a Greek Revival home in Maine. 1970 Flowers (est. $25/35,000). HILLSBOROUGH, NC Estimated at $80,000 to DALLAS, TX LELAND LITTLE NEW YORK, NY HERITAGE AUCTIONS SWANN AUCTION AUCTIONS NOVEMBER 14 GALLERIES NOVEMBER 7 The Personal Collection NOVEMBER 3-4 Texas Art Signature Auction of Mr. Philip H. Huggins, Old Master Through Two Julian Onderdonk Fayetteville, NC Modern Prints Featuring paintings from a significant Saturday, November 14 at American Prints from a San Antonio collection 9:30 a.m., Leland Little Private Collection Franklin Dullin Briscoe (1884- come to market along with Auctions in Hillsborough, 1903), Shipwreck. Oil on canvas November 3 and 4, Swann at least 100 other lots as North Carolina, will (lined), SS: 23 x 41 in., DOA: Auction Galleries will host part of Heritage Auctions’ host a single-owner sale 35 x 53 in., signed lower right: ‘F. D. its Old Master Through Modern Briscoe’ (illegible). Courtesy Leland Texas Art Signature Auction. featuring the collection of Little Auctions.

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Joint Auction Preview.indd 158 10/7/15 6:45 PM the Boothbay Harbor area Other lots are William that Redfield’s painterly Henry Buck’s Cattle brushstrokes and bright Grazing beside a Cabin colors blossomed on the among Live Oak Trees (est. canvas, just as the surrounding $125/175,000), and William atmosphere also awakened Aiken Walker’s Florida scene with bursts of color in the Bringin’ in the Dory (est. spring and summer months.” $40/60,000) from 1895. Andrew Wyeth (1917-2009), The Boothbay Garden comes John Martin Tracy (1843-1893), Mall, Thomaston, 1942. Tempera from a private owner who HILLSBOROUGH, NC Two Setters on Point. Oil on canvas, and watercolor on paper, OS: acquired the work 47 SS: 28½ x 35½ in., DOA: 34¾ x 41¾ 25 x 29 in., SS: 17½ x 21¼ in., pencil LELAND LITTLE in., partial signature lower right: ‘J. years ago at the Newman signed lower right. Courtesy AUCTIONS M. (T)rac(y)’. Courtesy Leland Little Thomaston Place Auction Gallery exhibition Redfield Auctions. Estimate: $10/20,000 DECEMBER 3-5 Galleries. Estimate: $80/90,000 Retrospective of Oil Paintings, Winter Catalogue Auction October 23-November 30, 1968. NEW YORK, NY $100,000, the proceeds of In its Winter Catalogue Auction, SWANN AUCTION the painting will benefit the December 3 to 5, Leland GALLERIES Thomaston Historical Society. Little Auctions will hold six DECEMBER 15 Also of note is Frederick sessions over three days. On African-American Fine Art Judd Waugh’s 1910 oil on December 5, beginning at Swann Auction Galleries’ canvas Along the City Line, 9 a.m., will be the segment December 15 African-American Gloucester Harbor. The piece, dedicated to Fine & Fine Art sale includes strong estimated for $20,000 to Decorative Arts. examples from the Harlem $30,000, is accompanied by a Frank Armington’s Pont Renaissance to contemporary letter of authentication from Royal, Paris (le Soir) (est. artists. The sale headliner is the artist. Also represented in $10/20,000) is one offering. Edward Willis Redfield (1869- Norman Lewis’ Untitled oil on the sale are Franklin Dullin 1965), Boothbay Garden. Courtesy In 1924, Armington created canvas from circa 1958. The Briscoe, Robert Henri, Clars Auction Gallery. Estimate: a lithograph after the oil on $150/250,000 work, which has an estimate Charles Herberer, and more. canvas, with the prints being of $250,000 to $350,000, was found in numerous public made after the artist’s trip OAKLAND, CA NEW ORLEANS, LA collections including the to Europe in 1957 and was Musée national des beaux- CLARS AUCTION NEAL AUCTION previously unrecorded and arts du Québec. Two Setters GALLERY COMPANY never publically exhibited. on Point, a sporting art work NOVEMBER 15 NOVEMBER 21-22 Additional lots include by John Martin Tracy, is Fine Art, Decorative Art, Louisiana Purchase Auction Elizabeth Catlett’s Recognition estimated to bring $10,000 Furniture, Jewelry/Timepieces The annual Louisiana Purchase (est. $120/180,000); to $20,000 during the sale. and Asian Art Auction Auction at Neal Auction Romare Bearden’s 1945 Also featured is a Clars Auction Gallery in Company, November 21 work The Annunciation (est. single-owner collection Oakland, California, will and 22, will feature many $120/180,000); Alma W. of lithographs, an original present its Fine Art, Decorative examples of important and Thomas’ 1971 acrylic on work on paper by Romare Art, Furniture, Jewelry/ historic American art. canvas Fall Atmosphere (est. Bearden, a complete Timepieces and Asian Art From the early 1870s $50/75,000); and Aaron set of French Revolution Auction on November 15, is Streetcar Tracks (est. Douglas’ The Street Urchin Bicentennial Series by Robert starting at 9:30 a.m. One $125/175,000) by Richard (est. $30/40,000). Motherwell, and more. of the fine art lots available Clague, who is credited as is the Boothbay Harbor, the founder of the landscape Maine, scene Boothbay painting tradition in Louisiana. Garden (est. $150/250,000) According to the auction by Edward Willis Redfield. house, the painting “clearly According to the auction displays the artist’s distinctive house, “Enamored with painting technique and style; the Boothbay Harbor area, it also portrays a rare glimpse Redfield eventually purchased into New Orleans life at a William Henry Buck (1840-1888), Cattle Grazing beside a Cabin a cabin there and spent the time when streetcars were just among Live Oak Trees. Oil on Norman Lewis (1909-1979), majority of his summers in becoming a prominent form canvas, 18 x 30 in. Courtesy Neal Untitled, ca. 1958. Oil on canvas. this community. It was in of transportation.” Auction Company. Estimate: Courtesy Swann Auction Galleries. $125/175,000 Estimate: $250/350,000

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Joint Auction Preview.indd 159 10/7/15 6:45 PM AUCTION REPORT: NEW YORK, NY Midseason Achievements Robust participation in Christie’s September 22 American Art auction leads to more than $4 million in sales

n September 22, the artist. Christie’s hosted “The scale of [Decoration] Oits fall midseason is really nice. It is the biggest American Art auction, which one that had been on the achieved a solid 83 percent market for a while; at 33¾ sell-through rate and by 39¼ inches it holds the $4,040,000 in sales. There wall quite nicely,” Beaman was success across a number says. She adds that Hansen’s of categories, with works work tends to attract buyers by Armin Hansen, Anna from California or those Mary Robertson “Grandma” with a connection to the Moses, Childe Hassam, state; such was the case for Grant Wood, Jasper Francis Decoration. Cropsey, Willard Leroy The second highest lot Metcalf and more finding of the auction was The new homes. Audition, East Hampton (est. “We were very excited $120/180,000) by Hassam, with the results [of the which yielded $227,000. Armin Hansen (1886-1957), Decoration, ca. late 1920s or early 1930s. Oil on canvas, 33¾ x 39¼ in., signed lower right: ‘Armin Hansen N.A.’; signed auction]. We had a very Of the work, Christina de again and inscribed with title and ‘Monterey’ on verso. robust participation, with Gersdorff, head of Christie’s Estimate: $250/350,000 SOLD: $509,000 83 percent of the lots midseason American Art sale, sold, which was a very says, “Painted in 1924, this strong sell-through rate,” is a later work by Hassam. says Elizabeth Beaman, It also displayed some of head of the American art the later compositions that department at Christie’s. he used...It has a much “We had a number of brighter palette than earlier works that went well work, different technique in beyond their estimates, and brushwork, and he left parts the sale also welcomed a of the canvas bare—totally large handful of new buyers intentional but not often in to Christie’s who had earlier works.” never before participated in Rounding out the top auctions here.” three lots was Wood’s Study Highlighting the day for ‘The American Golfer’ was Hansen’s Monterey, (est. $150/250,000), a California, painting large-scale charcoal and Decoration that features chalk drawing executed by abstract-style sailboats the artist in 1937, which and figures. The oil on sold for $161,000. Study for canvas work, which sold ‘The American Golfer’ was for $509,000 over a presale created in preparation for Childe Hassam (1859-1935), The Audition, East Hampton, 1924. Oil on estimate of $250,000 to the commissioned painting canvas, 36 x 38 in., signed and dated lower right: ‘Childe Hassam 1924’; signed with initials, dated again and inscribed with title verso. $350,000, became a new The American Golfer Estimate: $120/180,000 SOLD: $227,000 world auction record for featuring well-known

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Christies.indd 160 10/7/15 3:30 PM Kalamazoo, Michigan, Gersdorff. “That is very businessman Charles typical to the artist.” Campbell. Christie’s sold Other highlights of the the finished version of the day included Avery’s Seated work last November for Woman (est. $70/100,000) $905,000. at $137,000; two works by Metcalf’s Blue Brook Cropsey: Early Morning (est. (A Stream in Vermont) (est. $40/60,000) and Evening $120/180,000), which (est. $50/70,000), which sold for $137,000, features brought $112,500 and a characteristic subject $106,250, respectively; and and arrangement for the John Philip Falter’s Shirt- artist. “It’s a very common Sleeve Court, which sold for composition with a stream $100,000, more than double leading your eye in and its low estimate of $40,000. leading the viewer through There were five works the composition and into by Moses in the sale, with the background,” says de all paintings coming from

Willard Leroy Metcalf (1858-1925), Blue Brook (A Stream in Vermont), 1920. Oil on canvas, 26 x 29 in., signed and dated lower right: ‘W.L. Metcalf. 1920’. Estimate: $120/180,000 SOLD: $137,000

two Hollywood actresses. paintings arrived at auction Two pieces—Skating on from the Collection of Mill Pond (est. $50/70,000), Ann Rutherford, who which brought $112,500, was a silver screen starlet and The Mill By the Bridge most recognized for her (est. $50/70,000) that came role as Carreen O’Hara in in at $68,750—came from Gone With the Wind. The the estate of Lizabeth Scott, highest seller from the who was known for her Ann Rutherford collection Grant Wood (1891-1942), Study for ‘The American Golfer’, 1937. Charcoal leading roles in film noir was He Has Fallen (est. and chalk on brown paper laid down on Masonite, 38¼ x 50¼ in., signed throughout the 1940s and $10/15,000), which brought and dated lower left: ‘Grant Wood—1937’. Estimate: $150/250,000 SOLD: $161,000 Images courtesy Christie’s Images Ltd. 2015. 1950s. The other three in $60,000.

TOP 10 SALES CHRISTIE’S AMERICAN ART, SEPTEMBER 22, 2015 (INCLUDING BUYER’S PREMIUM) ARTIST TITLE LOW/HIGH SOLD ARMIN HANSEN DECORATION $250/350,000 $509,000 CHILDE HASSAM THE AUDITION, EAST HAMPTON $120/180,000 $227,000 GRANT WOOD STUDY FOR ‘THE AMERICAN GOLFER’ $150/250,000 $161,000 WILLARD LEROY METCALF BLUE BROOK (A STREAM IN VERMONT) $120/180,000 $137,000 MILTON AVERY SEATED WOMAN $70/100,000 $137,000 ANNA MARY ROBERTSON “GRANDMA” MOSES SKATING ON THE MILL POND $50/70,000 $112,500 JASPER FRANCIS CROPSEY EARLY MORNING $40/60,000 $112,500 JASPER FRANCIS CROPSEY EVENING $50/70,000 $106,250 FREDERICK CARL FRIESEKE GIRL SEWING (THE CHINESE ROBE) $50/70,000 $100,000 JOHN PHILIP FALTER SHIRT-SLEEVE COURT $40/60,000 $100,000

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Christies.indd 161 10/7/15 3:30 PM AUCTION REPORT: CHICAGO, IL Significant Offerings Spark Interest Strong examples by notable American artists among top sellers at Leslie Hindman Auctioneers’ September 25 American and European Art auction

eslie Hindman a second time gives it a bit Auctioneers brought of an interesting history to Lto market 306 lots of his process artistically and fine art during its September thought-wise.” 25 American and European Another figurative painting Art sale, including strong and that performed well in the fresh examples by master sale was Richard Edward artists. Among the top 10 lots Miller’s oil on canvas The finding interest with buyers Necklace (La Femme au Collier) were several figurative and (est. $150/250,000), a circa Western scenes, with the day’s 1913 work the artist painted highest achiever being a fresh while living in France. The to market pastel drawing Necklace was executed a bit by James Abbott McNeill earlier in Miller’s career when Whistler. The piece, Parasol; he was focused on a more red note, sold for $413,000, a post-impressionistic style. price more than five times its “[Miller] was doing a high estimate of $80,000. lot of ladies in the garden “Aside from being a works at that time,” Wirsum stunning piece, [Parasol; red says. “This is nice, where it note] was in private hands has the play of interior and since the late ’20s,” says exterior with the window in Zachary Wirsum, director the background, drawing the of the fine art department at viewer out to the exterior Leslie Hindman Auctioneers. foliage, the focus being the “It was something scholars subject and the necklace Richard Edward Miller (1875-1943), The Necklace (La Femme au Collier), ca. 1913. Oil on canvas, 36 x 28½ in. Estimate: $150/250,000 lost track of. Having it she’s handling.” SOLD: $233,000 resurface, its exhibition A relatively fresh to history and provenance market painting, The Necklace from inception to late ’20s arrived to auction from a generated a lot of excitement.” St. Louis collection and sold In addition to its within its presale estimate reappearance, the drawing at $233,000. “For those has an interesting backstory interested in Miller, it has and history. “It was a work everything you’re looking [Whistler] originally exhibited for, especially from this time as a full nude that got a bit period,” Wirsum adds. of criticism from art viewers Two Western paintings and critics alike,” Wirsum landed in the top five lots: explains. “He went back and Victor Higgins’ Meadow reworked it and added the with Cattle and Oscar draped gown to make it more Berninghaus’ Taos Indians subdued. The fact we have the and the Sangre de Cristos. Victor Higgins (1884-1949), Meadow with Cattle. Oil on panel, 12 x 17 in, history of him kind of making The Higgins painting, signed lower left: ‘Victor Higgins’. Estimate: $70/90,000 SOLD: $106,250 the change and presenting it which was estimated at

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Leslie Hindman.indd 162 10/7/15 2:32 PM Right: James Abbott McNeill Whistler (1834-1903), Parasol; red note, ca. 1884. Pastel on brown paper, 117/8 x 47/8 in., signed with artist’s device lower right. Estimate: $60/80,000 SOLD: $413,000 Far right: Oscar Berninghaus (1874-1952), Taos Indians and the Sangre de Cristos, 1915. Oil on panel, 20 x 16 in., signed lower left: ‘Berninghaus’; dated lower left. Estimate: $80/120,000 SOLD: $87,500

$70,000 to $90,000 and achieved Western skies, the mountains in the (est. $10/15,000) by Henriette Wyeth that $106,250, depicted an expansive sky and background, and especially having sold for $25,000. mountains. According to Wirsum, Meadow riders on horseback—these are all things “We saw in this sale that strong with Cattle was a piece “that would strike that are going to be especially attractive examples by well-known American the fancy of Western collectors and to that time period.” artists do well, and we were pleased to people after Higgins’ work.” Other notable sales included Edward see some of the bit lesser works also Taos Indians and the Sangre de Cristos Henry Potthast’s The Bathers (est. achieve good results,” Wirsum says. (est. $80/120,000), which was painted $40/60,000), which achieved $50,000; “We’re definitely encouraged moving in 1915, brought $87,500. “This is from Fern Isabel Coppedge’s Pennsylvania Hills forward to the December sale to see fairly early in his career, but at a point Near New Hope that sold for its high similar results for American paintings.” where he’s established himself,” Wirsum estimate of $35,000; Albert Bierstadt’s By In all, the American and European Art explains. “Dealing with the Native the Seaside (est. $8/12,000) that went for auction saw $2,196,000 in sales, and American subject matter, expansive $27,500; and Dainty Bess and Delphinium had a 71 percent sell-through rate.

TOP 10 SALES LESLIE HINDMAN AUCTIONEERS’ AMERICAN AND EUROPEAN ART, SEPTEMBER 25, 2015 (INCLUDING BUYER’S PREMIUM) ARTIST TITLE LOW/HIGH SOLD JAMES ABBOTT MCNEILL WHISTLER PARASOL; RED NOTE $60/80,000 $413,000 ÉMILE ANTOINE BOURDELLE HERAKLES, ARCHER $100/200,000 $245,000 RICHARD EDWARD MILLER THE NECKLACE (LA FEMME AU COLLIER) $150/250,000 $233,000 VICTOR HIGGINS MEADOW WITH CATTLE $70/90,000 $106,250 OSCAR BERNINGHAUS TAOS INDIANS AND THE SANGRE DE CRISTOS $80/120,000 $87,500 EDWARD HENRY POTTHAST THE BATHERS $40/60,000 $50,000 JEAN FRANCOIS RAFFAELLI BUSTLING PARISIAN STREET $2/4,000 $37,500 FERN ISABEL COPPEDGE PENNSYLVANIA HILLS NEAR NEW HOPE $25/35,000 $35,000 EDWARD BURNE-JONES HEAD OF A LADY $2/4,000 $32,500 MAI THU MOTHER AND CHILD $10/15,000 $32,500

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Leslie Hindman.indd 163 10/7/15 2:33 PM AUCTION REPORTS: ASHEVILLE, BOSTON, FAIRFIELD, GENESEO, JACKSON HOLE, LONE JACK, NEW ORLEANS, NEW YORK, OAKLAND, THOMASTON

$20/40,000), which brought from Maine and around the $23,700. world to acquire great items At the close of the four- for their collections.” day auction, a total of $4.8 Wyeth’s watercolor and million was achieved. ink painting Bert’s Cabin, consigned from a Maine THOMASTON, ME estate, sold for more than THOMASTON PLACE double its high estimate of $60,000. After a bidding battle AUCTION GALLERIES between phone, Internet and AUGUST 29-30 floor buyers, the work landed Summer Fine Art & at $138,000. Two pieces by Carl Rungius (1869-1959), Big Horn Antique Auction Edward Hopper (1882-1967), Sheep, bronze, 16½ x 17 in., signed Harwood also generated Thomaston Place Auction Evening Wind, 1921 (Levin, 77). on base: ‘C. Rungius’. Courtesy robust bidding with Webs of the Etching on heavy wove paper with James D. Julia, Inc. Estimate: Galleries hosted its two-day Morning, My Home selling for partial Umbria watermark, 615/16 $125/175,000 SOLD: $225,150 Summer Fine Art & Antique x 85/8 in, framed, signed in pencil $60,375 and a piece depicting Auction with artwork by lower right: ‘Edward Hopper’; FAIRFIELD, ME a family outing in Lake Garda, Andrew Wyeth, James Taylor titled and inscribed in pencil Italy, realizing $44,850. A along lower edge: ‘The Evening JAMES D. JULIA, INC. Harwood, and William Trost seascape with sailboats and a Wind $30’; identified on a label AUGUST 25-28 Richards, landing among the from The American Federation Fine Art, Asian & top lots. “This was one of our steamer by Richards arrived at of Arts affixed to the backing. Antiques Auction best summer sales ever, and auction after it was discovered Courtesy Skinner, Inc. Estimate: $15/20,000 SOLD: $67,650 $4.8 million the great art drove the strong at a yard sale in Maine; the More than 2,600 lots of bidding,” says Kaja Veilleux, work sold for $49,450. fine and decorative arts, owner and auctioneer at distinct sessions of art antiques, folk art, Asian Thomaston Place. “The BOSTON, MA as part of its American & artifacts, historical items and preview was packed, we SKINNER, INC. European Works of Art sale. At noon was the Fine Prints archives were available at had standing-room only at SEPTEMBER 11 & Photographs segment, James D. Julia’s Fine Art, Asian the auction, and the phones American & European while the Fine Paintings & & Antiques Auction, which and Internet were buzzing Works of Art took place August 25 to 28. throughout the sale. It was a Sculpture sale took place at On September 11, Skinner Throughout the sale nearly great opportunity for people 4 p.m. Throughout the day a brought to market two 800 in-house bidders and number of artworks proved of 5,000 online buyers from 53 interest with buyers, including countries vied for lots. Robert Motherwell’s acrylic The first day of the auction and pasted papers on canvas was dedicated to paintings and mounted on board Night sculpture. Among the highest Music Opus #24 from 1989, which more than doubled its earners was the bronze Big low estimate of $40,000 when Horn Ram (est. $125/175,000) it sold for $116,850. by Carl Rungius, which Another notable piece was sold for $225,150. Maine Edward Hopper’s etching artist Abbott Fuller Graves’ Evening Wind (est. $15/20,000) Gloucester doorway painting from 1921. The piece sold for was another standout of the three times its high estimate, sale, yielding $59,250 over a achieving a robust $67,650. presale estimate of $20,000 Collectors also showed to $40,000. Other highlights interest for Andy Warhol’s included Guy Wiggins’ color screenprint African St. Patricks (est. $10/15) at Elephant, from Endangered $16,590, and Edgar Payne’s Andrew Wyeth (1917-2009), Bert’s Cabin. Watercolor and ink on paper, OS: 23¾ x 27¾ in., SS: 15 x 19 in., signed lower left. Courtesy Thomaston Place Species, 1983, edition of 150- Glacier, Sierra Mountains (est. Auction Galleries. Estimate: $40/60,000 SOLD: $138,000

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Joint Auction Report.indd 164 10/7/15 4:09 PM plus proofs that were printed for $261,500. Kohlmeyer’s by Rupert Jasen Smith, record of $110,250 came New York, and published by from the 1970s work Cluster Ronald Feldman Fine Arts #1 that is the first in a series in New York. Estimated at of grid paintings by the $30,000 to $50,000, the work artist. Estimated at $40,000 sold for $49,200. to $60,000, Cluster #1 went home with a buyer in the ASHEVILLE, NC room after competing against John Biggers (1924-2001), Kumasi other in-house and telephone Market, 1962. Oil and acrylic on BRUNK AUCTIONS Masonite, 34 x 60 in., signed bidders. The modernist oil SEPTEMBER 11-12 and dated in oil left edge center. Artist World Auction Record. September Sale The First Laugh of Autumn (est. $15/25,000) painted by Courtesy Swann Auction Galleries. $1.9 million Estimate: $100/150,000 Hermann Herzog (1831-1932), Stevens in 1945 became an Brunk Auctions in Asheville, Moonlight in Florida. Oil on canvas, SOLD: $389,000 auction record for the artist North Carolina, achieved 20 x 16 in., signed lower left: ‘H. $1,939,684 over the course Herzog’. Courtesy Brunk Auctions. when it sold for $28,175 to a Estimate: $20/30,000 collector on the phone. NEW YORK, NY of its two days, September 11 SOLD: $51,920 and 12. Leading the auction Other results included SWANN AUCTION was an oil on canvas by by Arthur Fitzwilliam Tait three pieces by Louisiana GALLERIES Childe Hassam titled Walking found new homes, including artist George Rodrigue: SEPTEMBER 15 on the Pier, Gloucester Harbor Quail and Setter from 1876, Blue Dog Looking for a Home The Art Collection of (est. $300/400,000) that sold achieving $25,960. Two cabin (est. $50/80,000), which Maya Angelou for $495,600. Painted in 1895, scenes by William Aiken sold to a local collector on $1.29 million this work will be included Walker sold for $16,520 each. the phone for $110,250; On September 15, New York in the upcoming catalogue As well, a William Merritt Through the Lavender Woods City-based Swann Auction raisonné for the artist. Chase portrait of his daughter from 1992, which brought Galleries brought to market Throughout the fine yielded $14,160, and a winter $55,125, coming in over its 44 fine art lots as part of its art category were strong landscape by Walter Launt presale estimate of $20,000 to The Art Collection of Maya results across styles, including Palmer came in at $18,880. $40,000; and the 1988 oil on Angelou sale. Marked by a standout American examples. canvas Crawfish Salesman from standing-room only crowd From the Teicher Collection NEW ORLEANS, LA his Cajun series that found and active phone bidders, the was Hermann Herzog’s auction achieved $1,294,200 NEAL AUCTION a new home with a Texas Moonlight in Florida, which collector for $44,100. Also of and saw a 98 percent sell- sold for $51,920. Three works COMPANY interest with buyers was Louis through rate by lot. There also SEPTEMBER 12-13 Oscar Griffith’s A View of St. were new auction records set Important Fall Estates Louis Cathedral with Ursuline for 14 artists. Auction Nuns (est. $40/60,000), Faith Ringgold’s Maya’s $2.75 million bringing $107,187. Quilt of Life, which was The September 12 and 13 commissioned by Oprah Important Fall Estates Auction hosted by Neal Auction Company saw results for fine art, furniture, lighting and decorative arts. In the fine art segment of the auction there were new auction records achieved for artists Andre Molinary, Ida Rittenberg Kohlmeyer, and Will Henry Stevens, among others. Molinary’s landscape North Shore, Lake Pontchartrain Childe Hassam (1859-1935), (Fisherman’s Cabin), which Walking on the Pier, Gloucester was estimated at $60,000 Harbor, 1895. Oil on canvas, 22¼ x 183/8 in., signed lower to $90,000, was the day’s center: ‘Childe Hassam’. Courtesy highest achieving lot, selling Andres Molinary (1847-1915), North Shore, Lake Pontchartrain (Fisherman’s Brunk Auctions. Estimate: to an American collector Cabin), 1884. Oil on canvas, 24 x 36 in. Artist World Auction Record. $300/400,000 SOLD: $495,600 Courtesy Neal Auction Gallery. Estimate: $60/90,000 SOLD: $261,500

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Joint Auction Report.indd 165 10/7/15 4:10 PM Winfrey as a birthday gift JACKSON HOLE, WY for Angelou, set a record for JACKSON HOLE the artist when it sold for ART AUCTION $461,000 to Crystal Bridges SEPTEMBER 18-19 Museum of American Art in $6.5 million Arkansas for its contemporary The two-day Jackson Hole Art collection. Maya’s Quilt of Auction, hosted by Trailside Life, the day’s top lot, was Galleries and Gerald Peters estimated at $150,000 to Gallery on September 18 $250,000. and 19, yielded a robust $6.5 Several works by John million and achieved 18 new Biggers saw success with artist records. “The ninth buyers, including the 1962 annual Jackson Hole Art Auction William Trost Richards (1833-1905), On the Irish Coast, 1893. Oil on panoramic Kumasi Market, saw enthusiastic bidding across canvas, 19 x 32 in., signed and dated lower left, titled verso. Courtesy Clars which achieved an artist a variety of genres,” says Jill Auction Gallery. Estimate: $40/60,000 SOLD: $29,750 record at $389,000 and was Callahan, the sale’s auction Cheetahs on a Termite Hill (est. the second-highest-earning coordinator. “Solid prices $200/400,000), which came lot of the sale. Rounding were realized for deceased in at $204,750, and Winter out the top three lots was masters including Albert Romare Bearden’s 1984 Bierstadt, Charles M. Russell, Browse – Mule Deer at $87,750. watercolor The Obeah’s and Frederic Remington. Choice (Le Choix de la Wildlife offerings by Bob OAKLAND, CA Sorciére) that yielded $87,500. Kuhn and Carl Rungius, the CLARS AUCTION “We are absolutely hallmark of the Jackson Hole GALLERY Art Auction realized strong thrilled—this auction SEPTEMBER 19-20 prices as well.” exceeded all of our Fine Art, Decorative, The sale’s cover lot, expectations and reinforced Jewelry and Asian Art the great status of Dr. Angelou Bierstadt’s Wind River $1.8 million Country Wyoming (est. $1/2 as an American cultural icon,” Becoming the second highest million), was the top seller says Nigel Freeman, director September sale in Clars of African-American Fine Art of the auction at $800,000. Auction Gallery history, the at Swann Auction Galleries. Rungius’ Grizzly Bear (est. Egon Schiele (1890-1918), Fine Art, Decorative, Jewelry Schlafender Mann, 1910. “It was an honor to handle $250/450,000) was among the and Asian Art auction on Watercolor, pencil and black her collection.” day’s highest earning works September 19 and 20 earned crayon, 175/8 x 115/8 in., signed at $269,100; while two works a total of $1.8 million. More in pencil lower right recto, with by Kuhn also performed well: a study of a man in pencil verso. than 200 photographs from Courtesy Swann Auction Galleries. the Art Institute of Chicago Estimate: $200/300,000 were the favorites among SOLD: $905,000 collectors and dealers, yielding a cumulative $150,300. Also 19th & 20th Century Prints performing well in the fine & Drawings auction on art category was William Trost September 24. Highlighting Richards’ On the Irish Coast the day was Egon Schiele’s from 1893. The painting sold Schlafender Mann, which sold for a sold $29,750. for $905,000 to become the highest selling work at the NEW YORK, NY one of the auction house’s SWANN AUCTION 19th & 20th Century Prints & GALLERIES Drawings auctions. Coming in second was Gustav Klimt’s SEPTEMBER 24 Urmarmen Akte, a 1908 19th & 20th Century pencil drawing that sold for Prints & Drawings $125,000. $3.7 million Other noteworthy lots More than $3.7 million in included Edward Hopper’s Albert Bierstadt (1830-1902), Wind River Country Wyoming, ca. 1860. sales was achieved during 1921 etching Night Shadows Oil on canvas, 28¼ x 39½ in. Courtesy Jackson Hole Art Auction. Swann Auction Galleries’ Estimate: $1/2 million SOLD: $800,000 at $37,500; Martin Lewis’

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Joint Auction Report.indd 166 10/7/15 4:10 PM drypoint and sand-ground for quality works on paper is Ryder’s The Sandy Road (est. work Shadow Dance, which strong,” says Todd Weyman, $5/8,000), which achieved a saw $50,000; George Bellows vice president and director robust $17,250. lithograph Preliminaries, which of prints and drawings at the achieved $23,750; and Mary auction house. “Collectors BOSTON, MA Cassatt’s drypoint from circa are prepared to bid just as GROGAN & COMPANY 1902 titled Reine and Margot assertively on quality drawings SEPTEMBER 27 Seated on a Sofa (No. 2) that as they are on important Alexander Calder (1898-1976), Busbies & Uniforms. Gouache and September Auction also sold for $23,750. oil paintings, showing that ink on paper, 293/8 x 43 in., signed $1 million “Significant bidding desirable examples of an lower right: ‘Calder ’71’. Courtesy The September 27 sale at activity on the Schiele and artist’s draughtsmanship Cottone Auctions. Estimate: $60/80,000 SOLD: $109,250 Grogan & Company was the Gustav Klimt drawings are strongly sought after, a successful kickoff for the indicates that collectors particularly when they GENESEO, NY auction house’s 2015-2016 were willing to compete exhibit an artist’s celebrated COTTONE AUCTIONS auction season, achieving aggressively for these rare attributes.” just over $1 million in sales. SEPTEMBER 25-26 works, and that the market Featuring 222 lots of fine art, Fine Art & Antique Auction LONE JACK, MO jewelry, decorative arts and $2 million Oriental rugs, the sale had an DIRK SOULIS Represented during Cottone AUCTIONS 85 percent sell-through rate Auctions’ Fine Art & Antique and a $5,300 average lot value. SEPTEMBER 25 Auction on September 25 and One of the highlights of the Summer Catalogue Auction 26 were more than 700 lots Sunday sale was the American $620,000 across a selection of categories. fine art segment, which had On September 25, Dirk Represented in the sale were competitive bidding from Soulis Auctions hosted its American and European in-house, phone and Internet Summer Catalogue Auction paintings, lamps, art glass, buyers. silver, sculpture, American that included a 60-inch Edward Henry Potthast’s and European furniture, bronze edition of Harriet oil on board Wading was and Native American and Whitney Frishmuth’s Joy of among the offerings, and sold Americana items, among the Waters (est. $175/250,000), within its presale estimate many other pieces. completed around 1918. The of $30,000 to $50,000 at work was consigned by the One of the notable items $48,800. George Catlin’s Kansas-based Woman’s Club from the fine art category was 1844 North American Indian of Topeka, which acquired the Alexander Calder’s primary Portfolio, containing 20 hand- sculpture in 1944. The piece, colored gouache Busbies & colored lithographs, which highlighted by Frishmuth’s Uniforms (est. $60/80,000), was estimated at $20,000 to signature dancer-like or which sold for $109,250. $40,000, also landed within stretched positions, sold for Another standout of the estimate when it sold for $160,000. sale was Chauncey Foster Another standout of the $33,550. auction was an oil on canvas by Alfred Heber Hutty titled In a Southern City (est. $8/12,000), showing a view of St. Michael’s Church in Charleston, South Carolina. The painting had been exhibited at the Detroit Institute of Arts under the auspices of the Scarab Club, circa 1920. The Hutty sold for $60,500 to a museum in the Carolinas, while two museums in Missouri Harriet Whitney Frishmuth (1880-1980), Joy of the Waters, purchased pieces by Thomas ca. 1918. Bronze, 60 in. Courtesy Hart Benton. Dirk Soulis Auctions. Estimate: Edward Henry Potthast (1857-1927), Wading. Oil on board, 11¼ x 15½ in. $175/250,000 SOLD: $160,000 Courtesy Grogan & Company. Estimate: $30/50,000 SOLD: $48,800

AUCTION REPORTS 167

Joint Auction Report.indd 167 10/7/15 4:10 PM Index Artists in this issue

Adams, Ansel 30 Drewes, Werner 108 Hopper, Edward 30, 164 Peale, Rubens 139 Anshutz, Thomas 109 du Bois, Guy Pène 115 Hosmer, Harriet 113 Perry, Clara 104 Avery, Milton 111 Durand, Asher B. 108 Hunt, William Morris 77 Potthast, Edward Henry 36, 167 Ault, George Copeland 157 Eakins, Thomas 76, 139 Jonson, Raymond 150 Powers, Hiram 111 Barrer, Gertrude 114 Ernst, Max 88-89 Kaye, Otis 113 Puthuff, Hanson Duvall 154 Bellows, George Wesley 126, 151 Falkenstein, Claire 86 Lane, Fitz Henry 52 Pyle, Howard 30 Benton, Thomas Hart 145, 156 Fechin, Nicolai 142 Lebasque, Henri 155 Ray, Man 30 Berninghaus, Oscar 163 Fransioli, Thomas 98-101 Lewis, Norman 114, 159 Redfield, Edward Willis 136, 159 Bertoia, Harry 87, 158 Frishmuth, Harriet Whitney 167 Leyendecker, Joseph Christian 130 Remington, Frederic 147 Bierstadt, Albert 148, 166 Frost, John 152 Lipton, Seymour 86 Richards, William Trost 166 Biggers, John 165 Garber, Daniel 137 Luks, George Benjamin 135 Ringgold, Faith 34 Bontecou, Lee 87 Gaspard, Leon 150 MacDonald-Wright, Stanton 76, 112 Rockwell, Norman 139, 141, 144 Briscoe, Franklin Dullin 158 Gifford,Sanford Robinson 107 Marin, John 111, 135, 150 Rungius, Carl 164 Brown, John George 85 Gray, Percy 155 Marsh, Reginald 83 Russell, Charles M. 135 Buck, William Henry 159 Grosz, George 34 Maurer, Alfred 58-65 Sargent, John Singer 108, 110 Burchfield, Charles E. 106 Hale, Lilian Westcott 102 McEntee, Jervis 117, 122-124 Schiele, Egon 166 Calder, Alexander 167 Hansen, Armin 160 Metcalf, Willard Leroy 105, 107, 161 Sheeler, Charles 127, 134 Chase, William Merritt 74 Hartley, Marsden 76, 128, 132 Michel, Sally 90-93 Stuart, Gilbert 147 Church, Frederic Edwin 38 Hassam, Childe 75, 133, 158, 160, 165 Miller, Lee 30 Tracy, John Martin 159 Cole, Sarah 102 Heade, Martin Johnson 140, 157 Miller, Richard Edward 162 Ufer, Walter 118, 120 Cooper, Colin Campbell 130 Hennings, E. Martin 119, 121 Molinary, Andres 165 Weber, Max 77, 78-81 Couse, Eanger Irving 30 Henri, Robert 149 Neiman, LeRoy 143 Whistler, James Abbott McNeill 163 Cox, Kenyon 84 Herter, Albert 83 O’Keeffe, Georgia 34, 38, 129, 131 Wiles, Irving Ramsey 84, 112 Crockett, Flora 38 Herzog, Hermann 165 Onderdonk, Julian 30, 158 Wood, Grant 161 Davis, Stuart 115, 125, 128, 133 Higgins, Victor 162 Parrish, Maxfield 140 Wyeth, Andrew 146, 157, 159, 164 de Kooning, Willem 38 Hirsch, Alice 104 Paxton, William McGregor 82 Wyeth, N.C. 138 Dove, Arthur 36, 74 Homer, Winslow 94-97 Payne, Edgar 152 Zorach, Marguerite 103

Advertisers in this issue A.J. Kollar Fine Paintings, LLC (Seattle, WA) 23 David Dike Fine Art (Dallas, TX) 37 Miami Project (Miami Beach, FL) 24 Altermann Galleries & Auctioneers Debra Force Fine Art, Inc. (New York, NY) 13 Michaan’s Auctions (Alameda, CA) 53 (Santa Fe, NM) 55 Delaware Antiques Show (Wilmington, DE) 51 Neal Auction Company (New Orleans, LA) 6 American Art Fair, The (New York, NY) 12 Freeman’s (Philadelphia, PA) 11, 25 New York Art, Antique & Jewelry Show Art on Paper Miami (Miami Beach, FL) 22 (New York, NY) 50 Gaspard Book (Santa Fe, NM) 8 ArtPalmBeach (West Palm Beach, FL) 18 Olana Partnership, The (Hudson, NY) 56 Gerald Peters Gallery (New York, NY) Cover 3 Avery Galleries (Bryn Mawr, PA) 1 Palm Beach Jewelry • Antiques • Design Godel & Co. Inc. (New York, NY) 17 (West Palm Beach, FL) 20 Bonhams (New York, NY) 9 Questroyal Fine Art, LLC Brunk Auctions (Asheville, NC) 40 Hawthorne Fine Art (New York, NY) 29 (New York, NY) Cover 4 Christie’s Fine Art Auctions (New York, NY) 3 Heritage Auctions (New York, NY) 5 Santa Fe Art Auction (Santa Fe, NM) 2 Hirschl & Adler Galleries (New York, NY) 21 Clars Auction Gallery (Oakland, CA) 40 Scottsdale Art Auction (Scottsdale, AZ) 35 LA Art Show (Los Angeles, CA) 16 Coeur d’Alene Art Auction, The (Reno, NV) 43 Thomaston Place Auction Galleries D. Wigmore Fine Art, Inc. (New York, NY) 7 Leland Little Auctions (Hillsborough, NC) 31, 39 (Thomaston, ME) 42 Dallas Auction Gallery (Dallas, TX) 19 Mark Murray Fine Paintings (New York, NY) 27 Vose Galleries, LLC (Boston, MA) Cover 2

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Index24.indd 168 10/7/15 6:33 PM ANDREW WYETH A Survey

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