VISIONAIRE. Stephan Gan, Creative Director. Consecutive run of issues 1-50 of this extraordinary publication devoted to art and fashion, featuring artist collaborations and elaborate packaging for each of its uniquely themed issues. New York: 1991-2007
From the Library of Bill Diodato.
Each issue has a specific format and theme around which prominent artists, designers, photographers, and others create the publication. Includes: Spring * Travel * Erotica * Heaven * The Future * The Sea * Black * The Orient * Faces * The Alphabet * White * Desire * Seven Deadly Sins * Hype! * Cinderella * Calendar * Gold * Fashion Special * Beauty * Comme des Garcons * Deck of Cards/Diamond * Chic * The Emperor''s New Clothes * Light * Visionary * Fantasy * Movement * The Bible * Woman * The Game * Blue * Where? * Touch * Paris * Man * Power * Vreeland Memos * Love * Play * Roses * World * Scent * Dreams * Toys * More Toys * Uncensored * Taste * Magic * Decades * Artist Toys.
One of the most lavishly-produced and multi-faceted periodicals ever produced, Stephen Gan and the editors of Visionaire conceived of the publication as an "album of inspiration" devoted to art and fashion. The issues focus on unique themes ranging from erotica to Louis Vuitton to The Bible, and highlight remarkable collaborations between figures in the contemporary worlds of high art and popular culture, including artists, sculptors, photographers, fashion designers and entertainers.
Each issue is bursting with bold ideas, smart creativity, and sleek design. Photographers such as Mario Testino, Mary Ellen Mark, Bruce Weber, Nan Goldin, Nobuyoshi Araki, and James Nachtwey have participated as well as fashion designers (and art collectors) Karl Lagerfeld, Alexander McQueen, Helmut Lang, and François Berthoud, among many others.
Beautifully crafted, the issues typically employ multiple materials, including a luxurious Hermes leather travel pouch containing postcards from around the world, a sublime Tiffany''s box (the post-9/11 "Love" issue) with an Elsa Peretti heart, a Levi''s One-Pocket Sack Coat, Diana Vreeland''s newly disclosed memos, the first battery-operated publication, an inkless issue, and an orange corduroy Gap bag.
Visionaire is ongoing, and may be best described in the words of a critic at The Washington Post as "paper and ink as performance art." As radical as it is glamorous, Visionaire represents a true synergy between art and commerce, and revels on the stage of the material world.
GRANT WOOD (1891-1942) PENCIL SIGNED LITHOGRAPHGrant Wood (1891-1942)Vegetables (1939)The lithograph from an edition of 250 prints is signed by Grant Wood lower right side of the image and published by Associated American Artists in an edition of 250 prints. The artist's sister Nan Wood Graham applied the color by hand.The Associated American Artists commissioned Grant Wood to produce a series of four lithographs for distribution to commemorate their fifth year in business - 1939. For this project, Wood recruited his sister Nan Wood Graham (the female likeness in American Gothic) to color each lithograph in watercolor by hand. The result was four still life compositions titled Wild Flowers, Tame Flowers, Fruits and Vegetables. Sources say it took three years to complete the one thousand prints. They were offered by mail order for $10 each.The AAA was founded by Reeves Lewenthal in 1934 with the idea of bringing art by prominent American artists into the homes of everyday people at a time when original artwork was out of reach for many. The model proved to be a win-win situation that lasted for more than 60 years. It allowed artists to earn income at a time when many were struggling due to the economic hardships of the Great Depression, while also providing the general public with affordable access to art. The concept also made the arts more inclusive overall during a challenging period in American history.Image measures 7 x 9.5, sheet is 10 x 14 inches.Very good condition, nice, strong colors; the full untrimmed sheet, not laid down, no damage, stain, punctures, tears or repair.Provenance: Private collection, Des Moines, Iowa.
DOROTHY DEHNER, (AMERICAN, 1901-1994), UNTITLED, (NICKEL DRAWING SERIES), 1949, WATERCOLOR, PEN AND INK ON PAPER, 5 1/2"H X 4 3/4"W (IMAGE) 10 3/4"H X 10" W (FRAME)Dorothy Dehner (American, 1901-1994) Untitled, (Nickel Drawing Series), 1949 watercolor, pen and ink on paper signed with initials and dated lower left. Provenance: From a private collection, Indianapolis, IN. Biography from the archives of AskArt: Although Dehner's artistic recognition came undeservedly late in her career, her early artistic training proved extremely formative in developing her future aesthetic. Beginning at the Art Student's League in 1925 and continuing private studies with Jan Matulka in 1929, Dehner was introduced to some of the great modernists including John Graham, Milton Avery, Stuart Davis and Arshile Gorky. Trained first as a painter and draftswoman, Dehner's delicate drawings and watercolors are a prelude to her work as a sculptor beginning in 1955. They represent the possibilities available to an artist and suggest an "affinity with the understated aesthetic of Paul Klee with each line, color and form emphasizing both a visual and a symbolic isolation". [Grove]These works draw upon the primitive, calligraphic nature of oriental art. Unfortunately Dehner's artistic career was overshadowed by the career of her husband, David Smith; it would not be until after she left Smith in 1950 that Dehner would begin to gain recognition for her drawings and sculpture. Major peer recognition from greats like Louise Nevelson came about just as the Abstract Expressionist movement would wane. Throughout her career, Dehner had over 50 solo exhibitions and her works are included in the permanent collections of numerous major institutions including the Whitney, the Philadelphia Museum of Art, The Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden and the Metropolitan Museum of Art. © 2008 Levis Fine Art, Inc. 5 1/2"H x 4 3/4"W (image) 10 3/4"H x 10" W (frame) watercolor, pen and ink on paper Dimensions: 5 1/2"H x 4 3/4"W (image) 10 3/4"H x 10" W (frame)
Julius Delbos, New York, New Jersey, (1879-1970) untitled fishing boats, watercolor on paper signed lower left. EX: Lexington Gallery, NY Biography from the Archives of askART: Julius M. Delbos, born in 1879 in London, England, was a landscape painter, teacher, and lecturer. He was elected an Associate of the National Academy of Design, New York City, in 1945, an Academician in 1948. He was also a member of the American Watercolor Society; the New York Watercolor Club; the Society of Graphic Art; Old Dudley Art Society, London; American Artists Professional League; National Arts Club; and the Century Club. Delbos exhibited at the Corcoran Gallery, Washington, D.C. in 1930 and 1937; Pennsylvania Academy of the Fine Arts, Philadelphia, in 1930 and 1936; Art Institute of Chicago, Illinois; New York Watercolor Club, in 1935, where he won a prize; National Arts Club; Connecticut Academy of Fine Art; Society of Independent Artists; American Watercolor Society, winning prizes; and the Salons of America. Delbos' paintings are in the collections of the Butler Art Institute, Youngstown, Ohio; Toledo Museum of Art, Ohio; Brooklyn Museum, New York; Yale University Artists Guild, New Haven, Connecticut; and New York Public Library. He is listed in Who Was Who in American Art. Julian M. Delbos died in Dover, New Jersey in 1970. watercolor on paper 19 1/4" x 25 1/4", 29 1/8" x 35 1/4" (frame)
KAY (KATHRYN) HERRMANN DYER, (AMERICAN, 1916-2005), 'PUZZLE' MODERNIST FACE OF A WOMAN, WATER COLOR ON PAPER IN ORIGINAL FRAME, 11”..Kay (Kathryn) Herrmann Dyer, (American, 1916-2005) 'Puzzle' modernist face of a woman, water color on paper in original frame Signed Herrmann lower left, titled lower. From the personal collection of Chicago/Santa Fe artist Ramon Shiva (American; 1893-1963). Kathryn Bradford Dyer, formerly an instructor at the Art Institute of Chicago, has died at age 89. Kay was a painter and an art teacher most of her life. She taught and lectured on painting, drawing, aesthetics, the history of art, material of the artist, techniques and color. Early in her career she was dean of the Junior School of the Minneapolis Institute and then for 22 years she taught here in Chicago at the Art Institute. For eight years she was director of the Studio School in Chicago and co-director of Katherine Lord's Studio in Evanston for five years. She exhibited at the Art Institute, Carnegie Institute, San Francisco Museum of Art, Pennsylvania Academy of Fine Arts and a score of other institutions. Her paintings are in the permanent collections of the Metropolitan Museum (New York City), Museum of Modern Art (New York City), Brooklyn Museum of Art, Virginia Museum of Fine Arts, City Art Museum of St. Louis, Denver Art Museum, Corcoran Gallery of Art (Washington, D.C.), Phillips Memorial Gallery (Washington, D.C.) and many other museums. Among her many awards are the Kohnstamm prize and the Armstrong prize in 1940. She was married and later divorced from Briggs Dyer. 11' H x 9' W sight 15-1/2" H x 13-1/2" W frame
HEDDA STERNE, NEW YORK / FRANCE (1910-2011), POSY, 1974, INK ON PAPER, 12"H X 10 1/4"W (IMAGE), 18 1/4"H X 16 3/4"W (FRAME)Hedda Sterne, New York / France, (1910-2011) Posy, 1974, ink on paper Signed, dated, and titled verso. Includes copy of the signature. Biography from Levis Fine Art: Hedda Sterne was the only female member of the small, rebel mid-century group of 28 artists known as the "Irascibles", which included Willem de Kooning, Jackson Pollock, Clyford Still and Theodoros Stamos. They challenged the Metropolitan Museum of Art by protesting a juried exhibition intended to increase the museum's collection of contemporary art. In 1950, these artists banded together and signed a petition accusing the curator and director of loading the jury with critics hostile to "advanced art," particularly Abstract Expressionism. Such would be a great catalyst for the movement, drawing significant press coverage and public awareness. Hedda Sterne is known for her divergence from using mediums and forms contemporaneous with the times. She was one of the first to experiment with acrylic spray paint and also the return of the tondo shape to the art market. The year 1941, was a landmark year for Sterne as her move to New York was overshadowed by her inclusion in the Art of This Century exhibition, funded by the Guggenheim. It was here where notable dealer Betty Parsons discovered Sterne's work and gave her a solo exhibition at the Betty Parsons Gallery in 1943 and it was for this exhibition that Sterne first presented her use of circular canvases to create the Tondo Series. These tondos are mounted on a central axis so the viewer can turn them at will to gain varying perspectives. A pioneer in her use of both medium and form, Sterne used the tondo throughout the balance of her career. The theme of Sterne's works during the 1940's and 1950's was essentially machine-based, influenced by her early studies in France with Surrealism and abstraction. Some of her early works, including the New York Series from the 1950's, depicted "hurtling trains, derricks, and bridges as though they were looming monsters". It was a highly successful endeavor by the artist to portray the pace and power of the big city. Sterne's use of acrylic spray paint allowed her to echo speed and motion while also discovering that illusion of depth could be achieved without the use of traditional laws of perspective. It was also during this time period that she became associated with the New York School, and as a result began using more primary colors. Sterne's work is represented in the permanent collections of numerous museums including the Whitney, Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. ink on paper Dimensions: 12"H x 10 1/4"W (image), 18 1/4"H x 16 3/4"W (frame)
KAY (KATHRYN) HERRMANN DYER, AMERICAN (1916-2005), 3D MODELLED SCULPTURAL ABSTRACT PORTRAIT COMPOSITION, MIXED MEDIA ON PANEL, 21 1/2"H X 17 1/2"W (SIGHT), 23 1/2"H X 19 1/2"W (FRAME)Kay (Kathryn) Herrmann Dyer, American, (1916-2005) 3D modelled sculptural abstract portrait composition, mixed media on panel signed Herrmann lower right. From the personal collection of Chicago/Santa Fe artist Ramon Shiva (American; 1893-1963). Kathryn Bradford Dyer, formerly an instructor at the Art Institute of Chicago, has died at age 89. Kay was a painter and an art teacher most of her life. She taught and lectured on painting, drawing, aesthetics, the history of art, material of the artist, techniques and color. Early in her career she was dean of the Junior School of the Minneapolis Institute and then for 22 years she taught here in Chicago at the Art Institute. For eight years she was director of the Studio School in Chicago and co-director of Katherine Lord's Studio in Evanston for five years. She exhibited at the Art Institute, Carnegie Institute, San Francisco Museum of Art, Pennsylvania Academy of Fine Arts and a score of other institutions. Her paintings are in the permanent collections of the Metropolitan Museum (New York City), Museum of Modern Art (New York City), Brooklyn Museum of Art, Virginia Museum of Fine Arts, City Art Museum of St. Louis, Denver Art Museum, Corcoran Gallery of Art (Washington, D.C.), Phillips Memorial Gallery (Washington, D.C.) and many other museums. Among her many awards are the Kohnstamm prize and the Armstrong prize in 1940. She was married and later divorced from Briggs Dyer. mixed media on panel Dimensions: 21 1/2"H x 17 1/2"W (sight), 23 1/2"H x 19 1/2"W (frame)
Ralph J. McDonald Tennessee (late 20th century)DEER WITH DUCKSwatercolor, framed, signed: lower right, R.J. McDonaldsight size: H19" W13"
Provenance : Gift from the artist to the present owner.
Other Notes: R.J. McDonald is one of our country's most highly respected wildlife artists. For over twenty-five years his paintings and prints have been enthusiastically collected by knowledgeable art collectors.After graduating from the Harris School of Art, McDonald worked for several years as a successful illustrator and free-lance commercial artist. Later he decided to leave the security of commercial art and become a full time painter of wildlife and outdoor subjects. His timing was excellent, as the limited edition collector market was expanding rapidly at this time. His wildlife art career also received a substantial boost when the Governor of Tennessee commissioned him to paint the official portrait of the state's bird, the Mockingbird.Over the years McDonald has made numerous contributions to conservation groups. Among these groups are: Ducks Unlimited, Game Conservation International, Deer Unlimited and The National Wild Turkey Federation. In 1981 Ducks Unlimited named him its' National Artist of the Year and the sale of his prints at D.U. auctions have raised millions of dollars for that organization. Ducks Unlimited and the National Wild Turkey Federation have each selected a McDonald painting to publish as a print for their national fund raising projects.McDonald's work is included in prestigious art collections throughout the United States. Among his credits are: The recipient of Ducks Unlimited's Palette and Chisel award; He is listed in WHO'S WHO IN WILDLIFE ART; He has been Artist of the Year for The Southeastern Wildlife Exposition (1988), The World Wildlife Exposition (1990), and The Southern Wildlife Exposition (1993). Through the years he has created the designs for several states' duck stamps. In 1994 he was commissioned to design the Kentucky and Tennessee duck stamps.
CLIFFORD JACKSON (1927 - )
Untitled (Abstract Composition).
Oil on canvas, 1962. 460x545 mm; 18x21 1/2 inches. Dated "1-6-62" in oil, lower left. Signed in ink, verso.
Provenance: Obro Art Gallery, Copenhagen; private collection. Inscribed "Bjors Holms gata #36," the artist's Stockholm address, in pencil on the stretcher bar.
Both a painter and jazz musician, Clifford Jackson established his career as an artist in Scandinavia with his abstract painting in the late 1950s and 1960s. Jackson studed at the Art Students League and the Skowhegan School of Painting and Sculpture before being awarded a John Hay Whitney Fellowship in 1957. The artist moved to Stockholm, where he studied at the Royal Academy of Art. With fellow expatriate artists Herbert Gentry, Sam Middleton, Walter Williams and Hartwell Yeargans, Jackson's work was included in the 1964 exhibition 10 American Negro Artists Living and Working in Europe in Copenhagen, the 1969 exhibition Afro American Artists Abroad at the Smithsonian Institution and the 1983 An Ocean Apart: American Artists Abroad at the Studio Museum in Harlem. Today, his paintings are found in the collections of the Whitney Museum of American Art, the Sundsvall Museum, Sundsvall, Sweden, and the Studio Museum in Harlem.
Silver Dress Cane: Exclusive on Bidsquare Silver Dress Cane-Dated 1905-Plain silver handle modeled in a well-proportioned, streamlined modified Derby shape extending in a longer vertical stem struck with two obscured Austro-Hungarian hallmarks and fitted with a smooth shaved partridge shaft heeled with a metal ferrule. Here craftsmanship combines in perfect unity with aesthetic expression and function to boast the formal confidence of the Vienna Secession and Wiener Werkstätte. The location of the presentation engraving “Z. Frdl. ERG. /GH/MAI. 1905” as well as its type style strengthen the attribution. The cane survived in superb condition and is only in need of some surface refreshing. -H. 4 ½” x 3”, O. L. 35 ½”-$300-$400-The Vienna Secession (German: Wiener Secession, also known as the Union of Austrian Artists, or Vereinigung Bildender Künstler Österreichs) was formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. The Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism. -The group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public. -In 1903, Hoffmann and Moser founded the Wiener Werkstätte as a fine-arts society with the goal of reforming the applied arts (arts and crafts). -Unlike other movements, there is not one style that unites the work of all artists who were part of the Vienna Secession. The Secession building could be considered the icon of the movement. Above its entrance was placed the phrase „Der Zeit ihre Kunst. Der Kunst ihre Freiheit. “ („To every age its art. To every art its freedom. “). Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition. They hoped to create a new style that owed nothing to historical influence. In this way they were very much in keeping with the iconoclastic spirit of turn-of-the-century Vienna (the time and place that also saw the publication of Freud’s first writings). The Secessionist style was exhibited in a magazine that the group produced and called “Ver Sacrum”, which featured highly decorative works representative of the period. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Ralph J. McDonald Tennessee (late 20th century) WILD TURKEY watercolor framed signed & dated: R.J. McDonald sight size: H23'' W30 3/4'' Other Notes: R.J. McDonald is one of our country's most highly respected wildlife artists. For over twenty-five years his paintings and prints have been enthusiastically collected by knowledgeable art collectors. After graduating from the Harris School of Art McDonald worked for several years as a successful illustrator and free-lance commercial artist. Later he decided to leave the security of commercial art and become a full time painter of wildlife and outdoor subjects. His timing was excellent as the limited edition collector market was expanding rapidly at this time. His wildlife art career also received a substantial boost when the Governor of Tennessee commissioned him to paint the official portrait of the state's bird the Mockingbird. Over the years McDonald has made numerous contributions to conservation groups. Among these groups are: Ducks Unlimited Game Conservation International Deer Unlimited and The National Wild Turkey Federation. In 1981 Ducks Unlimited named him its' National Artist of the Year and the sale of his prints at D.U. auctions have raised millions of dollars for that organization. Ducks Unlimited and the National Wild Turkey Federation have each selected a McDonald painting to publish as a print for their national fund raising projects. McDonald's work is included in prestigious art collections throughout the United States. Among his credits are: The recipient of Ducks Unlimited's Palette and Chisel award; He is listed in WHO'S WHO IN WILDLIFE ART; He has been Artist of the Year for The Southeastern Wildlife Exposition (1988) The World Wildlife Exposition (1990) and The Southern Wildlife Exposition (1993). Through the years he has created the designs for several states' duck stamps. In 1994 he was commissioned to design the Kentucky and Tennessee duck stamps. Back   Inquiry    Previous Item  Next Item © Charlton Hall Auctions. Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678   © 2012 CHARLTON HALL GALLERIES INC.
Marion Huse (American, 1896-1967) Two Works on Paper: In Vaditos and Farm in New Mexico Signed "Marion Huse" l.l. and l.r., respectively, identified on the back of both mats. Both oil on paper, sizes to 16 x 21 in. (40.6 x 53.3 cm), unframed. Condition: Both with gentle toning, tape residue to reverse, Vaditos with small stain l.r. corner. Provenance: By descent in the artist's family to the Fuller Museum of Art (Gift of the artist's husband, Dr. Robert Barstow), Brockton, Massachusetts, to the New Britain Museum of American Art. Literature: Marion Huse, An Artist's Evolution, exhibition catalogue (Brockton, MA: Brockton Art Museum/Fuller Memorial, 1985), cat. 30 and 31, respectively, p. 48 (Illus. b&w). Exhibitions: Brockton Art Museum/Fuller Memorial, Brockton, Massachusetts, Marion Huse, An Artist's Evolution, June 2-August 25, 1985. N.B. Marion Huse is associated primarily with New England, but in the fall of 1937 she made an excursion to New Mexico, driving cross-country to spend several weeks in Taos. During the trip Huse worked on paper, finding it more practical and portable than canvas. Huse would later revisit the composition of Farm in New Mexico for a serigraph in 1942 (Marion Huse, An Artist's Evolution [cited above], p. 14).
Marion Huse (American, 1896-1967) Along the Taconic Trail, 1938 Signed "Marion Huse" l.l., titled in ink on the stretcher, identified on a typed label affixed to the stretcher and on a label from the Brockton Art Museum, Brockton, MA, affixed to the backing. Oil on canvas, 29 3/4 x 40 1/4 in. (75.7 x 102.7 cm), framed. Condition: Retouch, craquelure, surface grime. Provenance: By descent in the artist's family to the Fuller Museum of Art (Gift of the artist's husband, Dr. Robert Barstow), Brockton, MA, to the New Britain Museum of American Art. Literature: Marion Huse, An Artist's Evolution, Exhibition Catalogue (1985: Brockton, MA, Brockton Art Museum/Fuller Memorial), cover illustration, cat. 39, p. 53 (illus.). Exhibitions: Albany Institute of History and Art, Albany, NY, 3rd Upper Hudson Annual Exhibition, 1938, no. 21, First Prize Award; New Gallery, Boston, MA, Paintings by Marion Huse, 1938; Albany Institute of History and Art, Marion Huse Barstow, 1946, no. 4; Publick House, Sturbridge, MA, Marion Huse, 1949, no. 21; George Walter Vincent Smith Art Museum, Springfield, MA, Marion Huse, A Memorial Exhibition, 1968, no. 2; Brockton Art Museum/Fuller Memorial, Brockton, MA, Marion Huse, An Artist's Evolution, June 2 -August 25, 1985, cat. 39; Danforth Museum of Art, Framingham, MA, American Women Artists, 1920-1950, April 28 - June 30, 1993.
Rare Art Nouveau Studies by Cincinnati Artist Harry Bridwell (1861-1930) A group of three works each in watercolor and heavily inked. Three busts framed in art nouveau designs and well executed the largest 16 x 8.5 in. Bridwell was a decorator artist and designer in Cincinnati during the late 19th and early 20th centuries. This is the first Cowan's has offered of his work. Cincinnati was a thriving artist community during this time period and many important art nouveau movements were taking place there. For instance Rookwood pottery largely considered one of the first major movements in art pottery hired many artists as decorators. Jewelers in Cincinnati were also putting out avant garde molds.
Marion Huse (American, 1896-1967) Vermont Valley Signed "Marion Huse" l.r., titled on a label affixed to the frame backing. Oil on canvas, 16 x 20 in., framed. Condition: Minor craquelure, light surface grime. Provenance: By descent in the artist's family to the Fuller Museum of Art (Gift of the artist's husband, Dr. Robert Barstow), Brockton, Massachusetts, to the New Britain Museum of American Art. Exhibitions: Marion Huse, An Artist's Evolution, Brockton Art Museum/Fuller Memorial, Brockton, Massachusetts, June 2-August 25, 1985. Literature: Exhibition catalogue, Marion Huse, An Artist's Evolution (Brockton: Brockton Art Museum/Fuller Memorial, 1985), cat. no. 82, illus. p. 74.
MOSE ERNEST TOLLIVER, (AMERICAN, 1924-2006), TWO PORTRAITS, MARTHA AND GEORGE WASHINGTON, OIL ON BOARDMOSE ERNEST TOLLIVER (American, 1924-2006) Two Portraits, Martha and George Washington oil on board Martha Washington, signed Mose T lower right 24 x 12 in. George Washington, signed Mose T lower right 24 x 15 5/8 in. oil on board Provenance: George Washington: Purchased from the artist by his friend Mary Allen, 1999. Accompanied by a notarized letter from Ms. Allen attesting to this purchase as well as a photograph of the artist with the work. During the later years of his life, Mose Tolliver's children assisted him in his work, and it is possible that one of his children helped produce this painting. Martha Washington: Ms. Laurice Culp; Southern Visionary Art, Pensacola, FL, inventory number 53; Private Collection. Accompanied by a letter of provenance and authenticity from Anne Bullard, owner of Southern Visionary Art. Culp is said to have traded one or two pianos for Mose's church in exchange for a collection of his paintings. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to "Do Better." Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
GUSTAVE ADOLPH WIEGAND, NEW YORK / GERMANY (1870-1957), PASTURE FENCE, OIL ON BOARD, 12 1/2"H X 8 3/4"W, 18"H X 14"W (FRAME)Gustave Adolph Wiegand, New York / Germany, (1870-1957) Pasture Fence, oil on board Signed lower right. Biography from the Archives of askART: The following is from Michael Parks of the Shanghai Trading Company. He credits MANTLE FIELDING'S DICTIONARY OF AMERICAN PAINTERS, SCULPTORS & ENGRAVERS, SMITHSONIAN ART MUSUEM Wiegand, GUSTAVE (ADOLPHE) Painter. Born in Bremen, Germany, Oct. 2, 1870. Died Nov. 3, 1957, in Old Chatham, NY. Pupil of Dresden Royal Academy under Eugene Bracht; Chase in New York. Member: Salmagundi Club; Allied Artists of America: New York Society of Painters; National Arts Club (life). Awards: Bronze medal, St. Academy of Design, 1905; prize, Allied Artists of America, 1937. Work: Stars Above Home,' National Arts Club, New York; Newark Museum; Brooklyn Museum. Has exhibited extensively throughout the U.S. Address in 1953, Summit, NJ. " Source: And the following is the artist's obituary, as it appeared in the NEW YORK HERALD TRIBUNE on November 6, 1957 (p 35, col. 2): "Gustave Wiegand Dies; Painter of Landscapes--OLD CHATHAM, NY, Nov. 5--- Gustave Wiegand, eighty-eight, American landscape painter whose works have been exhibited extensively in this country, died here Sunday after a short illness. Born in Bremen, Germany, Mr. Wiegand studied at the Royal Academy and in Berlin and Dresden. He was the winner of a medal at the World's Fair in St. Louis in 1904, and later, of a prize from the National Academy of Design. Some of his work hangs in the Brooklyn and Newark Museums. Mr. Wiegand was a member of the National Arts Club, the Allied Artists of America and of the New York Society of Painters. Surviving are his wife, Mrs. Anna M. Wiegand; a daughter, Mrs. Paul Tilson, of Old Chatham; two granddaughters and a great-grandchild." oil on board Dimensions: 12 1/2"H x 8 3/4"W, 18"H x 14"W (frame)
Frances Miller Mumaugh, Nebraska, New York, (1859 - 1933) Desert Scene, 1896, oil on canvas signed and dated lower right. Horizontal line restoration visible. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Biography from the Archives of askART: Frances Miller was born in New York on July 11, 1859 and spent her childhood in the Genesee Valley. In her early years, her innate artistic abilities became apparent to her teachers and family. Per historical documentation, she pursued her studies with several prominent American artists including William M. Chase, John Redmond, Addison Millar, Jules Guerin and Dwight Frederick Boyden. Throughout her life, the artist spent her summers studying and painting abroad in various European countries such as France, Germany, Holland, Belgium, etc. In 1879, Frances Miller married John Mumaugh of Omaha, Nebraska (possibly divorced/widowed in 1885). She established a home and studio in Omaha where she lived for many years (census data shows her residence on Paxton St.). F. M. Mumaugh was a respected art instructor at Brownell Hall in Omaha. Beginning in 1889, she also taught at the Long Pine Chautauqua School of Art in NY. The artist served as a director on the board of the Western Art Association since its formation in 1888, and was also a member of the Art Students League. Her work was exhibited at the Columbian Expo of 1893 in Chicago, the Trans-Mississippi Exposition of 1898 in Omaha, and the St Louis Expo of 1904. Information on the artist was featured in the 1893 publication entitled A Woman of the Century by F. Willard and M. Livermore. This book contained biographical data and photographs of prominent American women of the time. Later in life, the artist permanently relocated from Nebraska to New York. According to her obituaries, F. M. Mumaugh's work was sought by large publishing houses in the New York area. Many of her surviving pieces are landscapes and still life paintings (e.g., fruit, florals, etc.). F. M. Mumaugh passed away on May 28, 1934 at the age of 74 in Portage, Pennsylvania where her daughter resided. Note: There is some conflicting published data as to the year of the artist's demise (1933 v. 1934). Sources: Dictionary of Women Artists - Petteys Internet materials such as obituaries, census data, and related biographical information A Woman of the Century by F. Willard and M. Livermore Researched and submitted by T. Kasper oil on canvas 14" x 20", 21 1/2" x 26 1/2" (frame)
Andrew Bucci (American/Mississippi, 1922-2014), "Dawn", oil on canvas, signed lower left, label with artist and title on stretcher, 24 in. x 30 in., framed. Provenance: Natchez Art Association. Note: Mississippi artist Andrew Bucci studied painting under Marie Hull while working on a degree in architectural engineering from Louisiana State University during the 1930s and again following World War II, when he also enrolled at The Art Institute of Chicago for his Bachelor of Fine Arts and Master of Fine Arts. Bucci was a major contributor to the Mississippi and Washington D.C. arts communities for many decades. His abstract paintings focus on calligraphic lines, explosions of color and expressionistic brushstrokes - concepts rooted in Abstract Expressionism but combined in a distinctive way all his own. Bucci's later influence on Marie Hull's successful ventures into abstraction are obvious in the dynamic works by both artists offered here. Ref.: Black, Patti Carr. Art in Mississippi 1720-1980. Jackson: University Press of Mississippi, 1998.
GRANT WOOD (1891-1942) PENCIL SIGNED LITHOGRAPHGrant Wood (1891-1942)Tame Flowers (1938/1939)The lithograph from an edition of 250 prints is signed by Grant Wood lower right side of the image and published by Associated American Artists in an edition of 250 prints. The artist's sister Nan Wood Graham applied the color by hand.The Associated American Artists commissioned Grant Wood to produce a series of four lithographs for distribution to commemorate their fifth year in business - 1939. For this project, Wood recruited his sister Nan Wood Graham (the female likeness in American Gothic) to color each lithograph in watercolor by hand. The result was four still life compositions titledWild Flowers, Tame Flowers, Fruits and Vegetables. Sources say it took three years to complete the one thousand prints. They were offered by mail order for $10 each.The AAA was founded by Reeves Lewenthal in 1934 with the idea of bringing art by prominent American artists into the homes of everyday people at a time when original artwork was out of reach for many. The model proved to be a win-win situation that lasted for more than 60 years. It allowed artists to earn income at a time when many were struggling due to the economic hardships of the Great Depression, while also providing the general public with affordable access to art. The concept also made the arts more inclusive overall during a challenging period in American history.Image measures 6.75 x 10, sheet is 10.25 x 13 inches.Very good condition, nice, strong colors; the full untrimmed sheet with four deckle edges, not laid down, no damage, punctures, tears or repair. There is very, pale even, overall toning in the image field barely perceptible outside the frame and less so when in the acid free mat and framing. Presents very well in frame and mat.Provenance: Private collection, Des Moines, Iowa.
AMERICAN FOLK ART CARVED PINE ROCKING HORSE.
Retains remnants of leather harness and brass tacks; horsehair tail and marble eyes. Height 28 ½ inches, length 52 ½ inches. Provenance: Private collection of Edith Gregor Halpert, a Texas collector. In 1926, against all odds, Edith Halpert opened an art gallery in Greenwich Village dealing in American Folk Art and modern American artists. At that time the New York art dealers specialized primarily in English and Continental art and had a stronghold on the wealthy American collectors. Halpert convinced open-minded collectors to see the importance of both American Folk Art and modern American artists. Abby Aldrich Rockefeller was certainly her best customer and the folk art collection at Colonial Williamsburg is a testimonial to Halpert's discerning eye and vision. Lindsay Pollock's recently published biography of Edith Gregor Halpert is a must for the library of any folk art collector.
Aiden Lassell Ripley (1896-1969) Grouse on a Hard Pine
signed "A. Lassell Ripley ©" lower right
oil on canvas, 27 by 40 in.
"When I chose the dust jacket cover for "The Art of Aiden Lassell Ripley" I picked one of his grouse watercolors. Perhaps no other artist before Ripley came on the sporting art scene, nor any artist since, has more accurately captured these thundering ghosts of the covers. "Grouse on a Hard Pine" is a classic Ripley in every sense with a perfectly rendered trio of birds, thoughtful composition, and intricate treatment of the pines."
-Stephen B. O'Brien, Jr.
Co-author, "The Art of Aiden Lassell Ripley"
Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country's top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951).
Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors "en plein air" in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930 Ripley decided to change his tack and specialize in hunting, fishing, and outdoor scenes as subjects.
Along with his contemporary, Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.
Ripley’s technique and style changed over the course of his career. While the loose Impressionism of the Museum School marks his early work, his later work is progressively tighter, following a trend in American Realism. Ripley was an expert watercolorist as well as a brilliant draftsman, with an outstanding ability to render natural light. His recognition was abundant. Among his many awards, Ripley was honored with election into the National Academy of Design and served as president of the Guild of Boston Artists for the ten years preceding his death.
His works now hang in the collections of the Boston Public Library, The Museum of Fine Arts Boston, The Art Institute of Chicago, and the Atlanta Artists Association.
Provenance: Donal C. O'Brien, Jr. Collection, acquired from Northeast Auctions, Portsmouth, NH, 8/18/07, lot 733
Literature: Stephen B. O'Brien, Jr. and Julie Carlson Wildfeuer, "The Art of Aiden Lassell Ripley," Boston, MA, 2009, p. 131, plate 119, illustrated.
Donald Roy Purdy, American, (1924-2016) woman in garden landscape, Oil on Masonite Biography from the Archives of askART: The following, submitted October 2004, is from Jackie Wolf. My father owned three of Mr. Purdy's works which he acquired from the Little Terrace Gallery in New Hope, PA. Included in his papers was a bio done by the Gallery and dates to 1967. The major points of interest include the following: Self-taught, Mr. Purdy seldom used models, but works largely from remembrance, that is, from impressions certain subjects have made upon his mind... He only occasionally paints on canvas as he considers masonite to be a stronger and longer-lasting material. Preparation of the surface, although he admits to using gesso, is his own secret. Mr. Purdy's paintings are included in the permanent collects of the Cincinnati, Columbus and Bridgeport Museums, the Butler Institute and the Walter P. Chrysler Museum. Two Purdy paintings were included in the US State Department's "Art in America" show which recently toured Europe. Several "First Awards" have been given to Mr. Purdy in competition with maor artists. Two of the awards, including the Gold Metal of Honor" were from the National Academy in New York City. The noted Van Diemen-Lilienfeld Gallery shows his work along with canvases of Vlaminch, Derain, Pissaro, Monet, Chagall and Picasso. His one-man shows have been seen in New York at the Ruth Butler Galleries, and in Massachusetts and Connecticut. He also showed in Paris at the Bernheim-Jeune Gallery. Biography from the Archives of askART Photo of Donald Purdy A still life, figure, landscape and marine painter in Impressionist/Barbizon style, Donald Purdy earned at B.A. Degree at the University of Connecticut and an M.A. degree from Boston University. Memberships include the American Federation of Arts and the Silvermine Guild of Artists, and exhibition venues are the Audubon Artists, Allied Artists of America and Hudson Valley Exhibitions. Sources: Peter Falk, Editor, Who Was Who in American Art Who's Who in American Art, 2003-2004 Biography from Taylor | Graham Photo of Donald Purdy Throughout the many years that Donald Purdy has painted, his subject matter and style have been very rich and diverse. His career as an artist began in abstract painting and later moved into combining the abstract mode with representational subject matter. Purdy continuously experimented with many means of expression. In the 1970's and early 1980's his palette was influenced by the Barbizon painters, but his technique combined the abstract with the tight Realist approach. What did remain constant throughout Purdy's career and still today is his tendency to work in series. In the 1980s, Purdy's work evolved into an Impressionist style. He felt he found a technique and a way of painting that was unrestrained and very successful pictorially. His best known work is of beach scenes using a combination of people against solid blocks of sky, sand and water. Impressionism allows him to paint free and abstractly with the end result pleasing to the eye. Usually there is a sense of reflection and solitude and a certain peacefulness to be found in his paintings. His work reflects his desire to portray what he would want life to provide. His Impressionistic works are in many corporate, museum, and private collections. Exhibitions: New Britain Museum, CT Corcoran Gallery of Art, Washington D.C. Butler Institute of Art .Youngstown. OH Allied Artists of America, NY Silvermine Guild of Artists, CT Hammer Galleries, NY Ridgewood Art Association, NJ Trisdonn Contemporary Gallery, Nyack, NY Hudson Valley Art Association, NY Collections: New Britain Museum, CT Butler Institute of Art, Youngstown, OH Chrysler Museum, Norfolk, VA Colby College Museum, Maine Kansas University, Arkansas Chase Manhattan Bank, NY Oil on Masonite 24" x 30", 31" x 36" (frame)
Signed Stanley Mouse Cosmic Car Show Lithograph: Stanley Mouse (born Stanley George Miller - American, b. 1940). "Cosmic Car Show" limited edition lithograph, 1967, hand signed and numbered 174/350 below. A limited edition Stanley Mouse lithograph entitled "Cosmic Car Show, " named for an event at Muir Beach in Marin County, California, just across the Golden Gate Bridge, in which artists painted cars in a signature psychedelic style and the resulting automotive art was judged by artists including Stanley Mouse. Mouse is also beloved for his rock concert poster designs for bands such as the Grateful Dead, and his cover art for Steve Miller's album "Book of Dreams" even won a Grammy Award in 1977. Size: image - 26" W x 34. 5" H (66 cm x 87. 6 cm); 30" W x 39" H (76. 2 cm x 99. 1 cm) with border. . Stanley Mouse's initial splash in the art world occurred when he was expelled from high school for creating graffiti. He later attended the Society for Arts and Crafts, and soon became seduced by airbrushing and hot rod culture - painting T-shirts, cars, and bikes. Later, Mouse became entrenched in the psychedelic art scene in San Francisco. Inspired by Art Nouveau designs, Mouse and his colleagues began producing psychedelic concert posters for concert promoter Bill Graham - for bands such as the Grateful Dead, Big Brother and the Holding Company, The Beatles, and Journey. Mouse and Alton Kelley for example created the Dead's world famous Skeleton and Roses theme, and Mouse's cover art for Steve Miller's album "Book of Dreams" won a Grammy Award in 1977. . . Provenance: private East Coast collection, New York Gallery, New York, New York, USA, acquired before 2010. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . Replace: PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship Replace: most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage Replace: firm. . Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. . #142453 Condition Overall, in excellent condition. Signed and numbered by Stanley Mouse.
Ludolf Liberts Oil on Canvas Venice Scene Ludolf Liberts (American/ Latvian 1895-1959) oil on canvas depicting the Basilica di San Marco in Piazza San Marco, Venice; "Prof. L. Liberts" plaque to bottom and signed to lower right; measures approximately 34-3/4" 46-5/8" with gilded frame and has a sight image of approximately 23-1/2" x 35-1/2"; in good overall condition, original canvas has been lined, & new lining has been treated to prevent sagging. Ludolfs Liberts, a Latvian artist of international stature, was born in Tirza, a picturesque countryside of Latvia. At the age of sixteen Liberts enrolled in the Stroganoff Art School at Moscow. Next year, with some Latvian friends, he went to Kazan, Russia, and entered the art school. There Ludolfs received the greatest help from the well known Russian painter, Nicolai I. Feshin. Liberts had already proven his fine ability for stage design and decorative painting in 1913-14 at the Opera in Kazan (scenery for Carmen, Madame Butterfly, etc.). Liberts belonged to the vanguard of Latvian artists born about 1890. Inspired by the national struggle for freedom, this generation was also enthusiastic about the freedom of a new artistic expression. Mostly influenced by the contemporary French art, the young Latvian artists revolted against academic art and impressionistic
Frances Miller Mumaugh, Nebraska, New York, (1859 - 1933) Seascape #1, 1893, oil on canvas signed and dated lower right. Restoration evident on verso. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Biography from the Archives of askART: Frances Miller was born in New York on July 11, 1859 and spent her childhood in the Genesee Valley. In her early years, her innate artistic abilities became apparent to her teachers and family. Per historical documentation, she pursued her studies with several prominent American artists including William M. Chase, John Redmond, Addison Millar, Jules Guerin and Dwight Frederick Boyden. Throughout her life, the artist spent her summers studying and painting abroad in various European countries such as France, Germany, Holland, Belgium, etc. In 1879, Frances Miller married John Mumaugh of Omaha, Nebraska (possibly divorced/widowed in 1885). She established a home and studio in Omaha where she lived for many years (census data shows her residence on Paxton St.). F. M. Mumaugh was a respected art instructor at Brownell Hall in Omaha. Beginning in 1889, she also taught at the Long Pine Chautauqua School of Art in NY. The artist served as a director on the board of the Western Art Association since its formation in 1888, and was also a member of the Art Students League. Her work was exhibited at the Columbian Expo of 1893 in Chicago, the Trans-Mississippi Exposition of 1898 in Omaha, and the St Louis Expo of 1904. Information on the artist was featured in the 1893 publication entitled A Woman of the Century by F. Willard and M. Livermore. This book contained biographical data and photographs of prominent American women of the time. Later in life, the artist permanently relocated from Nebraska to New York. According to her obituaries, F. M. Mumaugh's work was sought by large publishing houses in the New York area. Many of her surviving pieces are landscapes and still life paintings (e.g., fruit, florals, etc.). F. M. Mumaugh passed away on May 28, 1934 at the age of 74 in Portage, Pennsylvania where her daughter resided. Note: There is some conflicting published data as to the year of the artist's demise (1933 v. 1934). Sources: Dictionary of Women Artists - Petteys Internet materials such as obituaries, census data, and related biographical information A Woman of the Century by F. Willard and M. Livermore Researched and submitted by T. Kasper oil on canvas 14" x 20", 21 1/2" x 26 1/2" (frame)
YNEZ JOHNSTON, (AMERICAN, B.1920), TOTEM TOWER, HAND PAINTED GLAZED CERAMIC, 33 1/2"H X 5 3/4"W.YnezJohnston(American, b.1920)totem towerhand painted glazed ceramicBiography from the archives of AskArt: Painter/printmaker Ynez Johnston was born in 1920 in Berkeley, California. She studied drafting, painting and printmaking at the University of California with Worth Ryder, Erle Loran and Margaret Peterson. Johnston's work is characterized by "jigsaw" shapes reminiscent of primitive designs. Her unique style blends modernism and ancient art forms from her travels to Italy, Mexico, India and Nepal. She has also done 3-dimensional pieces in collaboration with her husband, poet and novelist John Berry, and with ceramic sculptor Adam Mekler. Her watercolors, oils and etchings of the 1950s and 1960s were rich with complex imagery, and displayed a disciplined and somewhat restrained use of color. The display of her paintings and etchings in an exhibition at the Museum of Modern Art in New York (1951) was the launch of her career as a successful artist. In later mixed-media pieces, she examined the tactile qualities of surface. The paintings involve the combination, and occasional lamination, of diverse material soil, acrylic, dyes, encaustic on cloth, canvas, and raw silk. The colors are vibrant and the images are composite forms suggesting ambiguous architectural, human, animal and plant shapes. Johnston cites Persian and Indian art as influences along with such artists as Matisse, Miro, Klee and Picasso. She received a grant from the National Endowment for the Arts, a Guggenheim Memorial Foundation Fellowship, first place in watercolor at the Metropolitan Museum of Art in 1952, and Fresno Art Museum's Distinguished Artist Award in 1992. She exhibited at the San Francisco Museum of Art, and at Mitsukoshi in Tokyo. Her work is in the collections of the Museum of Modern Art and the Metropolitan Museum of Art, in New York City.33 1/2"H X 5 3/4"W.
HEDDA STERNE, ROMANIA / NEW YORK (1910-2011), UNTITLED, 1991, OIL ON CANVAS, 36"H X 23 3/4"W. 40"H X 27 3/4"W (FRAME)Hedda Sterne, Romania / New York, (1910-2011) untitled, 1991, oil on canvas signed and dated verso. Provenance: purchased from CDS Gallery, NYC, in 2000. Biography from the archives of AskArt: Hedda Sterne was the only female member of the small, rebel mid-century group of 28 artists known as the "Irascibles", which included Willem de Kooning, Jackson Pollock, Clyford Still and Theodoros Stamos. They challenged the Metropolitan Museum of Art by protesting a juried exhibition intended to increase the museum's collection of contemporary art. In 1950, these artists banded together and signed a petition accusing the curator and director of loading the jury with critics hostile to "advanced art," particularly Abstract Expressionism. Such would be a great catalyst for the movement, drawing significant press coverage and public awareness. Hedda Sterne is known for her divergence from using mediums and forms contemporaneous with the times. She was one of the first to experiment with acrylic spray paint and also the return of the tondo shape to the art market. The year 1941, was a landmark year for Sterne as her move to New York was overshadowed by her inclusion in the Art of This Century exhibition, funded by the Guggenheim. It was here where notable dealer Betty Parsons discovered Sterne's work and gave her a solo exhibition at the Betty Parsons Gallery in 1943 and it was for this exhibition that Sterne first presented her use of circular canvases to create the Tondo Series. These tondos are mounted on a central axis so the viewer can turn them at will to gain varying perspectives. A pioneer in her use of both medium and form, Sterne used the tondo throughout the balance of her career. The theme of Sterne's works during the 1940's and 1950's was essentially machine-based, influenced by her early studies in France with Surrealism and abstraction. Some of her early works, including the New York Series from the 1950's, depicted "hurtling trains, derricks, and bridges as though they were looming monsters". It was a highly successful endeavor by the artist to portray the pace and power of the big city. Sterne's use of acrylic spray paint allowed her to echo speed and motion while also discovering that illusion of depth could be achieved without the use of traditional laws of perspective. It was also during this time period that she became associated with the New York School, and as a result began using more primary colors. Sterne's work is represented in the permanent collections of numerous museums including the Whitney, Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. © 2008 Levis Fine Art, Inc. oil on canvas Dimensions: 36"H x 23 3/4"W. 40"H x 27 3/4"W (frame)
RAFAEL FERRER, PUERTO RICO (1933), HALLWALLS, 1977, BLOCK PRINT ON PAPER BAG, 17"H X 11 7/8"WRafael Ferrer, Puerto Rico, (1933) Hallwalls, 1977, block print on paper bag Biography from the Archives of askART: Following is an exhibition review by Karin Lipson, published in The New York Times, Region Section, December 16, 2011. "Rafael Ferrer: Contrabando" is on display through Jan. 16 at Guild Hall Museum, 158 Main Street, East Hampton. Open Friday and Saturday, 11 a.m. to 5 p.m.; Sunday, noon to 5 p.m. Belated Acclaim for an Artist With a Restless Sensibility "WE both like Spanish, or Puerto Rican, coffee," the artist Rafael Ferrer said, referring to his wife and himself, as he prepared a strong cup for a recent visitor to his snug but airy home here. "It's not the beans," he said. "It's how you make it." Much the same might be said of Mr. Ferrer's art over the decades, created at times from such seemingly unpromising materials as dead leaves, blocks of ice, paper bags, slate blackboards and gourds. His paintings on canvas of tropical scenes, deep-shadowed and vaguely disturbing — the word "hallucinatory" has popped up in descriptions — suggest his Puerto Rican roots. At 78, Mr. Ferrer, who was out of the limelight for years, is on a roll. A retrospective last year at El Museo del Barrio in New York, part of its series for mature and under-recognized artists, received mostly glowing reviews. Mr. Ferrer "is finally having his moment," Roberta Smith wrote in The New York Times, praising his "instinctive facility for color and materials of all kinds." The retrospective, she wrote, was "almost criminally overdue." Now, Guild Hall in East Hampton is keeping up the momentum with "Rafael Ferrer: Contrabando," an exhibition of paintings, sculptures and assemblages from the 1970s to the present. The show, organized by Esperanza León, a guest curator who is on the board of Guild Hall, remains on view through Jan. 16. There's more in the wings. The Lancaster Museum of Art in Pennsylvania will display his works on paper next spring. And a monograph on the artist by Deborah Cullen, El Museo's director of curatorial programs and the organizer of last year's retrospective, will be published by the UCLA Chicano Studies Research Center Press in 2012. The belated attention scarcely seems to faze Mr. Ferrer, who has experienced both renown, from the late 1960s into the '70s, and decades outside the mainstream. "I am blasé about fame," he said. Still, the renewed interest "gives me an opportunity to put things in perspective, to clarify the misunderstandings" — about the sources and the nature of his art — that have dogged his career, Mr. Ferrer said. Born in 1933 in San Juan, P.R., to a well-to-do family, Mr. Ferrer was sent to the mainland for his education. The summer after his freshman year at Syracuse University, he stayed with his half-brother, the actor José Ferrer — more than 20 years his senior — and José Ferrer's wife Rosemary Clooney in Hollywood. "I used to drive Rosemary to the studio, where she was making White Christmas. And Joe was filming The Caine Mutiny, " Mr. Ferrer recalled. "And one day he said to me, 'You know, fame — it's an empty shell; there's nothing to it.' " Not that Mr. Ferrer was interested in acting. Music, specifically Afro-Cuban percussion, had fascinated him since he began playing the drums while attending a military academy in Virginia. As an adult, Mr. Ferrer was a professional drummer before turning full time to art. His interest in visual art was spurred in part by a 1954 summer trip to Paris, where he met Surrealist artists and writers. "That was what turned me on," Mr. Ferrer said. Making art privately at first, he traveled between New York and Puerto Rico, settling in Philadelphia — "it was inexpensive," he said — in 1966. In 1968 came the guerrilla action that put him on the radar: With 87 bushels of autumn leaves in a pickup truck, he drove from Philadelphia to New York, scattering them at three contemporary art venues. "It's about something appearing where it doesn't belong," Mr. Ferrer said of that stealth move long ago. Soon he was fielding calls from European curators for international shows, and exhibiting at the Whitney Museum of American Art, alongside major Conceptual artists; in 1969, he famously installed large blocks of ice at the entrance ramp to the Whitney, allowing them to melt. Other high-profile shows followed. But eventually, Mr. Ferrer said, his courtly manner growing feisty at the memory, the art world "avoided" him as he moved among styles and materials. That restless sensibility is one reason "he is not a household name," said Edward J. Sullivan, a professor of art history at New York University and an expert in Latin American and Caribbean art. "He has such a diverse trajectory, he goes off in so many different directions, he's almost too inventive for his own good." Ms. León, the curator of the Guild Hall show, said Mr. Ferrer's bicultural background may also have contributed to his marginalization. "It's that problematic situation of being from two places, and not fitting into either one," she said. (Ms. Smith, in The Times, said "his sometimes bristly personality" may also have undercut his career.) Nevertheless, Mr, Ferrer said, he was constantly working. "I've always had a minority of people who love what I do," he said, "and they've been very generous with me." These days, he works out of the Greenport home that he and his wife, Françoise (known as Bunny), bought in 1999, building a studio in the backyard. In the house, a scene painted in the Dominican Republic in the early 1990s hangs over the couch: The Edenic setting, at a jungle pond or river, lures us in; but the glare of its human figures is unsettling. "I like half-made places," Mr. Ferrer said of the painting. "I like subcultures. I don't like places that are all figured out." block print on paper bag Dimensions: 17"H x 11 7/8"W
BENNY ANDREWS, (AMERICAN, 1930-2006), DEATH OF THE HERO (SOUTHLAND SERIES), OR IMAGE OF MARTIN LUTHER KING JR., LYING IN STATE, 1987, OIL AND COLLAGE ON PAPER, SHEET: 22 X 30 IN., FRAME: 29 1/2 X 37 IN.BENNY ANDREWS (American, 1930-2006) Death of the Hero (Southland Series), or Image of Martin Luther King Jr., Lying in State 1987, oil and collage on paper signed and dated Benny Andrews / Ann Arbor, Mich / 3/9/87 in ink lower right sheet: 22 x 30 in., frame: 29 1/2 x 37 in., 1987, oil and collage on paper Dimensions: sheet: 22 x 30 in., frame: 29 1/2 x 37 in. Provenance: 17 Wendell Street Gallery, Cambridge, Massachusetts; acquired from the above by a Wellesley, Massachusetts Collector, April 20, 1989; The Estate of a Wellesley, Massachusetts Collector. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to “Do Better.†Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Overall good condition, colors strong. Floated in frame, appears to be hinge mounted at top corners. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
NELSON STEVENS (1938 - ) Jihad Nation. Acrylic on cotton canvas, 1970. 1080x1080 mm; 42 1/4x42 1/4 inches. Signed and dated in acrylic, lower left. Provenance: the collection of the artist. Exhibited: AfriCobra 1: Ten in Search of a Nation. The Studio Museum in Harlem, New York, June 21 - August 30, 1970. This was the first AfriCOBRA exhibition of the ten artists from Chicago. It later travelled the Museum of the National Center of Afro-American Arts, Boston and Black Expo, Chicago. Illustrated: Black World/Negro Digest, October, 1970, p. 83. This iconic image by Nelson Stevens is the first important painting and AfricCOBRA art work by the artist to come to auction. Nelson Stevens was a member of the Chicago-based collective AfriCOBRA (African Commune of Bad Relevant Artists). Born in Brooklyn, New York, Stevens received his BFA in painting from Ohio University in Athens, OH in 1962. He received his MFA in 1969 from Kent State University in Kent, OH. After brief teaching stints in Cleveland, Ohio, Stevens was hired as Assistant Professor of Art at Northern Illinois University where he taught from 1969 to 1971. It was at this time that Stevens was invited to join the newly formed art collective AfriCOBRA - the group was founded by Chicago artists Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu, and Gerald Williams. Stevens exhibited in every AfriCOBRA art exhibition beginning with AfriCOBRA I at the Studio Museum. Today artworks by Nelson Stevens are in the permanent collections of the Art Institute of Chicago, the Brooklyn Museum and the National Museum of African American History and Culture, the Smithsonian Institution. His artwork is also included in the museum exhibtion Soul of a Nation: Art in the Age of Black Power presently at the Tate Modern, London.- 75,000
PORTFOLIO OF 10 FSA PHOTOS W/ COVER (1930S)Arthur Rothstein (American, 1915-1985). A portfolio of 10 FSA (Farm Security Administration) photographs with images by Walker Evans, Dorothea Lange, Ben Shahn, and Arthur Rothstein (1935-1939) printed later under the supervision of Arthur Rothstein for The Photographic Historical Society of New York by Berkey K&L, New York. Rothstein himself selected the images in this portfolio, because he believed they were the "most representative of each photographer's work." The ensemble also includes the original portfolio cover that features Rothstein's informative essay. According to Rothstein, "the FSA photographers accomplished their mission to inform the public about rural conditions", "had a great effect on the emerging practice of photojournalism and visual communication", and "played an important part in promotion the recognition of photography as a respected and mature art form." Size of sheets: 14" L x 11" W (35.6 cm x 27.9 cm) w/ some in landscape orientation Size of portfolio cover: 14.25" L x 11.625" W (36.2 cm x 29.5 cm)
The portfolio of photographs Includes the following photographs: Ben Shahn "Linworth, Ohio" (1935); Ben Shahn "Sheriff's Deputy, Morgantown, W. Va." (1935); Dorothea Lange "Migrant Mother, Nipomo, California" (1936); Dorothea Lange "Hoe Culture" (1936); Arthur Rothstein "Badlands, South Dakota" (1936); Arthur Rothstein "Dust Storm, Cimarron County, Oklahoma" (1936); Arthur Rothstein "Sharecropper's Wife and Child, Arkansas" (1935); Arthur Rothstein "Farmer and Wife, Colorado" (1939); Walker Evans "Bud Fields Family, Alabama" (1936); Walker Evans "Bethlehem, Pennsylvania" (1935)
Arthur Rothstein's essay on the portfolio cover describes the history and purpose of the Farm Security Administration (FSA - initially called the Resettlement Administration) - one of President Roosevelt's government agencies under the New Deal program which was designed to address the harsh effects of the Depression Era on American farmers. According to Rothstein, Roy Stryker who played a major role in the federal agency but interestingly was not a photographer, "believed that photographs have the power to move men's minds".
Arthur Rothstein was the first photographer to join the FSA, and he was later joined by Walker Evans, Dorothea Lange, and Ben Shahn as well as Gordon Parks, John Vachon, Russell Lee, Marion Post Wolcott, Jack Delano, John Collier Jr., and Carly Mydans. In Walker's words, "The FSA style of photography was influenced initially by Walker Evans. His approach was one of frank, honest reality often characterized by a direct frontal view. . . Dorothea Lange's style was different. Her photographs probed deeply with sincere emotion and sympathy into her subjects so that a feeling of compassion was evoked. Her use of the reflex camera made it possible to capture the fleeting expression that had greatest meaning. / The art of Ben Shahn was always political and an affirmation of his social views. He made photographs with a Leica 35mm camera in order to have visual notes for his paintings. His photographs are selections of the significant, powerful fragments of the whole scene which make even more effective statements because of the perception of his artist's eye. / My own work was strongly influenced by Evans, Lange and Shahn. Roy Stryker also made me aware of the need to understand the subject and to tell the story in visual terms. Evans demonstrated to me that design and composition can enhance the effect and make the message clear. Lange showed me that people can be portrayed with beauty, dignity and sympathy even when they are in misery. Shahn's ability to select the revealing detail and his sense of social justice made a profound impression on me."
This portfolio of FSA photographs was in the collection of pioneering patron of the arts, Ginny Williams. Sotheby's hosted a series of auctions featuring art and photography in the Ginny Williams Collection in June and July of 2020. Their press release began as follows, "Born in rural Virginia in 1927, Ginny moved to Denver, Colorado in the late 1950s with her husband, Carl Williams. An avid photographer herself, who studied with Austrian-American photojournalist and photographer Ernst Haas, her collecting journey began with classical figurative photography. Her passion and keen eye eventually prompted her to open her namesake gallery in Denver in the 1980s. While her passion for photography never waned, remaining a primary focus of both her gallery and private collection, her voracious curiosity quickly widened her curatorial focus. Over time, Ginny became increasingly courageous and experimental in her selections, venturing into Abstract Expressionism and Contemporary Art and following her artists themselves through gallery shows and museum exhibitions. As the years passed, Ginny became as much of a trailblazer as the artists she collected."
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection of Denver, Colorado
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#171268
Condition:
Nine of the ten photographs have a label on the verso that includes title, photographer, and date followed by "SELECTED AND PRINTED UNDER THE SUPERVISION OF ARTHUR ROTHSTEIN / PHOTOGRAPHIC PRINTS BY BERKEY K + L CUSTOM SERVICES, INC. / Published by The Photographic Historical Society of New York Inc." Minor creases to the peripheries of photos. Slight stains to the margins of a few, but very minor. Portfolio has normal age wear with expected creases, toning, minor stains, and nicks/tears to peripheries and fold seams, but still serves as a trifold and feature's Arthur Rothstein's informative essay as well as the frontispiece which includes the Photographic Historical Society of New York's wonderful graphic of a photographer and the following text on the frontispiece, "The Photographic Historical Society of New York, Inc. presents FSA FARM SECURITY ADMINISTRATION Selected and Printed under the Supervision of ARTHUR ROTHSTEIN Photographic Prints by BERKEY K&L, New York"
YNEZ JOHNSTON, AMERICAN (B. 1920), UNTITLED TOWER, PAINTED CERAMIC SCULPTURE, 15 1/2"H X 7"WYnez Johnston, American, (b. 1920) Untitled tower, painted ceramic sculpture From AskArt: Painter/printmaker Ynez Johnston was born in 1920 in Berkeley, California. She studied drafting, painting and printmaking at the University of California with Worth Ryder, Erle Loran and Margaret Peterson. Johnston's work is characterized by "jigsaw" shapes reminiscent of primitive designs. Her unique style blends modernism and ancient art forms from her travels to Italy, Mexico, India and Nepal. She has also done 3-dimensional pieces in collaboration with her husband, poet and novelist John Berry, and with ceramic sculptor Adam Mekler. Her watercolors, oils and etchings of the 1950s and 1960s were rich with complex imagery, and displayed a disciplined and somewhat restrained use of color. The display of her paintings and etchings in an exhibition at the Museum of Modern Art in New York (1951) was the launch of her career as a successful artist. In later mixed-media pieces, she examined the tactile qualities of surface. The paintings involve the combination, and occasional lamination, of diverse material soil, acrylic, dyes, encaustic on cloth, canvas, and raw silk. The colors are vibrant and the images are composite forms suggesting ambiguous architectural, human, animal and plant shapes. Johnston cites Persian and Indian art as influences along with such artists as Matisse, Miro, Klee and Picasso. She received a grant from the National Endowment for the Arts, a Guggenheim Memorial Foundation Fellowship, first place in watercolor at the Metropolitan Museum of Art in 1952, and Fresno Art Museum's Distinguished Artist Award in 1992. She exhibited at the San Francisco Museum of Art, and at Mitsukoshi in Tokyo. Her work is in the collections of the Museum of Modern Art and the Metropolitan Museum of Art, in New York City. (Tobey C. Moss Gallery, West Hollywood) Ynez Johnston is an architect of fantastic realms. Though she may skirt reality, she never quite eradicates the concrete. She just disguises it. Her idiosyncratic vocabulary of forms derive from a collective cultural history. But references metamorphose into a unique fusion of elements that show no regard for the actual physical world. Throughout her career, Johnston has experimented with a variety of mediums that include etchings, lithography, oils, watercolor, paper maché, ink dyes, sumi on rice paper and casein. Crucial to her inventive composites are the influences of Mogul and Tibetan artists, Pre-Columbian stone carvings, artists such as William Blake, and the obsessive proclivities of Persian paintings. The melding of sources suggest a line between cubism, European surrealism and the over-all qualities of American abstract expressionism. Her personal evocations of abstract geometry are particularly reminiscent of the fanciful linear styles of Paul Klee and Mark Tobey. By combining mythic designs with the precepts of modernism, she evokes hybrids of universal forms and familiar landmarks. But they evolve strictly out of Johnson's fertile imagination. . . a synthesis of outer and inner visions. As though spilling out of an overcrowded subconscious, a multitude of geometric forms and shapes transmute into intricate designs. Palace of the Snow Leopard [1971], for example, is dominated by a form that looks like a cross between animal and architecture. The stylized figure bears a conglomeration of colorful designs and symbols. It appears a strange hybrid of a Mayan stylized animal and a Chinese horse. It is pure contrivance. A fifty-year survey reveals how Johnston's stylistic developments have gone through cycles and mutations. But the vitality of her colors remain prevalent, and certain forms and themes have a continuous life span. The repetition of mythic shapes, particularly a mandala-like form, strengthen the enduring psychological power of ancient myths. Mythical urban landscapes also remain a constant throughout her oeuvre. In Arabia [1960] her abstract depiction of crowded environs recall the surreal urban representations of Philip Guston. Through time, however, her evocative worlds become denser and more exotic. In Expedition [1989] shapes resemble castles, temples, humans, animals and illusive symbols. I say "resemble" because this is a purely invented world. The use of black against vivid greens, golds and orange create a cohesive bond for the disparate images. The Green Nile [1998] is replete with familiar Johnston elements. Here again, dazzling colors activate the relationship between man, cities, nature and symbols. Whimsical violet pyramids and middle-eastern architecture suggest cities in the sand. A green diamond-shaped island is set off by a sea of vivid blue, and a bright golden ground provides emphasis for a Mayan-type design. Surrounding shapes, set within fields of orange, red and yellow, evoke a pulsating energy. The influence of Tibetan tanka paintings and their penchant for borders is reflected in Sailing Around the Horn. Created with ink dyes on canvas and silk, fanciful depictions are set within borders of yellow, aqua and deep turquoise. Sculptures also show a propensity for hybrids. In the 1992 bronze, The Woman Who Waits by the Sea, Pre-Columbian and Asian influences appear prominently. A stylized woman stands upon a dog-like figure. Both are etched with a sundry amount of designs and figures. Johnston's horror-vacuii style demands quite a bit of examination. But her amalgamation of images can extend the imagination of the spectator. Enigmatic forms rooted in ambiguous space give the illusion of dream metaphors. Juxtapositions that evoke associative meanings can transport viewers into their own fantasy universes. painted ceramic sculpture Dimensions: 15 1/2"H x 7"W
Yolanda Fusco (NY, Czech Republic 1920 - 2009) Oil on canvas of a street scene. Size: 20 x 16 inches, unframed. Inscribed verso. Born in Czechoslovakia in 1920, Yolanda Fusco came to New York City at the age of ten, and she started painting at the age of twelve. She studied at the Art Students League with Ernest Fiene, Harry Sternberg, and Vaclao Vytlacil, and also studied textile design at Pratt Institute. She then worked in textile design, and taught art clubs and adult education. She married a chemist and had two children. She first visited Monhegan at the urging of artist friends in the summer of 1959 and became a founding member of the Women Artists of Monhegan Island. She died in Scarborough Maine, August 2009. Solo Exhibitions: Village Art Center Gallery, New York City Elmont Library, Long Island, NY Waldinger Memorial Library 1993 – Art League of Daytona Beach Two Person Shows: 1985 – Hewlitt-Woodmere Public Library, Long Island, NY 1986 – Art League of Daytona Beach, Florida Group Shows: C.W. Post College, Long Island, NY North Shore Artists, Long Island, NY Heckscher Museum, Long Island, NY Farleigh Dickinson University, New Jersey Columbia University, New York City Lever House, New York City Audubon Artists, New York City National Association of Women Artists Group and Traveling Exhibitions Adelphi University, Soho, New York City On Island, Women Artists of Monhegan, Portland, ME Museum Collections: Monhegan Museum of Art and History Owen Art Gallery at Gould Academy Awards: New York City Scholarship to Art Students League of New York 1962 – Top Award – Watercolor – Village Art Center Gallery 1966 – 1st Prize, Black & White – Long Island Art League, NY 1979 – Sarah Winston Memorial Award – Oil, N.A.W.A. 1981 – Sadie and Max Tesser Award – Audubon Artists, NY 1984 – Pen and Brush Women – Merit Award – Daytona, Florida 1986 – William Rahl Award – Watercolor – Daytona Art League, Florida 1987 – Pen and Brush Women – Litho – Best in Show – Daytona, Florida 1988 – Recognition Award – Oil – Daytona, Florida 1990 – Recognition Award – Monoprint– Daytona, Florida 1993 – Merit Award – Nassau County Museum Memberships: National Association of Women Artists Long Island Art League New York Artists Equity Life Member – Art Students League of New York Monhegan Artists Summer Listing – Monhegan Island, Maine Publications: 1979 – National Association of Women Artists Catalog 1981 – Audubon Artists Catalog Who’s Who in American Art Reviewed: Allied Publications – 1962 – Page 17 (Prize Winner of Watercolor) Art News Herald Tribune Newsday Village Voice
BENNY ANDREWS, (AMERICAN, 1930-2006), THE RIBBON DANCE, 1998, POSTER, IMAGE: 18 3/4 X 28 IN.; FRAME: 29 X 37 IN.BENNY ANDREWS (American, 1930-2006) The Ribbon Dance 1998, poster numbered 131/200 lower left; signed and dated Benny Andrews 1998 lower right image: 18 3/4 x 28 in.; frame: 29 x 37 in. 1998, poster Dimensions: image: 18 3/4 x 28 in.; frame: 29 x 37 in. Provenance: The Estate of a Wellesley, Massachusetts Collector. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to "Do Better." Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
Marion Huse (American, 1896-1967) Saturday Morning Signed "Marion Huse" l.r., identified on an exhibition label affixed to the back of the frame. Oil on canvas, 36 x 42 in. (91.5 x 106.7 cm), framed. Condition: Scattered retouch, minor paint losses, craquelure. Provenance: By descent in the artist's family to the Fuller Museum of Art (Gift of the artist's husband, Dr. Robert Barstow), Brockton, MA, to the New Britain Museum of American Art. Exhibitions: Marion Huse, An Artist's Evolution, Brockton Art Museum/Fuller Memorial, Brockton, MA, June 2 - August 25, 1985. Literature: Exhibition catalogue, Marion Huse, An Artist's Evolution (Brockton: Brockton Art Museum/Fuller Memorial, 1985), 43-44, cat. no. 23, illus. p. 44. N.B. The catalogue entry from the above-mentioned 1985 retrospective exhibition locates this scene as a the view from the artist's studio in North Pownal, Vermont, and dates the painting c. 1934.
American Art Clay 8 3/8" Artist Signed Vase - Mint
American Art Clay artist sigend art deco vase in matte blue. Marked American Art Clay with the artist's initials MTF and additional illegible markings. Mint. 8 3/8" tall.
Estimate: 350.00 - 450.00
KAY (KATHRYN) HERRMANN DYER, (AMERICAN, 1916-2005), 3D MODELLED SCULPTURAL ABSTRACT COMPOSITION, MIXED MEDIA ON PANEL, 19-1/2" X 15-...Kay (Kathryn) Herrmann Dyer, (American, 1916-2005) 3D modelled sculptural abstract composition, mixed media on panel signed Herrmann. From the personal collection of Chicago/Santa Fe artist Ramon Shiva (American; 1893-1963). Kathryn Bradford Dyer, formerly an instructor at the Art Institute of Chicago, has died at age 89. Kay was a painter and an art teacher most of her life. She taught and lectured on painting, drawing, aesthetics, the history of art, material of the artist, techniques and color. Early in her career she was dean of the Junior School of the Minneapolis Institute and then for 22 years she taught here in Chicago at the Art Institute. For eight years she was director of the Studio School in Chicago and co-director of Katherine Lord's Studio in Evanston for five years. She exhibited at the Art Institute, Carnegie Institute, San Francisco Museum of Art, Pennsylvania Academy of Fine Arts and a score of other institutions. Her paintings are in the permanent collections of the Metropolitan Museum (New York City), Museum of Modern Art (New York City), Brooklyn Museum of Art, Virginia Museum of Fine Arts, City Art Museum of St. Louis, Denver Art Museum, Corcoran Gallery of Art (Washington, D.C.), Phillips Memorial Gallery (Washington, D.C.) and many other museums. Among her many awards are the Kohnstamm prize and the Armstrong prize in 1940. She was married and later divorced from Briggs Dyer. 19-1/2" x 15-1/2" sight
Elizabeth MacDonald (American, 20th C.), three multimedia works including unframed mosaic and two artist's study tools framed behind glass: unframed mosaic depicting view of sheer cliff face at East Rock, New Haven, CT, comprised of 187 1 1/4" square painted clay tiles adhered to artist's board, signed in black sharpie verso, some craquelure and paint loss, one cracked and repaired tile LL, board measures 14" h. x 20 7/8" w.; along with framed work study including color sketches to scale, floor plans of artist's project at Wilbur Cross High School (New Haven, CT), and a row of five 3 1/4" square painted clay tiles, the 70" x 105" Spring tab has become unglued and fallen from mat mount, pencil signed in two places, ss: 17 3/8" square; and framed graphic showing artist's completed mosaic murals at the high school, ss: 10 3/4" h. x 8 1/4" w. [Elizabeth MacDonald trained as a stage actress as well as an artist, traveling through England and the United States experimenting with both art forms. In her artist's statement, MacDonald observes, "With clay, I try to create the effects of intimacy and vastness through the use of fragmentation. Small surface elements draw the viewer into a larger context where hundreds of parts interact to form a whole." The artist has a studio in Bridgewater, CT.] [Successful buyer will receive provenance information related to consignor's c. 2002 purchase of works. Items include a c. 2002 color illustrated booklet entitled "Elizabeth MacDonald, Past and Present", published by the Gallery at Dodds Hall, West Haven, CT, containing artist's biography; invitation to Forrest Scott Gallery (Millburn, NJ) holiday party and artists' reception featuring works by MacDonald; photocopy of letter and invoice from Mary Field Barrett, President, Contemporary Art Advisors, Inc., Fairfield, CT, dated 29 December 2002; and Hartford Courant article about East & West Rock, New Haven.]
NINE REFERENCE BOOKS ON GLASS ART: GLAS IST LEBEN, THE ART OF RENé LALIQUE, ARTISTS IN GLASS 13"H X 9 1/2"W (LARGEST)Nine reference books on Glass Art: Glas Ist Leben, The Art of René Lalique, Artists in Glass, Includes: Glas Ist Leben, Per Lütken, Nyt Nordisk Forlag Arnold Busck, 1986 Glass, Cooper-Hewitt Museum, Smithsonian, 1979 Masterpieces of American Glass, Jane Shadel Spillman, Crown, 1990 The History of Glass, Dan Klein and Ward Lloyd, Black Cat, 1991 Glass in Glass, Richard H. Putney and Paula Reich, Toledo Museum of Art, 2007 Kosta 250, Margareta Arteus, Sweden, 1992 Artists in Glass: Late Twentieth Century Masters in Glass, Dan Klein, Mitchell Beazley, 2001 The Beauty of Modern Glass, Ronald Stennett-Willson, The Studio Limited, 1958 (First Edition) The Art of René Lalique, Patricia Bayer & Mark Waller, Eagle Editions, 2001 Dimensions: 13"H x 9 1/2"W (largest)
Julius M Delbos, New York, New Jersey, (1879-1970) untitled children in boat, watercolor on paper signed lower left. Biography from the Archives of askART: Julius M. Delbos, born in 1879 in London, England, was a landscape painter, teacher, and lecturer. He was elected an Associate of the National Academy of Design, New York City, in 1945, an Academician in 1948. He was also a member of the American Watercolor Society; the New York Watercolor Club; the Society of Graphic Art; Old Dudley Art Society, London; American Artists Professional League; National Arts Club; and the Century Club. Delbos exhibited at the Corcoran Gallery, Washington, D.C. in 1930 and 1937; Pennsylvania Academy of the Fine Arts, Philadelphia, in 1930 and 1936; Art Institute of Chicago, Illinois; New York Watercolor Club, in 1935, where he won a prize; National Arts Club; Connecticut Academy of Fine Art; Society of Independent Artists; American Watercolor Society, winning prizes; and the Salons of America. Delbos' paintings are in the collections of the Butler Art Institute, Youngstown, Ohio; Toledo Museum of Art, Ohio; Brooklyn Museum, New York; Yale University Artists Guild, New Haven, Connecticut; and New York Public Library. He is listed in Who Was Who in American Art. Julian M. Delbos died in Dover, New Jersey in 1970. watercolor on paper 20 1/4" x 28 3/8", 31 3/8" x 39 3/8" (frame)
VARNETTE P. HONEYWOOD, (AMERICAN, 1950-2010), DIXIE PEACH, 1978, LITHOGRAPH IN COLORS, SIGHT: 30 X 22 1/2 IN., FRAME: 39 1/4 X 31 1/2 IN.VARNETTE P. HONEYWOOD (American, 1950-2010) Dixie Peach 1978, lithograph in colors titled, dedicated, and numbered "Dixie Peach" / To Richard, thank you for your support and enthusiasm / 230/250 in pencil lower left; signed and dated Varnette P. Honeywood, 1978 in pencil lower right sight: 30 x 22 1/2 in., frame: 39 1/4 x 31 1/2 in. 1978, lithograph in colors Dimensions: sight: 30 x 22 1/2 in., frame: 39 1/4 x 31 1/2 in. Provenance: A gift from the artist; The Estate of a Wellesley, Massachusetts Collector. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to "Do Better." Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
DMITRY KRAPIVNY (RUSSIAN 1904-1940)Nude in the Garden, 1928
oil on canvas
36 x 58 cm (14 1/4 x 22 7/8 in.)
signed, dated, inscribed L.F.B. in Cyrillic on versoLOT NOTES
Dmitry Krapivny is known as one of the most prominent students and followers of Pavel Filonov. Few facts from the artist`s short life are known; even his birthdate remains uncertain (1900 or 1904). Together with his close friend, Yevgeniy Kibrik, Krapivny started studying painting at the Odessa Art School in 1922, and continued his studies at VkHUTEIN in Petrograd from 1925. Both artists frequented the studio of Kuzma Petrov-Vodkin, until they met Pavel Filonov, who was presenting a lecture on analytical art during an art event. This was a life-changing experience for both artists, leading them to quit the Vkhutein in 1927, as they no longer wanted to follow the academic standards of artistic education. They joined a recently founded studio that became the base of the MAI group [Masters of Analytical Art]. Together with other artists under Filonov`s tuition, Krapivny worked on a myriad of projects, including a large commission of 22 paintings from the Leningrad printing house, the stage design for a theatrical play by Igor Terentiev, and illustrations of the Finnish folk tales Kalevala (lot 238 in this sale). Krapivny participated in all four exhibitions of the MAI group, before separating from the group due to Filonov`s public and governmental persecutions. He continued to work on his own for several years until he died under unclear circumstances. The lack of biographical information, the small amount of works available to the public, the artist`s death at age 36, makes artworks by Dmitry Krapivny offered at auction an extremely rare event.THIS LOT IS BEING SOLD WITHOUT RESERVE.
LARGE COLLECTION OF VARIOUS ART BOOKS INCLUDING THE ARTIST CHARLES BURCHFIELDLARGE COLLECTION OF VARIOUS ART BOOKS INCLUDING THE ARTIST CHARLES BURCHFIELD, Charles Burchfield/ The Scared Woods, Life Cycles/ Burchfield Coll., Life and Work of C. Burchfield(2), Paintings of Charles Burchfield, Architecture of Painting/C. Burchfield, The Inlander/Life and Work of C. Burchfield(3), Charles Burchfield,, C.B.The Charles Rand Penney Coll.(2), C. Burchfield's Journal/The Poetry of Place, Drawings of C. Burchfield, C. Burchfield's Seasons, Trees/John Marian and C. Burchfield, John Marin, Whistler, Whistler/Freer Gallery, Whistler/Etching, Arthur Wesley Dow, Guy Pene du Bois, The Print in Germany/1880-1933, Edvard Munch, Haden/Etching, Linocuts of the Machine Age, Franz Marc, Max Klinger, Whistler/Etchings, Feininger/Jawlensky/Kandinsky/Klee, Balla, Lovis Corinth, Kathe Kollwitz, Kathe Kollwitz, Kathe Kollwitz/Das Zeichnerische Werk, Illus. of Rockwell Kent, Kokoschka, Kokoschka, Kirchner, Kirchner, Balthus, Beckmann, Max Beckman, Coll. of Drawings and Watercolors Charles Demuth, Jacob Lawrence, Amer. Ptgs. Manoogian Collection, Crawford Lithographs, Wadsworth, Beckmann, Kathe Kollwitz, Edvard Munch, CRW Nevinson, Dictionary of American Art, Amer. and European Prints, A New World: Masterpieces of American Painting 1760-1910, Amer. Impressionism, Graphics of the German Expressionists, John Marin, Max Beckmann, German Exp. PRints, Nation on the Move, Kirchner, German Exp. Prints, Whistler/Drawing Near, Felix Vallotton, Jan Matulka, Goya/Disasters of War, Feinenger, Spirit of Place, Treasures of Tutankhamun, Hatshepsut/From Queen to Pharoah, including Masterworks of Amer. Art from the Munson-Williams -Proctor Inst., Ptgs. of Joseph Raffael, Wayne Thiebaud, Hermitage & Pushkin Museum/Master Drawings, The Barye Bronzes, The Phillips Coll., The National Gallery of Art/Washington, Vanity Fair Gallery Caricatures, Norton Simon Museum, French Master Drawings/Rouen Museum, Splendid Legacy/Havemeyer Coll., Maestri americani della Collezione Thyssen-Bornemisza, Impress. to Early Modern Ptgs. from USSR, Over the Line/Jacob Lawrence, Louise Nevelson, Spirit of Place, Lucien Freud Paintings, Itchiku Tsujigahana, Painting Harlem Modern/Jacob Lawrence, Donald Sultan, Drawings and Digressions/Larry Rivers, Nathan Oliviera, Virtue & Beauty, Women Artists, The Book of Ebenezer Le Page, Albert Goodwin R.W.S.1845-1932 (oversized), various asst. pamphlets, catalogs (a lot) Provenance: The wide-ranging collection of Jeffrey M. Kaplan spans centuries and geographic locales and reflects his life as a 20th century Renaissance man and connoisseur of fine art and cultural studies. This highly curated collection reflects a variety of mediums and themes and features American modernist works on paper, European prints, Chinese ceramics and 20th century design.
Joseph Kaplan, American, (1900-1982) Self Portrait, graphite on paper Signed "To Esther & Mae with Love" Joe Kaplan, lower right. Biography from the Archives of askART Photo of Joseph Kaplan Born in 1900 in Minsk, Russia, he studied at the Educational Alliance Art School (founded in 1914), as well as the National Academy of Design, both in New York City. He lived in Provincetown, Massachusetts and in New York City, curating several exhibitions for five Midwestern museums, the Philadelphia Art Alliance and the Cape Cod Art Association in Hyannis, Massachusetts. Kaplan was a member of several art organizations, including the Artists League of America, Audubon Artists, and the Provincetown Art Association, where he served as honorary vice-president and trustee from 1955 on. Exhibitions: 1941, Carnegie Institute; American Artists for Victory, 1942; National Arts Club, 1946; 3 times at the Corcoran Gallery biennials between 1949 and 1953; Pennsylvania Academy of the Fine Arts Annuals betwen 1946 and 1954, also in 1958; Pepsi-Cola in 1944; American Arts Congress; Cape Cod Art Association, 1962; Audubon Artists 1967; National Academy of Design, 1969. He won numerous awards, including at the National Academy of Design, the Cape Cod Art Association, and the Audubon Artists. His work is in the permanent collections of the Metropolitan Museum of Art, the Butler Institute of American Art, the Newark Museum, the University of Kentucky, and others. Source: Falk, Peter Hastings (Editor), Who Was Who in American Art graphite on paper 11" x 8", 14 1/2" x 11 1/2" (frame)
Tonita Pena Watercolor & Ink, 1920s: Tonita Vigil Pena (Native American, 1893-1949) whose Indian name was "Quah Ah" - watercolor and ink on paper - hand signed in black ink on the lower left corner - ca. 1920s to 1930s. A very special work by San Ildefonso Pueblo artist Tonita Pena, created in ink and watercolor and/or gouache. The subject is an indigenous dancer dressed in an elaborate horned headdress and costume with indigenous motifs adorning the skirt, depicted in profile and holding bow and arrows. Tonita was a child prodigy who became an outstanding easel artist best known for painting scenes of Pueblo life - usually daily village activities or ceremonial dances as we see here. Size of sheet: 13" L x 10" W (33 cm x 25. 4 cm). . Tonita Pena (Quah Ah) was a talented artist from the San Ildefonso Pueblo in New Mexico. By the age of seven, she was recognized as a child prodigy while attending the Santa Fe Indian School. By the time she was in her late teens/early twenties, she had become a professional easel artist as well as an instructor at the Santa Fe Indian School and the Albuquerque Indian School. Recognized for her contributions to contemporary Native American art, she was bestowed the title of "Grand Old Lady of Pueblo Art". . Interestingly, New Mexico archeologist and Museum Director Edgar Hewitt and painter Kenneth Chapman championed Tonita Pena's work, provided her with materials, and purchased her paintings. Tonita Pena broke through boundaries as a female narrative painter (men had traditionally created narrative works) and created several wall paintings in New Mexico. In addition, she was featured in the 1931 Exposition of Indian Tribal Arts organized by American artist John Sloan in New York City, and also demonstrated at the 1933 Chicago World's Fair. Upon her death, her husband, burned all of her remaining paintings and personal effects in compliance with a Pueblo custom. . . Provenance: private John and Mary Williams collection, Boulder, Colorado, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia, please contact us directly or work with your local customs brokerage firm. . #165612 Condition Areas of matte burn as shown. Piece is laid on larger piece of illustration board. Loss to lower left corner of illustration board that does not impact the artwork. Abrasions/losses to edges of laid down sheet as shown. Some toning to paper. Painted figure and signature are vivid.
Julius Delbos, New York, New Jersey, (1879-1970) untitled sailboats, crayon / pastel on paper signed lower right, EX: Lexington Art Gallery, NY Biography from the Archives of askART: Julius M. Delbos, born in 1879 in London, England, was a landscape painter, teacher, and lecturer. He was elected an Associate of the National Academy of Design, New York City, in 1945, an Academician in 1948. He was also a member of the American Watercolor Society; the New York Watercolor Club; the Society of Graphic Art; Old Dudley Art Society, London; American Artists Professional League; National Arts Club; and the Century Club. Delbos exhibited at the Corcoran Gallery, Washington, D.C. in 1930 and 1937; Pennsylvania Academy of the Fine Arts, Philadelphia, in 1930 and 1936; Art Institute of Chicago, Illinois; New York Watercolor Club, in 1935, where he won a prize; National Arts Club; Connecticut Academy of Fine Art; Society of Independent Artists; American Watercolor Society, winning prizes; and the Salons of America. Delbos' paintings are in the collections of the Butler Art Institute, Youngstown, Ohio; Toledo Museum of Art, Ohio; Brooklyn Museum, New York; Yale University Artists Guild, New Haven, Connecticut; and New York Public Library. He is listed in Who Was Who in American Art. Julian M. Delbos died in Dover, New Jersey in 1970. crayon / pastel on paper 20 3/8" x 26 3/4", 29 3/4" x 35 3/4" (frame)
JOHN TARRELL SCOTT, (AMERICAN, 1940-2007), DUET: PAST AND FUTURE, PAINTED METAL, OVERALL HEIGHT: 42 IN., BASE: 7 1/2 X 8 3/4 IN.JOHN TARRELL SCOTT (American, 1940-2007) Duet: Past and Future painted metal signed and dated John T. Scott 1985 on base overall height: 42 in., base: 7 1/2 x 8 3/4 in. painted metal Dimensions: overall height: 42 in., base: 7 1/2 x 8 3/4 in. Provenance: The Collection of a Jamaica Plain, Massachusetts Gentleman. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to "Do Better." Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
Richard Ruh Epperly, Illinois / France, (1891-1973) Along the Seine, Paris, oil on canvas signed, dated and titled lower right. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Includes a copy of "A Retrospective of Paintings and Drawings, Richard Ruh Epperly, September 21-October 25, 1985, Springfield Art Association." Biography from the Archives of askART: Richard Ruh Epperly (1891-1973) Richard Epperly, son of Mr. and Mrs. Charles Epperly, was born March 21, 1891 in Tallula, Illinois, a small town just north west of Springfield. He attended the School of the Art Institute of Chicago from 1911 to 1914, graduating with honors. Epperly entered military service in 1918, spending the next few years in Liverpool, England and France. Upon his return home, he worked for a number of years as a commercial artist in Chicago until 1929, when he sought further artistic study in Paris with Andre Lhote (1885-1962) and Andre Marchand (1877-1951). He settled in Oak Park, Illinois in 1941. Having joined the Oak Park Art League in 1937, Epperly eventually served on the league's board, taught art there, and in 1973, the year of his death, the artist was awarded the group's President's Award. The artist participated in numerous one-man and two-man shows and group exhibitions beginning in 1938. Today he is represented in many private collections as well as the Springfield Art Association (Illinois), the Union League Club of Chicago, the Chicago Athletic Club and the Rotary Club of Australia. Richard Epperly, an accomplished artist in many area's, gained his greatest recognition as a portrait painter. Among his commissions were a portrait of Pope John XXIII and the family of former Ambassador Carlos Romulo in the Philippines. He painted in the U.S. from coast to coast, including Chicago and New York City; also in Mexico and in Europe. The artist had a great love of the beauty of nature. This was reflected in his canvases which also show great versatility in his portraits, still life's, landscapes and seascapes. Biographical information excerpted from his obituary, a biography on the reverse of one of his paintings, information from the School of the Art Institute of Chicago, and the Illinois Historical Art Project. Compiled and submitted by Edward P. Bentley, researcher from Grenville, Michigan. Addendum: Epperly, Richard Ruh (1891-1973) From: Illinois State Journal (Springfield) exhibit February 5, 1939 "Exhibit of Artist, Formerly of Tallula, Will Open Today" For the first time since Richard Ruh Epperly, formerly of Tallula, left his Menard county home to study art twenty-five years ago, his paintings will have a central Illinois showing, opening today. The Springfield Art Association will exhibit the work of Mr. Epperly, who now lives in Chicago and Oak Park, in the galleries at Edwards place the rest of this month. Mr. Epperly first became interested in art when as a boy he picked up a correspondence course in art discarded by his brother. He completed the course and his academic education, and then left for Chicago, determined to carry on in the field. His first one man exhibit was held in the Stevens hotel in February, 1938, and was widely acclaimed. It was the triumph of years of study. While with the AEF in France, Mr. Epperly visited the Louvre and other museums and determined to return someday to study. The opportunity, however, did not present itself until the fall of 1929, at which time he enrolled at the Academie Moderne, Paris, France, to study with Lhote and Marchand, who are among the best known contemporary painters of modern art in France today. Although he studied with these modernists for nearly a year, they had no influence on his love and ability to paint realistically. Mr. Epperly is decidedly a realistic painter. They did however, teach him to master the art of composition and the handling of sunshine and shadows as well as figure work in which the artist excels, particularly in his crayons and charcoal work. Among the artists in and around Chicago, Mr. Epperly is fast gaining the reputation as being the "best black and white artist today." The Springfield Art Association and the artist invite all to view this exhibition at the galleries at Edwards place. oil on canvas 18" x 15", 18 1/2" x 21 1/2" (frame)
Yolanda Fusco (NY,Czech Republic, 1920 Yolanda Fusco (NY, Czech Republic, 1920 - 2009) Oil on canvas of a small town in a wooded landscape. Unsigned. Size: 16 x 21 in. Fusco studied at the Art Students League with Ernest Fiene, Harry Sternberg, and Vaclao Vytlacil, and also studied textile design at Pratt Institute.Solo Exhibitions: Village Art Center Gallery, New York City Elmont Library, Long Island, NY Waldinger Memorial Library 1993 – Art League of Daytona Beach Two Person Shows: 1985 – Hewlitt-Woodmere Public Library, Long Island, NY 1986 – Art League of Daytona Beach, Florida Group Shows: C.W. Post College, Long Island, NY North Shore Artists, Long Island, NY Heckscher Museum, Long Island, NY Farleigh Dickinson University, New Jersey Columbia University, New York City Lever House, New York City Audubon Artists, New York City National Association of Women Artists Group and Traveling Exhibitions Adelphi University, Soho, New York City On Island, Women Artists of Monhegan, Portland, ME Museum Collections: Monhegan Museum of Art and History Owen Art Gallery at Gould Academy Awards: New York City Scholarship to Art Students League of New York 1962 – Top Award – Watercolor – Village Art Center Gallery 1966 – 1st Prize, Black & White – Long Island Art League, NY 1979 – Sarah Winston Memorial Award – Oil, N.A.W.A. 1981 – Sadie and Max Tesser Award – Audubon Artists, NY 1984 – Pen and Brush Women – Merit Award – Daytona, Florida 1986 – William Rahl Award – Watercolor – Daytona Art League, Florida 1987 – Pen and Brush Women – Litho – Best in Show – Daytona, Florida 1988 – Recognition Award – Oil – Daytona, Florida 1990 – Recognition Award – Monoprint– Daytona, Florida 1993 – Merit Award – Nassau County Museum Memberships: National Association of Women Artists Long Island Art League New York Artists Equity Life Member – Art Students League of New York Monhegan Artists Summer Listing – Monhegan Island, Maine