- REFERENCE BOOKS ON MODERN ARTISTS, 14
REFERENCE BOOKS ON MODERN ARTISTS, 14 Fourteen reference books on modern artists, including: "Ellsworth Kelly at Ninety" published by the Matthew Marks Gallery, "Morris Lewis: The Museum of Modern Art New York" by John Elderfield, "Working Space: Frank Stella," "Cy Twombly: The Menil Collection," "Cy Twombly: A Retrospective" by Kirk Varnedoe, "The Art of Richard Diebenkorn" published by the Museum of Modern Art, "Richard Diebenkorn" by Gerald Nordland, "Mary Corse" by Kayne Griffin Corcoran, "Roy Lichtenstein: Mural with Blue Brushstroke" by Calvin Tomkins, "Ellsworth Kelly: Diagonal" by Joanna Burton, "Gerald Richter: 40 Years of Painting" published by the Museum of Modern Art, "Gerald Richter: October 18, 1977" published by the Museum of Modern Art, "That's the Way I See It" by David Hockney, edited by Nikos Stangos, and "China Diary" by David Hockney and Stephan Spender. 12" H x 10" W x 1" D. Keywords: Books, Library, Literature, Reading
- ROBERT WARD VAN BOSKERCK (AMERICAN,
ROBERT WARD VAN BOSKERCK (AMERICAN, 1855-1932) "LILLY POND" Oil on canvas. Signed 'K.W. van Boskereck' (lower left).
Catalogue Note: Robert Ward van Boskerck was born in Hoboken, New Jersey in 1855. As a young artist he studied under Robert Sevain Gifford and Alexander Wyant in New York. His works are usually landscapes and are always strongly executed. He was a highly skilled and powerful painter.
Artist Memberships:
Associate, National Academy of Design, 1897
National Academy of Design, 1907
Society of American Artists, 1887
Artist has Exhibited:
Brooklyn Art Association, 1879-85, 1892
National Academy of Design, 1880-1900
Pennsylvania Academy of Fine Art, Annual, 1880, 1900
Boston Art Club, 1881-85
Art Institute of Chicago, 1888-91, 1912-13
American Watercolor Society, 1898
Carnegie Institute, 1898
Pan-American Exposition, Buffalo, 1901
St. Louis Exposition, 1904 (medal)
Corcoran Gallery, annuals/biennials, 1907-08, 1930
Society of Independent Artists, 1919
Artist Collections:
Union League
Lotos Club, NYC
Fencers Club, NYC
Layton Art Gallery, Milwaukee
Hamilton Club, Brooklyn Mappin Art Gallery, England
- WALTER PLATE (1925-1972): STUDYOil on
WALTER PLATE (1925-1972): STUDYOil on board, 1958, signed 'Plate', titled and dated on the reverse.
28 x 48 in., 28 1/2 x 48 1/2 in. (frame).
Note: Walter Plate was one of the youngest members of the Abstract Expressionist group in New York in the early 1950s, showing early in his career at the Stable Gallery and Ganso Gallery, and placing works at the Whitney, the Corcoran and the National Gallery. He settled in Woodstock where he studied under Kuniyoshi and lived next door to Milton Avery while both were in residence at Byrdcliffe. He taught in Woodstock at the Art Student League, and also at Rensselaer Polytechnic Institute. He died of a cerebral hemorrhage at the age of forty-seven.
Condition
In very good condition. board nailed to the frame around the edges. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- ARTHUR FITZWILLIAM TAIT (1819-1905)Quail
ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867
signed and dated "AF Tait N A 1867" lower right
oil on board, 10 by 14 in.
signed and dated on back
Kennedy & Co., New York and Winsor & Newton labels on back
This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers.
Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.
With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation.
Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York
Sarah S. Harrison Collection, by descent
Renee du Pont Harrison Collection, by descent
Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated.
Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated.
Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
- ARTHUR FITZWILLIAM TAIT (1819-1905)On
ARTHUR FITZWILLIAM TAIT (1819-1905)On the Qui Vive!, 1871
signed and dated "A.F. Tait N.Y. 1871" lower right
oil on panel, 12 by 16 in.
numbered, titled, signed, and inscribed on back
"On the Qui Vive" is old slang for "on the alert," another common title for Tait's deer paintings. Depicting four deer with flying mallards behind on the shore of Racquette Lake in the Adirondacks, this bright and lively jewel of a painting reveals the artist at the peak of his painting abilities.
This important work is titled and described in Tait's 1871 register entry as No. 19. It is illustrated in Cadbury and Marsh's text on the artist: "[No.] 19. Deer. on the qui vive! Buck & 3 Does. 16 x 12. Mr. Dorman, 109 E 27th St. Del'd to him March 17th & paid same time [$125.00] in his own frame by [blank]."
Known as one of America’s earliest sporting artists, Arthur Fitzgerald Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While in the employ of the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivalled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.
With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation.
Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Dorman Collection
Mrs. J. Augustus Barnard Collection
The Metropolitan Museum of Art, New York, 1979
Private Collection
Literature: Warder H. Cadbury and Henry F. Marsh, "Arthur Fitzwilliam Tait: Artist in the Adirondacks," Newark, DE, 1986, pp. 215-16, no. 71.10, illustrated.
- WILLIAM WENDT 'SILENCE OF NIGHT' 1910
WILLIAM WENDT 'SILENCE OF NIGHT' 1910 WATERCOLOR STUDYWilliam Wendt California, 1865-1946 Study for The Silence of Night, 1910 Watercolor on artists board 14 3/4" x 19 7/8" Signed and dated to the bottom left, and presented in a period wooden frame that measures 20 3/8" x 25 3/8". A study from a birch grove in Laguna Canyon, executed in watercolors in preparation for Wendt's important oil, The Silence of Night (1910). That oil was sold by The Art Institute of Chicago through Sotheby's in June 2016, and was previously exhibited in The Art Institute of Chicago, Corcoran Gallery, and Carnegie Museum. Nearly identical in composition to the final oil, the study offered is by comparison quite subdued in tone, done with the ethereal light of the watercolor medium. Dubbed "the dean of Southern California artists", William Wendt was a significant practitioner of plein-air painting of the American West. He helped to found the California Art Club in December 1909, which included notable California landscape artists including Franz Bischoff, Carl Oscar Borg, and Edgar Payne. American art historian William Gerdts has referred to Wendt, along with Guy Rose, as the "two most significant and original painters in Southern California."
Condition
Mat burn across the reverse of the artists board from non-archival framing. On the front surface, there are a handful of small whitish scrapes interrupting a few areas of the image. The top left corner also has a linear stain at the top of the clouds.
- JIMMY LEE SUDDUTH "BROWN COW" (PAINTING
JIMMY LEE SUDDUTH "BROWN COW" (PAINTING ON BOARD)Jimmy Lee Sudduth
(Alabama, 1910-2007)
Brown Cow
Paint and mud on wooden panel
24" x 24"
Sudduth was a noted folk artist and blues musician known for his inventive artistic methods, creating wonderfully naive compositions using mixed media that he would create with found natural materials, often including a mixture of mud and sugar. His work can be found in many permanent collections, including the Smithsonian Museum of Art, the High Museum of Art, and the Corcoran Gallery.
Signed to the bottom, and presented in a frame that measures 27 1/2" x 27 1/2".
Alternative spellings : Jim Sudduth, Jimmie Lee Sudduth
Condition
Very good condition, with no issues noted under blacklight inspection.
- American Craft. Collection of three
American Craft. Collection of three teapots. c. 1985, glazed and hand-painted porcelain. 9 h × 8 w × 4½ d in. result: $813. estimate: $800–1,200. Examples by Mary Roehm, Chuck Aydlett and Annette Corcoran. Incised signature to underside of figural example ‘Aydlett’. Glazed signature and date to interior lid of bird example ‘AC 1985’.
- Sandro Chia b.1946. Untitled. 1981,
Sandro Chia b.1946. Untitled. 1981, ballpoint pen and watercolor on paper. 10 h × 8 w in. result: $2,000. estimate: $2,500–3,500. Signed to lower right 'S Chia' with artist's stamp. Provenance: James Corcoran Gallery, Los Angeles | Private Collection | Christie's, New York, Christie's Interiors, 9 September 2013, Lot 766
- ROLF STOLL (AMERICAN, 1892-1978)SELF
ROLF STOLL (AMERICAN, 1892-1978)SELF PORTRAIT, C. 1926Oil on canvas
Signed lower left
44 in. h. x 27.5 in. w.
The Cleveland Museum of Art, 15th Annual Exhibition of Works by Cleveland Artists and Craftsmen, May-June, 1933, Second Prize; The Ohio State Fair, Summer 1933; The Corcoran Gallery of Art, Washington DC, The 14th Biennial Exhibition of Contemporary American Oil Paintings, March-May 1935
Condition:
One small dimple in canvas lower right. Otherwise good with no damage or repair.
- PAUL BOUGH TRAVIS (AMERICAN, 1891-1975)
PAUL BOUGH TRAVIS (AMERICAN, 1891-1975) AFRICAN WATERHO...Paul Bough Travis (American, 1891-1975) African Waterhole, 1956 Watercolor on paper Signed and dated lower edge 19 in. h. x 25 in. w., paper 22 in. h. x 28 in. w., as matted Paul Travis, among the most predictive, sensitive and talented artists of the Cleveland School was born in Wellsville, Ohio near the border of Pennsylvania. Paul Travis became a painter, lithographer, etcher, and teacher, living in Cleveland Heights, Ohio. His name is closely associated with the watercolor tradition of Northeast Ohio. He graduated from the Cleveland School of Art where he was a student of Henry Keller, the renowned tonalist painter. Travis studied there for five years where he became a protégé of Keller’s, and also encountered Charles Burchfield and Frank Wilcox, all of whom later became acknowledged members of the Cleveland School. Travis remained friends with Burchfield and Wilcox for the rest of his life. Travis served in the Army in World War I, and while serving, he completed a prolific body of war related paintings and drawings. He spent most of the remainder of the war in Le Mans, but also traveled widely throughout France, painting and sketching. After the war he was appointed as an art teacher at the American Forces University of Beaune. In 1920, he returned to Ohio to teach at the Cleveland School, renamed the Cleveland Institute of Art in 1940. In addition he also taught at Western Reserve University beginning in 1956. In 1928, at the age of 36, Travis used a sabbatical from teaching to take a much celebrated eight-month trip to Africa. Travis’s trip was sponsored by a number of Cleveland-area organizations, including The Gilpin Players of Karamu House, the African Art Sponsors, the Cleveland Museum of Natural History, and the Cleveland Museum of Art. Travis traveled roughly the same path as famed British explorer Henry Morton Stanley, from Cape Town, South Africa, to Cairo, Egypt. This trip motivated Travis to prolific production. Along the way, Travis sketched, took video and photographs, and collected artifacts. The artwork and artifacts Travis amassed during his 1928 trip through Africa went into the collections of the Cleveland Museum of Art, the Cleveland Museum of Natural History, and Karamu House. The Cleveland Museum of Art received works Travis collected from the Mangbetu people while in the northeastern part of Congo, and as of June 2010, the museum owns 71 pieces of art created by Travis himself. Some of Travis’s diary entries, letters, and film footage have been stored in the Smithsonian‘s Archives of American Art. By the time the Cleveland Museum of Art held its 52nd May Show in 1971, Travis had exhibited and won regularly in all 52 shows. Dan Tranberg of the Cleveland Plain Dealer called Travis’ work “ some of the most historically significant art this city has ever produced.” In 2001 the Cleveland Artist’s Foundation published a retrospective of Travis’ work. Travis’ work is unique and important. Unlike many American artists of the period who painted their regional rolling hills and local city scenes Travis’ art often expressed the most important emotions and concerns of the 20th century; global colonization and exploitation, racism and inhumanity, the bomb and global apocalypse. Travis’ sensitivity in much of his subject matter underscores the predictive nature of some artists. In many compositions Travis clearly raised flags about these issues that would later consume the entire world. Memberships included the American Society for Aesthetics; Cleveland Society for Aesthetics, which in 1946 he served as President; Cleveland Museum of Modern Art; and the Archaeological Institute of America. Some early exhibition venues included The Cleveland Museum of Art, 1920-1958; The Pennsylvania Academy of the Fine Arts; The Brooklyn Museum; The Museum of Modern Art; The Art Institute of Chicago; Golden Gate Exposition, 1939; Carnegie Institute; Corcoran Gallery Biennials; Pasadena Art Institute, 1946; Butler Art Institute, 1936-1958; Ohio Watercolor Society, and Cleveland Art Association.
- ANTONIO P. MARTINO (1902-1988) "SPRING"Antonio
ANTONIO P. MARTINO (1902-1988) "SPRING"Antonio P. Martino (American, 1902-1988), "Spring," 1929, oil painting on canvas, signed and dated. Provenance: Newman Galleries, Philadelphia, PA. Framed. Exhibited at the Corcoran Gallery of Art Sixteenth Biennial Exhibition, Washington, DC, 1939. Size: 30'' x 32'', 76 x 81 cm (stretcher); 39.5'' x 41.5'', 100 x 105 cm (frame).