2017 Auction Checklist

Total Page:16

File Type:pdf, Size:1020Kb

2017 Auction Checklist 65 William May 73 Helen Alton 81 Boris Margo 90 Judith Shahn 99 Gerrit Hondius 101 Maxwell Stewart Simpson Provincetown Art Association and Museum “Billy May” Smith Farnsworth Sawyer Surreal Landscape, n.d. Baskets, c. 1980 Woman, n.d. Second Modern Exhibition, 460 Commercial Street Lot of 2 untitled, n.d. Ink on paper, 25x19” SLR Acrylic on paper, 23x30” SLR Ink on paper, 9x5.5” SLR PAAM, 1928 Provincetown, MA 02657 Provincetown Harbor, n.d. Oil on masonite, 18x24” SLR Est. $500-$700 Est. $1000-$1500 Est. $200-$300 Pen and ink on paper, 508.487.1750 | paam.org Photograph, 6x8” SLR Est. $1000-$1500 8.75x5.75” SUR Lot est. $300-$500 82 Remo Michael Farruggio 91 Tod Lindenmuth 100 Abraham Walkowitz Est. $400-$600 74 Sol Wilson Juxtaposition, n.d. untitled (dunes and sea), n.d. Lot of 2 Christopher Wren Tower, n.d. Dock and Scow, n.d. Gouache on paper, 28x38” SLR Oil on board, 14x17” SLL Isadora Duncan, n.d. 102 Sol Wilson (1896-1974) Photograph, 8x6” SLR Oil on canvas, 18x24” SLR Est. $700-$900 Est. $1000-$1500 watercolor with pencil, The Family, n.d. Lot est. $300-$500 Est. $1500-$2500 10.75x6” SLL Oil on canvas, 8x10” SLL 83 Herman Maril 92 Gerrit Beneker Lot est. $1200-$1600 Est. $800-$1200 66 Herman Maril 75 Nancy Whorf Monhegan Shore, 1963 Sure We’ll Finish the Job, 1918 Mountain, 1970 Simon’s Deli in the Snow, 1990 Ink wash, 20x28” SLR Lithographic poster, 38x26” Isadora Duncan, n.d. Ink wash, 13x10” SLR Oil on masonite, 17.5x23” SLL Est. $2000-$3000 Est. $300-$500 Watercolor with pencil, Est. $1500-$2500 Est. $4000-$6000 10.75x7.75” 84 Ben Shahn 93 artist unknown Lot est. $1200-$1600 67 William Zorach 76 Karl (Otto) Knaths Female Figure Study 2, n.d. untitled (Truro church), n.d. Madonna and Child, 1949 Clamdiggers Return, n.d. Oil on canvas and board, 16x9” Fresco, 25x19.25” Color linocut with gold Ink and watercolor, 8.25” x 6.5” Est. $1000-$1500 Est. $400-$600 additions, 8.25x5.75” SLR Estate-stamped LL Est. $800-$1200 Est. $500-$700 85 Karl (Otto) Knaths 94 Jim (James) Turkey in the Straw, n.d. Alfred Forsberg Registration 68 Bruce McKain 77 David Vereano Oil on canvas, 40.25X40.25” SLR Summer Flight, 1985 Registration for an auction paddle is free and can be PAAM South Wester, n.d. untitled (Provincetown), n.d. Est. $8000-$12000 Mixed media collage, 30x25” SLR done at the event or in advance by phone. Oil on board, 18x24” SLL Oil on panel, 8x10” ILR Est. $2000-$3000 CONSIGNMENT Est. $3000-$5000 Est. $400-$600 86 William F. Boogar, Jr. Absentee/Phone Bidding Seagull in Flight, n.d. 95 William Freed If you are unable to attend the auction in person, AUCTION 69 William F. Boogar, Jr. 78 Chaim Gross Bronze, 3.5x3x2.5” signed untitled (jade tabletop still absentee or phone bidding forms are available at Seahorse (letter opener), n.d. Caring, n.d. on base life #F291), n.d. September 23, 2017 7pm the front desk. Please note that these forms must be On preview September 8–23 Bronze, 1.25x.25x9” signed Bronze, 7x5x2.5” signed on base Est. $300-$500 Oil on masonite, 24x18” received before 3pm on the day of the auction. on blade Est. $1000-$1500 Est. $1000-$1500 Auctioneer: James R. Bakker, MA License #154 Est. $1000-$1500 87 Oliver Newberry Chaffee, Jr. The live auction is Saturday, September 23 at 7pm. 79 Abraham Harriton untitled (Provincetown 96 John Cuthbert Hare Please note that the auction preview closes at 4pm 70 Ora Coltman untitled (Provincetown), n.d. cottage), n.d. Old Houses Provincetown, n.d. on the day of the auction in order to prepare. Over the Rooftops, Oil on canvas, 11x16.75” SLR Oil on panel, 11x13” SLL Watercolor, 8x6.75 SLR Provincetown, n.d. Est. $600-$800 Est. $5500-$7500 Est. $400-$600 Watercolor, 7.625x9.125” SLC A portion of the proceeds from this auction benefit Est. $200-$300 80 Agnes Weinrich 88 Ada (Hensche) Rayner 97 Budd Hopkins the Provincetown Art Association and Museum. Lot of 2 untitled (a Provincetown Marduk I, 1973 We thank you very much for your support. 71 Will R. Barnet Grapes and Peaches, c. 1920 lane), n.d. Acrylic on canvas, 25x36” SLR untitled, n.d. Color white-line woodblock, Oil on panel, 16x12” SLR Est. $2000-$3000 Mixed media on paper, 10.5x10” 10.5x10.5” SLR Est. $500-$700 framed SLR Lot est. $10000-$15000 98 Ferol Sibley Warthen Est. $5000-$7000 89 Peter Busa Sunrise, 1959 Grapes and Peaches, c. 1920 untitled (abstract), 1954 Color white-line woodblock 72 Maurice Sterne Color white-line woodblock Mixed media, 13.5x16.5” SLR print, 19.625x11.5” SLR Benares, 1912 print, 10.5x10.5” Est. $2000-$3000 Est. $3000-$5000 Oil on canvas, 18.5x23” SLR Lot est. $10000-$15000 Est. $8000-$10000 PAAM is an equal opportunity provider and employer. Lot 80: Agnes Weinrich, Grapes and Peaches 14 Chaim Gross The Tortoise and the Hare 30 Mary Crocker Fassett 40 William Maynard 50 Harvey Dodd 59 Caleb Arnold Slade PAAM CONSIGNMENT Lot of 2 (bookends), c. 1930s Portrait of Vernon Smith, n.d. untitled (stormy seas), 1948 Atwood Lane, 1991 Provincetown Boatyard AUCTION untitled (three women Bronze, 5x6x3” signed on base Ink on paper, 22x14” SLR Watercolor, 14.5x20.5 SLL Pastel on paper, 19x24.75” SLR in Winter, 1916 dancing), 1977 Lot est. $1000-$1500 Est. $200-$300 Est. $600-$800 Est. $300-$500 Oil on canvas, 18x21” September 23, 2017 7pm Watercolor, 9.5x13” SLR Est. $7000-$9000 On preview September 8–23 Lot est. $700-$900 22 Arthur Vidal Diehl 31 Remo Michael Farruggio 41 Isabella Brockway Walker 51 William F. Boogar, Jr. Seascape with Gulls, n.d. Red on Green, n.d. Provincetown, n.d. Lot of 2 60 Albert H. Edel untitled (two women Oil on canvas, 6x12” SLR Oil on canvas, 36x48” SLR Woodcut, 8x5” SLL Seagull (candlestick), n.d. Lot of 4 dancing), 1977 Est. $800-$1200 Est. $700-$900 Est. $200-$300 Bronze, 7x4.5x1” The Oyster Shacks, n.d. 1 William F. Boogar, Jr. 7 Remo Michael Farruggio Watercolor, 10.75x7” SLR Lot est. $1500-$2500 Etching, 4x4.75” SLR Lot of 2 Awakening, n.d. Lot est. $700-$900 23 John Cuthbert Hare 32 Vernon B. Smith 42 Alvin Ross Lot est. $1200-$1600 Clam Digger (female), n.d. Gouache on paper, 28x38” SLR Drifting Mist, Provincetown, n.d. untitled (beach scene 2), c. 1950 Interior Provincetown II, n.d. Seagull (candlestick), n.d. Bronze, 2x1.5” Est. $700-$900 15 Tod Lindenmuth Watercolor, 7x7.75 SLR Casein on panel, 7.5x12” SLL Oil on canvas, 35.5x25.25” SLR Bronze, 7x4.5x1” Highland Light, n.d. Lot est. $800-$1200 At Daybreak #9, 1939 Est. $400-$600 Est. $2500-$3500 Est. $6000-$8000 Lot est. $1500-$2500 etching, 4x4.75” SLR 8 Byron Browne Color linocut, 9.625 x 7.25” SLR Lot est. $1200-$1600 Clam Digger (male), n.d. Boat on Beach, 1956 Est. $1000-$1500 24 Nancy Whorf 33 Carl Lefton 43 Gerrit Hondius 52 Robert Burns Motherwell Bronze, 2x1.5” Oil on canvas, 18x14” Walking in Winter Sunset, n.d. untitled (town library Museum Interior, 1967-8 Spoleto Festival, 1968 Off to Mend Their Nets, n.d. Lot est. $800-$1200 signed and inscribed verso, 16 Bruce McKain Oil on masonite, 36x48” from beach), 1991 Oil on masonite, 24x30” SLL Lithograph, 40x28” SLL etching, 3.5x5.5” SLR “Provincetown, Cape Cod, Mass” First Snow, 1982 Est. $8000-$12000 Oil on canvas, 30x36” SLR Est. $1000-$1500 Est. $1500-$2500 Lot est. $1200-$1600 2 Oliver Newberry Chaffee, Jr. Est. $5000-$7000 Oil on canvas, 24x22” SLR Est. $600-$800 Vence, 1927 Est. $2000-$3000 25 Sol Wilson 44 Abraham Walkowitz 53 LaForce Bailey On Railroad Wharf, n.d. Watercolor, 14.5x21” SLL 9 Budd Hopkins Path to the Lighthouse, n.d. 34 Lillian Orlowsky untitled, n.d. untitled (Victory and crew), n.d. etching, 4.5x6” SLR Est. $800-$1200 untitled (64-D-64), 1964 17 William F. Boogar, Jr. Gouache on paper, 5x7” SLR untitled, n.d. Casein on heavy wine paper, Gouache on paper, 21.5x29.75” Lot est. $1200-$1600 Ink on paper, 15.5x12.25” SLL Pelican, n.d. Est. $200-$300 Ink on paper, 18.75x25.5” SLR 6.5x9.5” SLR sight SLR 3 Elizabeth Boardman Long Point Gallery “Black Show” Bronze, 5x3.5x3.5” signed on base Est. $1200-$1600 Est. $400-$600 Est. $1000-$1500 61 William A. Baziotes (EB) Warren label verso Est. $600-$800 26 Karl (Otto) Knaths Composition, 1946 Lot of 2 Est. $500-$1000 Landscape with Oxen, n.d. 35 Nancy Webb 45 Frederick Judd Waugh 54 Karl (Otto) Knaths Watercolor on paper, 17x15.2” By the Lumber Wharf, n.d. 18 Caleb Arnold Slade Oil on canvas, 18x22” SLL Horseshoe Crab, n.d. untitled (breaking surf), n.d. untitled (faces), 1922 Est. $5000-$7000 Etching, 3.5x4.5” ILR 10 Herman Maril Spring, Truro Kettle, n.d. Est. $4000-$6000 Bronze, 16x8x2.5” Oil on board, 31.5x36.5 SLR Crayon on paper, 13x10” Lot est. $400-$600 Red Boat Tacking In, 1978 Oil on canvas, 28.5x33.5” SLR (double-sided) Est. $1000-$1500 Est. $10000-$15000 Estate-stamped LL 62 Remo Michael Farruggio Watercolor, 12x16” SLR Est. $8000-$10000 Est. $800-$1200 Torre Tower, n.d. On A Cape Cod Street, n.d.
Recommended publications
  • THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
    ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art.
    [Show full text]
  • Innovation and Color: the Reinterpretation of the Woodcut
    Spyglass A LOOK AT THE CAHOON MUSEUM OF AMERICAN ART • FALL 2013 CURRENT EXHIBITIONS INSIDE Innovation and Color: The Reinterpretation of the Woodcut Marieluise Hutchinson, The Red Barn, oil on masonite, will be on veiw in the Small Works fundraiser exhibition from November 19 - December 22. 2 Upcoming Exhibits The Little Gallery 3 Annual Appeal Cahoon Society Purchase Ruth Dewitt Hogan, Homage to the Cahoon Museum, 2013, white-line wood block print 4 In recent years, especially on the Cape, Wendy Willard. From the President the technique of the white-line woodcut Ruth Dewitt Hogan’s “Homage to the has been rediscovered by many talented Matching Challenge Cahoon,” 2013, was specifi cally created artists. This exhibition presents important Grant for this exhibition and appears on the works by early innovators of white-line Exhibits Cont. postcard and other printed publicity for woodcuts on the Cape and illustrates how the exhibit. To emphasize innovation and current artists are learning from those 5 color, Ruth took four earlier artists and innovators and taking the form to new From the Director deliberately incorporated examples of their levels. style into her work. These artists are Arthur 6 Among the artists included in the Wesley Dow, Blanche Lazell, Seong Moy, Greeting Card Workshop exhibit are: Sally Brophy, Jean Carbonell, and B. J. O. Nordfeldt. Ada Gilmore Chaffee (1882-1955), Sailor’s Valentine Arthur Wesley Dow’s style appears on Oliver Chaffee (1881-1944), William Workshop the right, above the word “Woodcuts.” He Evaul, Ruth Dewitt Hogan, Lorraine was the central fi gure in American color Kujawa, Blanche Lazell (1878-1956), 7 woodcuts at the turn of the 19th to the Jane Lincoln, Jerre Moriarty, Angele Membership 20th century.
    [Show full text]
  • Press Release
    BERTA WALKER GALLERIES Provincetown & Wellfleet You are invited OPENING in Wellfleet Saturday, June 17, 4 - 6 PM continuing through July 15, 2017 WELLFLEET ARTISTS of the Berta Walker Galleries Currently living and working in Wellfleet Robert Henry Grace Hopkins Sidney Hurwitz Penelope Jencks Gloria Nardin Pe ter Watts Wellfleet artists years past Elizabeth Blair (1908-1995) Edwin Dickinson (1891-1978) Gilbert Franklin (1919- 2004) Budd Hopkins (1931-2011) James Lechay (1907-2001) John C. Phillips (1908- 2003) Selina Trieff (1934-2015) (AND) Opening the following week in Provincetown FRIDAY, June 30 JOSEPH DIGGS "Life's Layers" Abstract and Figurative Paintings The Many Languages of Landscape VARUJAN BOGHOSIAN, BRENDA HOROWITZ, SKY POWER, MURRAY ZIMILES WELLFLEET ARTISTS of the Berta Walker Galleries JUNE 17 - JULY 15 Reception Saturday, June 17, 4 - 6 PM 40 Main Street, Wellfleet, MA In this exhibition, we hope you'll enjoy discovering and celebrating the work of artists from Wellfleet's past as well as those who continue to live and work here. These artists had, or continue to have, studios in Wellfleet and the exhibition includes work from as early as 1924 through to today. These artists are now part of the Berta Walker Galleries' ongoing effort to celebrate the history of American art through the lens of the Outer Cape's historic art colony, founded in 1899, and which encompasses the towns of Provincetown, Truro and Wellfleet. We are delighted to now have a presence in Wellfleet, thanks to the help of The Wicked Oyster Restaurant who made their building available, affording us the opportunity to expand on presenting the art colony's major and important American art contributions.
    [Show full text]
  • A Stellar Century of Cultivating Culture
    COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists.
    [Show full text]
  • LOT 1 Tod Lindenmuth (1885–1976) in the Weir, C. 1940S Linocut Print, 9" X 7" Est: $800–$1,200 Signed Lower Right LOT 2 A.P
    LOT 1 Tod Lindenmuth (1885–1976) In the Weir, c. 1940s Linocut print, 9" x 7" Est: $800–$1,200 Signed lower right LOT 2 A.P. Todd (20th C) Provincetown from Webster's Hill, 1939 Oil on board, 16" x 20" Est: $800–$1,200 Signed on reverse LOT 3 (LOT OF 4) Albert Edel (1894–1970) Highland Light, c. 1940–60 The Three Towers, c. 1940–60 Drypoint, 3.75" x 4.75" Drypoint, 3.5" x 5.25" Railroad Wharf, c. 1940–60 Sand Dunes, c. 1940–60 Drypoint, 4" x 4.75" Drypoint, 4" x 4.5" Est: $800–$1,200 All signed lower right LOT 4 Agnes Weinrich (1873–1946) untitled (two women), n.d. Ink, graphite, pastel on paper, 5.5" x 8.75" Est: $400–$600 Signed lower left LOT 5 Herman Maril (1908–1986) Monhegan Island, Maine, 1962 Ink wash on paper, 23" x 29" Est: $2,000–$3,000 Signed lower left LOT 6 Dorothy Loeb (1887–1971) Fish Houses, Barnstable, c. 1929 Watercolor on paper, 15" x 21" Est: $600–$800 Signed lower right LOT 7 Chaim Gross (1904–1991) Mother and Child, 1974 Bronze with wooden base, 8.5" x 4.5" x 4.25" Est: $1,000–$1,500 Signed on reverse LOT 8 Lillian Orlowsky 1914 2004 Collage Abstraction, n.d. Oil and mixed media on board, 16" x 12" Est: $1,000–$1,500 Signed lower left LOT 9 Ada Gilmore (1882–1955) Floral Study, 1940 Watercolor on paper, 11" x 10" Est: $400–$600 Signed lower right LOT 10 Arthur Cohen (1928–2012) Terra Nova, Silver Mink, 2006 Oil on canvas, 30" x 40" Est: $2,000–$3,000 Signed lower right LOT 11 Selina Treiff (1934–2015) Dancer with White Bird, 2001 Oil on paper, 18" x 24" Est: $1,000–$1,500 Signed upper right LOT 12 Henry Hensche (1899–1992) Demonstration Still Life, c.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • Representations of the Female Nude by American
    © COPYRIGHT by Amanda Summerlin 2017 ALL RIGHTS RESERVED BARING THEMSELVES: REPRESENTATIONS OF THE FEMALE NUDE BY AMERICAN WOMEN ARTISTS, 1880-1930 BY Amanda Summerlin ABSTRACT In the late nineteenth century, increasing numbers of women artists began pursuing careers in the fine arts in the United States. However, restricted access to institutions and existing tracks of professional development often left them unable to acquire the skills and experience necessary to be fully competitive in the art world. Gendered expectations of social behavior further restricted the subjects they could portray. Existing scholarship has not adequately addressed how women artists navigated the growing importance of the female nude as subject matter throughout the late nineteenth and early twentieth centuries. I will show how some women artists, working before 1900, used traditional representations of the figure to demonstrate their skill and assert their professional statuses. I will then highlight how artists Anne Brigman’s and Marguerite Zorach’s used modernist portrayals the female nude in nature to affirm their professional identities and express their individual conceptions of the modern woman. ii ACKNOWLEDGMENTS I could not have completed this body of work without the guidance, support and expertise of many individuals and organizations. First, I would like to thank the art historians whose enlightening scholarship sparked my interest in this topic and provided an indispensable foundation of knowledge upon which to begin my investigation. I am indebted to Kirsten Swinth's research on the professionalization of American women artists around the turn of the century and to Roberta K. Tarbell and Cynthia Fowler for sharing important biographical information and ideas about the art of Marguerite Zorach.
    [Show full text]
  • The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
    University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Methods for Modernism: American Art, 1876-1925
    METHODS FOR MODERNISM American Art, 1876-1925 METHODS FOR MODERNISM American Art, 1876-1925 Diana K. Tuite Linda J. Docherty Bowdoin College Museum of Art Brunswick, Maine This catalogue accompanies two exhibitions, Methods for Modernism: Form and Color in American Art, 1900-192$ (April 8 - July 11, 2010) and Learning to Paint: American Artists and European Art, 1876-189} (January 26 - July 11, 20io) at the Bowdoin College Museum of Art, Brunswick, Maine. This project is generously supported by the Yale University Art Gallery Collection- Sharing Initiative, funded by the Andrew W. Mellon Foundation; a grant from the American Art Program of the Henry Luce Foundation; an endowed fund given by the Andrew W. Mellon Foundation; and Bowdoin College. Design: Katie Lee, New York, New York Printer: Penmor Lithographers, Lewiston, Maine ISBN: 978-0-916606-41-1 Cover Detail: Patrick Henry Bruce, American, 1881-1936, Composition 11, ca. 1916. Gift of Collection Societe Anonyme, Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 53. Pages 8-9 Detail: John Singer Sargent, American, 1856-1925, Portrait of Elizabeth Nelson Fairchild, 1887. Museum Purchase, George Otis Hamlin Fund and Friends of the College Fund, Bowdoin College Museum of Art. Illustrated on page 18. Pages 30-31 Detail: Manierre Dawson, American, 1887-1969, Untitled, 1913. Gift of Dr. Lewis Obi, Mr. Lefferts Mabie, and Mr. Frank J. McKeown, Jr., Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 32. Copyright © 2010 Bowdoin College Table of Contents FOREWORD AND ACKNOWLEDGMENTS Kevin Salatino LEARNING TO PAINT: 10 AMERICAN ARTISTS AND EUROPEAN ART 1876-1893 Linda J.
    [Show full text]
  • Faces of the League Portraits from the Permanent Collection
    THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
    [Show full text]
  • International Exhibition of Contemporary Prints a Century 01
    INTERNATIONAL EXHIBITION OF CONTEMPORARY PRINTS A CENTURY 01= PROGRESS JUNE 1 TO NOVEMBER 1·1934 THE ART INSTITUTE OF CHICAGO CATALOGUE OF THE OFFICIAL INTERNATIONAL EXHIBITION OF CONTEMPORARY PRINTS FOR A CENTURY OF PROGRESS 1934 • THE ART INSTITUTE OF CHICAGO TUNE I TO NOVEMBER I , I934 No. 196. Shulamite BoRIS ANISFELD TRUSTEES, OFFICERS AND COMMITTEES THE ART INSTITUTE OF CHICAGO, 1934 Honorary Trustees JOHN J. GLESSNER WILLIAM 0. GooDMAN FRANK G. LOGAN Trustees DAVID ADLER JOHN A. HOLABIRD RoBERT ALLERTO:-< CHAUNCEY McCORMICK FREDERIC c. BARTLETT CYRUS McCoRMICK \VALTER S. BREWSTER PoTTER PALMER THOMAS E. Dm•INELLEY ABRAM PooLE PERCY B. ECKHART JOSEPH T. RYERSON MAX EPSTEIN wALTER B. SMITH CHARLES F. GLORE RussELL TYsON ALFRED E. HAMILL CHARLES H. WoRCESTER EDWARD J. KELLY RoBERT B. UPHAM Mayor of the City of Chicap Comptroller of the City of Chicago EDWARD J. KELLY PHILIPS. GRAVER President South Park Commissioners A:~ditor South Park Commissioners Officers FRANK G. LoGAN CHAUNCEY McCoRMICK Honorary President Vice-President WILLIAM 0. GooDMAN WALTER B. SMITH Honorary Vice-President Treasurer JOHN J. GLESSNER ROBERT B. HARSHE Honorary Vice-President Director PoTTER PALMER CHARLES FABENS KELLEY President Assistant Director RoBERT ALLERTON CHARLES H. BuRKHOLDER Vice-President Secretary and PERCY B. EcKHART Business Manager Vice-President GuY U. YouNG CHARLES H. WoRCESTER A1anager, Membership Vice-President Department Executive Committee PoTTER PALMER wALTER B. SMITH RoBERT ALLERTO:-< wALTER S. BREWSTER PERCY B. EcKHART CHARLES H. WoRCESTER RussELL TYSON CHAUNCEY McCoRMICK THE HONORARY PRESIDENT, THE TWO HONORARY VICE-PRESIDENTS, THE PRESIDENT AND THE D IRECTOR ARE EX OFFICIO MEMBERS OF ALL COMMITTEES STAFF OF THE ART INSTITUTE RoBERT B.
    [Show full text]