CHILDS GALLERY Established 1937 painting annual Fall 2009 Volume 18 CHILDS GALLERY paintng annual Established 1937 Fall 2009 Fine American and European Paintings, Prints, Drawings, Watercolors and Sculpture Richard J. Baiano, President Stephanie V. Bond, ExecuTIVE VICE President D. Roger Howlett, SENIOR Research FEllow Volume 18 169 Newbury Street Boston, Ma 02116 Continuity and Change 617-266-1108 617-266-2381 fax childsgallery.com [email protected] We encourage you to phone or e-mail us to reserve your work of art. If you are from Massachusetts, a 6 ¼ % sales tax will be applied. a small shipping and handling fee, depending on package size, will be applied. Visa, MasterCard, and american Express are accepted. Prices are subject to change without notice. Works shipped on-approval may be returned within ten days of receipt. Firm orders have priority. all works returned must be as sent: prepaid and insured. all works in this catalogue are unconditionally guaranteed to be as described. Your bill of sale acts as your certificate of authenticity, and we will refund your money at any time if on good authority our description should be shown to vary from the work at the time that it was sold. To Receive Our E-Catalogues: In addition to the Print Annual, the Painting Annual, Childs Gallery Collections, and the Childs Gallery Bulletin, we offer a series of specialized e-catalogues. These email-based announcements are produced as single artist catalogues after having acquired significant new additions to the artist’s work, or pertain to specific subject matter such as marine, still life, portraits, etc. Please provide your e-mail address including an indication of the artists or subjects that interest you. We hope you will let us know how we can shape this set of catalogues to serve you better. You can also register for e-catalogues at childsgallery.com. our publiCations Childs Gallery Painting Annual was begun in 1980 and has become an established feature of the gallery and part of a publication tradition of more than seventy years of gallery publications and scholarship. In addition, the Childs Gallery Bulletin (begun 1950), the Print Annual (begun 1976) have been firmly established and are represented in almost every fine arts library in the country. as early as the mid-1940s, however, Childs Gallery presented a publication entitled Currier and Ives Prints: a Collection… which represented the carefully considered collection of a single owner with Charles D. Childs’ commentary that “we cannot recall that a representative collection of these lithographs has been shown in Boston for many years.” The newest publication series (2009) is Childs Gallery Collections which celebrates collections, collecting, and collectors as a pivotal axis Cover Charles Storer Oil on canvas of the art world. american (1817-1907) 36 x 24 inChes Ripe Enough to Gather, 1883 Signed and dated lower left. In addition, the gallery partners and staff have produced well-reviewed and seminal books and museum exhibition catalogues. Our newest endeavor in book-length studies is the forthcoming history of the gallery timed to celebrate its 75th year (2012). painting annual Volume 18, Fall 2009 Editor: Richard J. Baiano assistant Editor: Stephanie V. Bond CHILDS GALLERY Established 1937 Staff: Gina Canning, Zachary Dorner, Nicholas DiStefano, Kathryn Fields, John Hamilton, Stephanie Hackett, Elizabeth Mandel and Sally Norton 169 Newbury STREET Boston, MaSSaCHusetts 02116-2895 Photograhy: Darren Stahlman|darrenstahlmanphotography.com Catalogue Design: Carlos Ridruejo|caridossa.com ©2009 Bond Baiano llC / Childs Gallery all Rights Reserved. Continuity and Change Painting Annual 18 offers highlights from a year of noteworthy acquisitions for the gallery spanning over 200 years. Fine examples include British portraiture and American Folk Art, French and American Impressionism, and 20th century Modern and Abstract Expressionism. This reflects the continuing commitment to “A Childs Gallery Philosophy,” as established by our founder Charles D. Childs, and continued by successive presidents Carl L. Crossman and D. Roger Howlett. This philosophy, summarized below, was defined in the first Painting Annual introduction in 1980. Since our founding in 1937, Childs Gallery has had exciting and important American and European paintings, many of which are now cornerstones of museum and private collections. In addition to major works by well established artists, we have also sought to acquire paintings of great quality by lesser-known artists. This approach has trained us to open our eyes to works by artists previously overlooked, as well as to research and champion those artists currently not in vogue. This philosophy calls to mind Charles D. Childs’ 1938 article on a then unrecognized and obscure painter entitled Robert Salmon, A Boston Painter of Ships and Views. In many cases, this approach has proved to be an opportunity for collectors to purchase art far ahead of price trends, and to learn about artists and schools alongside scholars and curators. In addition to continuing this tradition, we also seek to advance the gallery offerings further in time. Included in this annual is a major sculpture – in painted steel – by Louise Nevelson and an almost contemporary watercolor by Erik Desmazières, primarily known for his virtuoso intaglio prints. These nascent offerings are featured alongside such gallery stalwarts as Laura Coombs Hills and Ben Norris. Norris was recently honored by the publication of his monograph, edited by his daughter, and is the latest publication of a Childs Gallery artist. We invite your inquiries. richard j. baiano, president left Randall [Randolph] Palmer Randall Palmer, the artist and man, emerges from the research of laurence B. Goodrich as “a lover of the out- american (1807-1845) of-doors, of horses, and of hunting, [Palmer] often embarked on excursions carrying both gun and brushes.” Self-Portrait Palmer was born in 1807 as the second of nine children of Joel and amy Randall Palmer in Oneida County, New York. While working at Seneca Falls, Palmer traveled to surrounding towns, taking on pupils and painting. By Oil on canvas 1838, Palmer had moved to auburn, New York where he completed at the time well known portraits of the Rev. 58 x 50 inChes J Hopkins and the local pirate Bill Johnston. Palmer continued to take on pupils and advertising in the auburn In original wood grained frame Journal and advertiser, February 11, 1841 as expert not only in oil painting, but additionally miniature painting with gold leaf inner and outer and daguerreotype. Palmer continued painting in auburn until his death in 1845 at the age of 38 due to a moldings. hunting accident. ExHIBITED This painting belongs to a very small, but significant group of itinerant artist self-portraits. This portrait, however, Face to Face: M.W. Hopkins and may be the most impressive itinerant painter’s self-portrait of all. It’s scale and complexity, which includes not only Noah North, Traveling Exhibition, the portrait of the artist with his easel, palette and calipers, but also, furniture, drapery, a landscape with cattle September 11, 1988 – april 15, and an individualized dog portrait, is unusual in itinerant portraits except in very specialized examples, such as the 1990. Moore Family by Erastus Salisbury Field. Palmer’s portraits are larger in format than many other folk paintings and more intricately detailed, usually showing a full-length figure surrounded by objects of interest to the sitter. a near ProvenaNCE pendent portrait of a woman is in the abby aldrich Rockefeller Folk art Museum in Williamsburg. Palmer’s portraits available on request resemble the “plain” style of portraits painted by M. W. Hopkins and Noah North. right Moise Kisling Oil on canvas Included in the catalogue raisonné; Dutourd, Jean [edited by Jean Kisling] Kisling 1891- Polish-French (1891-1953) 21 1/4 x 17 3/4 inChes 1953. Tome III Edition 1995 p.171 #210. Signed lower left. Indistinct dedication by the Jeune Femme, 1942 artist lower left above signature. From the Joseph and Marjorie Relkin Collection. 4 CHILDS GALLERY PaINTING aNNual Fall 2009 Volume 18 5 1 Daniel Orme British (1766-1802) Portrait of British Naval Lieutenant, circa 1805 Oil on tin 14 x 11 inChes Verso bears signature inscription on oval tin. unidentified paint marks left edge resembling a possible signature or inscription. In original rectangular gilded frame with gilded oval liner (sanded with bosses). Roger Quarm of the National Maritime Museum, Greenwich has identified both the rank of the officer as lieutenant and the medal shown in the portrait as the Sultan’s Medal of 1801. 3 3 George Morland British (1763-1804) Men Hauling in a Boat, circa 1800 1 Oil on canvas 2 11 1/8 x 18 inChes Ignaz Marcel Gaugengigl Bavarian-american (1855-1932) Signed lower left. The Surprise, 1881 Oil on board 4 Frederick Richard Pickersgill 8 x 5 1/4 inChes British (1820-1900) Signed upper right. Mary, Queen of Scots, 1867 Ignaz Marcel Gaugengigl is particularly well known for Oil on panel his intimate genre scenes, studio interiors and portraits. Gaugengigl’s cabinet pictures of French Revolutionary 20 1/2 x 15 1/2 inChes days were admired for their skill of execution, their artist’s monogram lower left. Dated lower left. decorative qualities, and their spirited humor. His meticulous, small-scale work and ornate historical Frederick Richard Pickersgill was born in England to a subject matter earned him the title “The Meissonier of family of artists. He was admitted to the Royal academy america.” Schools in 1840 and eventually made his career as a painter and book illustrator for authors including John Gaugengigl’s arrival in Boston in 1878 coincided Milton and Edgar allan Poe. perfectly with the taste of Bostonians for the “cabinet picture,” which had recently become popular with collectors in France and Germany.