- SCHOOL OF HANS HOFMANN, (4) CHARCOAL
SCHOOL OF HANS HOFMANN, (4) CHARCOAL DRAWINGS Margaret Trumbull Jennings (American, 1896-1983), untitled cubist drawings with corrections by Hans Hofmann (by repute), loose and unframed, 25"h x 19"w
- SCHOOL OF HANS HOFMANN, (4) CHARCOAL
SCHOOL OF HANS HOFMANN, (4) CHARCOAL DRAWINGS Margaret Trumbull Jennings (American, 1896-1983), untitled cubist drawings with corrections by Hans Hofmann (by repute), loose and unframed, 25"h x 19"w
- SCHOOL OF HANS HOFMANN, (4) CHARCOAL
SCHOOL OF HANS HOFMANN, (4) CHARCOAL DRAWINGS Margaret Trumbull Jennings (American, 1896-1983), untitled cubist drawings with corrections by Hans Hofmann (by repute), loose and unframed, 25"h x 19"w
- JOSEPH F. PLASKETT, C.M., R.C.A. (1918-2014)Joseph
JOSEPH F. PLASKETT, C.M., R.C.A. (1918-2014)Joseph Francis Plaskett, C.M., R.C.A., pastel on paper, village on the bay, signed and dated "28/9/67" B/R. 19.5" x 25.5". Plaskett studied with many prominent Canadian painters such as A.Y. Jackson, Jack Shadbolt, Lawren Harris and Jock Macdonald. He was a pupil of Hans Hofmann in New York and Provincetown in 1947 and 1948. Source: Wikipedia.
- HANS HOFMANN, GOUACHE ON PAPER, ABSTRACTHans
HANS HOFMANN, GOUACHE ON PAPER, ABSTRACTHans Hofmann (New York/Massachusetts/California/Germany, 1880-1966) untitled gouache on paper depicting abstract shapes in colors of black, green, and red. Signed and dated "49" lower right. Andre Emmerich New York, NY, gallery label and Estate of Hans Hofmann No. 449/14 stamp en verso. Float mounted in a contemporary metal frame. Sheet - 11 3/4" H x 10" W. Framed - 18 3/8" H x 16 3/8" W. Mid 20th century. Biography (courtesy Askart): Hans Hofmann is regarded as an important teacher and pioneer in America of European modern art. He was born in Germany and studied in Munich. From 1904 to 1914 he studied in Paris, where he was exposed to many of the avante garde artists and movements of the time, particularly Fauvism and Cubism. With the outbreak of World War I he emigrated to America and began teaching modernism at the Art Students League; the following year he opened his own schools in New York and Provincetown, Mass. He closed both of his schools in 1958 to focus on his own painting. Alternate spelling Hans Hoffman. Provenance: Private Collection of a Retired Sculptor and Art Patron, Middle Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Minor area of staining (probably water) to lower right margin edge near signature. Light toning to edges of margins.
- KARL KASTEN OIL ON CANVAS LANDSCAPEDepicting
KARL KASTEN OIL ON CANVAS LANDSCAPEDepicting a mountain landscape; signed to bottom right corner "Kasten", possibly Karl Kasten; measures approximately 28" x 24" with wooden frame and has a sight image of approximately 23-1/4" x 19-1/4"; in Good overall condition. Karl Albert Kasten (March 5, 1916-May 3, 2010) was a painter-printmaker-educator in the San Francisco Bay Area. While he studied at the California School of Fine Arts, Kasten received his B.A. and M.A. degrees in art at the University of California, Berkeley. As an undergraduate, he served as Art Editor for the Daily Californian, and designed the card stunts for the 1938 Rose Bowl game. He later studied with abstract painter Hans Hofmann. His early mentors came from the "Berkeley School"-John Haley, Erle Loran, Margaret Peterson and Worth Ryder. Following the mode of the "Berkeley School" Kasten painted landscapes with flat planes punctuated with color. His work from this period earned him recognition and prizes in annual painting competitions held at the San Francisco Museum Of Art (now MOMA).
- ALBERT STAEHLE GOUACHE "BUTCH FISHING"Albert
ALBERT STAEHLE GOUACHE "BUTCH FISHING"Albert Staehle (American 1899-1974) gouache; marked verso; double matted and framed under glass; measures approximately 25-1/4" x 22" with frame and has a sight image of approximately 17-1/4" x 14-5/8"; in good overall condition with some marks to matting.
Albert Staehle, the illustrator made famous by the Smokey the Bear character for the National Forest Service and many other advertisement illustrations, including a long run for Carter's Ink (cats), Swan Soap (swans), and Imperial Whiskey (various wildlife), was born in Munich, Bavaria in 1899. The artist moved to New York City in 1914 when his father, an American newspaper illustrator, relocated the family. Albert Staehle attended The Art Students League and studied under George Bridgman. He later studied with Hans Hofmann in both New York and at the Wicker School of Art in Detroit. At age 16 he was working as a commercial artist. In 1932 Staehle opened Kent Studios in New York with Albert Dorne, a noted American illustrator. The studio became one of the most successful art studios in New York City. Staehle is also known for his Saturday Evening Post covers, which often were of his beloved cocker spaniel, Butch. Butch appeared on twenty-five covers in five years and was number one in newsstand sales. Butch and Staehle did much work for charity, and in 1956 Butch was named the mascot for the United States Navy and appeared on recruitment posters. Albert Staehle died on April 4, 1974 in Florida.
- VACLAV VYTLACIL, W/P MODERNIST WORKframed,
VACLAV VYTLACIL, W/P MODERNIST WORKframed, under glass, not examined out of frame. Frame size: 22" high, 18" wide. Provenance: Property of a Farmington, Connecticut Estate. Vaclav Vytlacil was an American artist and art instructor, and was among the earliest and most influential advocates of Hans Hoffman's teachings in the United States. He was born in New York City, on November 1, 1892. At an early age he moved with his parents to Chicago. In 1906, he began studies at the Art Institute of Chicago, returning to New York on a scholarship to the Art Students League in 1913. While there, he studied under portraitist John C. Johansen. Vytlacil left the League to take a teaching position at the Minneapolis School of Art. He also spent time in Europe, working as an assistant to Hans Hofmann and studying the Cubist movement. During the late 1930s and early 1940s, Vytlacil taught at a variety of places, including the Art Students League of New York City, Queens College in New York, Black Mountain College in North Carolina, the College of Arts and Crafts in Oakland, California, and other art schools. In 1946, he rejoined the faculty of the Art Students League and remained there until his retirement in 1978. He successfully helped get his acquaintance Jan Matulka a job at Art Students League of New York. Among his students were artists such as Louise Bourgeois, Willem de Kooning, Knox Martin, Frank O'Cain, Robert Rauschenberg, James Rosenquist, Cy Twombly, and Tony Smith among others. He was also known for being one of the founders of the American Abstract Artists group. He died in New York City, on January 5, 1984. After his death, his daughter Anne bequeathed his estate in Rockland County to The Art Students League of New York City. He has been ranked alongside top modernist painters including Pablo Picasso, Henri Matisse, Georges Braque, Ben Shahn, and others by a variety of critics, including Howard Devree of the New York Times. Vytlacil's artworks are in the collections of many museums, including The Museum of Modern Art, The Whitney Museum of American Art, the Smithsonian American Art Museum, and The Metropolitan Museum of Art. Among his pupils was the sculptor Dorothy Rieber Joralemon. His student Frank O'Cain continues to teach painting, design and color composition according to Vytlacil's theoretical principals at the Art Students League of New York.
Condition:
Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition
- GRP: MODERN AND CONTEMPORARY ART BOOKSLarge
GRP: MODERN AND CONTEMPORARY ART BOOKSLarge group of reference books, monographs, and catalogs on modern and contemporary art, including works on major movements such as Futurism and Synchromism, and artists including Zao Wou-Ki, Georges Rouault, Pablo Picasso, and Anselm Kiefer, among many others. Additionally includes works on Eastern European and Latin American art during the period, along with several auction catalogs. A full list of titles included is as follows: three catalogs from Arthur Tooth and Sons Limited; William C. Seitz, "Hans Hofmann"; George W. Staempfli invitation to "Mary Bauermeister" exhibition; Frank O'Hara "New Spanish Painting and Scupture"; an issue of "In the Art World" catalog; catalog from San Jose State University "Holly Lane"; catalog of the University Art Museum, University of California "Lindner"; Marlborough New London Gallery catalog "Ben Nicholson: Twelve New Works June 1967"; catalog of Galerie des Granges "Andre Planson: Oeuvres Recentes (1970-1975); Graham W. J. Beal "Wayne Thiebaud Painting"; an issue of the Arts Club of Chicago "Germaine Richier, January 21-February 19, 1966"; Eine Sammlung "Werner Gilles"; catalog from Centro Cultural San Angel "Mauricio Cervantes: El Codigo de lo Intangible"; resume/promotional material of John Black; Max Bill promotional material; Museum of Modern Art catalog "Picasso: 75th Anniversary Exhibition"; catalog from Marlborough Gallery "William Baziotes: Late Work 1946-1962"; catalog from the Italian Festival - San Francisco April-May 1959 "Italy: Three Directions in Painting and Sculpture of Younger Italian Artists"; catalog from Aquavella Galleries "XIX & XX Century Drawings, Watercolors, Pastels, Gouaches, Collages: October 21-November 24, 1982"; catalog from Richard Gray Gallery "Picasso's Picassos: Paintings, Drawings & Sculpture from the Artist's Estate"; catalog from Howard Wise Gallery "Light Ballet"; catalog from Galeria Arte Actual Mexicano "Ricardo Mazal Pinturas"; catalog from Centro Cultural San Angel "Alberto Castro Lenero: La Fragmentacion"; two copies of Frank Gaard's "Terence la Noue"; 2 copies of a catalog from the Arts Club of Chicago, The University Gallery and the Jewish Museum "Pierre Alechinsky"; catalog from the Weintraub Gallery "Henry Moore: Sculpture, Watercolors & Drawings, Graphics, Portfolios"; catalog from Marlborough Gerson Gallery "Arnaldo Pomodoro"; Deborah Wye "Louis Bourgeois"; Allison C. Meier, Kris Kuksi, and Samuel D. Gliner "Colin Christian: Trypophobia"; Time Magazine, "Covers"; a catalog from Staempfli "Minoru Yamasaki: The Architect and his use of Sculpture as an Integral Part of Design"; catalog from the Arts Club of Chicago "Tom Holland"; Peter Selz "15 Polish Painters"; Werner Schmalenbach "The Known and Unknown of Julius Bissier"; "Adrian Berg: Recent Paintings of Gloucester Gate, Regents's Part"; Atherton Curtis and Paul Proute "Adolphe Appian: son Oeuvre Grave et Lithographie"; catalog from Marisa del re Gallery "Diego Giacometti"; Thalia Gouma-Peterson "Miriam Schapiro: A Retrospective, 1953-1980"; Ebria Feinblatt and Bruce Davis "Los Angeles Prints, 1883-1980"; catalog from La Sociedad Mexicana de Arte Moderno "Alberto Castro Lenero: Castillo Interior"; catalog from the University of California, Los Angeles/Cleveland Museum of Art/Minneapolis Institute of Arts/Museum of Fine Arts, Boston/Philips Gallery, Washington D.C./San Francisco Museum of Art "John Marin Memorial Exhibition"; catalog from Chapellier Gallery "Frank Duveneck 1849-1919"; Edward Kienholz "Volksempfangers Nationalgalerie Berlin"; the Connoisseur, January 1963; publication from Galleria Fiamma Vico Frezzeria San Marco "Gaston Orellana Aldo Bresciani"; Robert Rosenblum "The Sculpture of Picasso"; catalog from the Sidney Janis Gallery "The High-Kitsch of Eilshemius at Janis"; catalog from the Sun Valley Art Auction June 29, 1991; catalog from Galerie van de Loo "Alfred Kremer: Seichnungen"; catalog from the Sidney Janis Gallery "New Paintings Sculpture & Drawings by Jim Dine"; Maurice Tuchman "American Sculpture of the Sixties"; catalog from the Ravinia Festival Art Exhibit 1962; Vittore Frattini "Miklos N. Varga: Frammenti Lirici 2"; Beelden Schilderijen Tekeningen Grafisch Werk "Robert Vander Eycken"; catalog from the Chicago Sculpture International May 10-15 1984"; "Edward Lentsch"; catalog from Minnesota Museum of Art "Kollwitz"; catalog from the Art Institute of Chicago "Anselm Kiefer"; catalog from the Marlborough Gallery "Ettore Colla"; catalog from Manny Silverman Gallery "Edward Dugmore Burning Bright: Paintings 1950-1959"; catalog from Wexner Center of the Arts "Will / Power: New Works by Papo Colo, Jimmie Durham, David Hammons, Hachivi Edgar Heap of Birds, Adrian Piper, Aminah Brenda Lynn Robinson"; catalog from Staempfli "Fritz Koenig"; catalog from Robert Miller gallery "Robert S. Zakanitch"; Jennifer Licht "Eight Contemporary Artists"; catalog from Stephen Roman + Private Art Dealer "Darcilio Lima 1944-1991"; catalog from Musee d'Art Americain Giverny and Terra Museum of American Art, Chicago "Roxy Paine"; catalog from Robert Fraser Gallery "Peter Blake"; catalog from Grand Central Art Galleries "August Mosca: A Fifty Year Retrospective"; catalog from Marlborough Gallery "Larry Rivers 1970-1973"; catalog from Marlborough Gallery "Isaac Witkin"; Martin Friedman "Adolph Gottlieb"; catalog from Marisa del re Gallery "Baj Fontana Manzoni"; catalog from Howard Wise Gallery "Otto Piene: Elements"; catalog from Lefebre Gallery "Corneille"; catalog from FineArts Printing Services "Johnmarc Edwards"; "Tongabezi: Victoria Falls, Zambia"; 1998 Pew Fellowships in the Arts catalog; catalog from BlumHelman gallery "David True--Recent Paintings"; catalog from Marlborough-Gerson Gallery "R. B. Kitaj"; 5 issues of Art in America magazine; William Firebrace "Things Worth Seeing: A Guide to the City of W"; catalog from Curt Valentin Gallery "Lehmbruck and his Contemporaries"; "Karl Hartung"; Katrina Daschner "Killing the Systems Softly"; 8 Walker catalogs; a catalog from Kunstmuseum Luzern; catalog from Felix Landau Gallery "Harry Kramer: Sculptures, Objects and Films"; Rita Caurio "Artexile No Brasil: Viagem pelo Mundo da Tapecaria"; Francisco Goya and Philip Hofer "The Disparates or, The Proverbios"; a catalog from The Art Gallery at Kennesaw State College "Cameroon Art: Selections from the Collection of William Arnett"; 2 issues of Art in America journal; Albert E. Elsen "Modern European Sculpture 1918-1945: Unknown Beings and Other Realities"; a catalog from the Art Institute of Chicago "A Century of Progress : Exhibition of Paintings and Sculpture, June 1 to November 1 1933"; an issue of Directions in Contemporary Painting and Sculpture from the Art Institute of Chicago publication; Alan G. Wilkinson "The Drawings of Henry Moore"; a catalog of Marlborough Gallery "Grisha Bruskin"; three publications by the Museum of Modern Art; one issue of Paris/New York Arts Yearbook 3"; five issues of Arts International journal; four issues of Art International: The Lugano Review journal; publication/catalog from the Dr. Martyna Miskinis Collection; four issues of the Journal of Decorative and Propaganda Arts; catalog of the National Gallery of Jamaica and the Smithsonian Institution exhibition "Jamaican Art: 1922-1982"; a catalog from the Museu de Art Moderna's VII Bienal "Estados Unidos da America" 1963; Gail Levin "Synchromism and American Color Abstraction 1910-1925"; a catalog from Gebr. Douwes Fine Art "Russian Paintings"; catalog from National Collection of Fine Arts "Sao Paulo 9"; two issues of "Alan D'Arcangelo" from Marlborough Gallery; a catalog from Associated American Artists "Lyonel Feininger: Ships and Seas"; Frances Carey and Antony Griffiths "From Manet Toulouse-Lautrec: French Lithographs 1860-1900, catalog of an Exhibition at the Department of Prints and Drawings in the British Museum, 1978"; catalog from Walker Art Center "Tyler Graphics: The Extended Image"; a catalog from Hauswedell & Nolte Auction House; Handzeichnungen, "Documenta III," two copies; Ken Friedman "Fluxus Virus: 1962-1992"; Ann Temkin "Alice Neel"; catalog from Knoedler Contemporary Art "David Smith"; Andre Maisonneuve "Ger Lataster"; catalog from the Edinburgh Festival 1955 "Paul Gauguin: Paintings, Sculpture and Engravings"; catalog from Richard Gray Gallery "Jennifer Bartlett"; catalog from Felix Landau Gallery "First West Coast Exhibition Kinetic Sculpture and Cinematisations by Pol Bury"; Earl S. Braggs "Hat Dancer Blue"; catalog from Lefebre Gallery "Julius Bissier"; "Italian Art: Monographs on Artists" catalog 115; catalog from Dayton's Gallery 12 "Calder"; Andrew Carnduff Ritchie "The New Decade: 22 European Painters and Sculptures"; Frederick A. Sweet "Sargent, Whistler and Mary Cassatt"; catalog from Pamela Auchincloss Gallery "Charles Arnoldi: Recent Monotypes from the Garner Tullis Workshop"; an issue of The Arts Club of Chicago journal May 6 through June 26, 1985; catalog from Bowdoin College Museum of Art "Leonard Baskin"; catalog from Dayton's Gallery 12 and Dwan Gallery "Charles Ross: Prisms"; Walker Arts Center publication "Nicholas Krushenick"; an issue of Sport Equestri journal "La Vita di Caprilli"; three catalogs from Marlborough Gallery; Jean Leymarie "Zao Wou-Ki"; Janis Conner and Joel Rosenkranz "Rediscoveries in American Sculpture: Studio Works 1893-1939"; catalog from Stedelijk Museum Amsterdam "Anselm Kiefer: Bilter 1986-1980"; Paul Maenz & Gerd de Vries "Anselm Kiefer"; Henrik Cornell "Carl Milles and the Milles Gardens"; catalog from Comune di Milano "Giorgio de Chirico; Jenny Lion "Magnetic North"; catalog from Wexner Center for the Arts "Maya Lin: Public/Private"; Walker Art Center "6 Artists 6 Exhibitions"; Howard Wise Gallery "Lights of Silver by Mack"; catalog from Stadische Kunsthalle Dusseldorf, ARC/Musee d'Art Moderne de la Ville de Paris, The Israel Museum "Anselm Kiefer"; catalog from Marian Goodman Gallery "Anselm Kiefer"; catalog from Walker Art Center "New Art of Argentina"; Museum of Modern Art "Georgio de Chirico"; Kasmin Limited "John Howlin Recent Paintings"; Marlborough-Gerson "Four London Artists: Gordon House, Colin Lanceley, Richard Lin and Joe Tilson"; Marlborough Prints Price List; catalog from the Arts Club of Chicago and University of Minnesota Gallery "Alan Davie"; Marlborough Gallery "Colin Lanceley"; catalog from the Junior Council of the Museum of Modern Art "Recent Painting USA: The Figure"; Martin Friedman, Graham W.J. Beal, Lisa Lyons "Drawings by Lesak and Rainer"; promotional material from Borgenicht Gallery; catalog from Katonah Museum of Art "Dorothy Dehner: Sixty Years of Art"; two promotional pamphlets from Staempfli; Elizabeth Armstrong and Sheila McGuire "First Impressions: Early Prints by Forty-Six Contemporary Artists"; catalog from Hapsburg, Feldman Fine Art Auctioneers "Soviet Contemporary Art: The Property of the Kniga Collection, Paris"; Vavara Rodchenko and Aleksandr Lavrentiev "The Rodchenko Family Workshop"; Walker Art Center catalog "Richard Sussman"; catalog from Charles Cowles Gallery "Tom Holland"; catalog for the VII Bienal in Sao Paulo, Brazil "10 American Sculptors: Agostini, Chryssa, Decker, Kipp, Mallary, Schmidt, Segal, Sugarman, Weinrib, Wines"; Barbara J. Bloemink "The Art of Esteban Lisa"; Marlborough Gallery catalog "Contemporary Spanish Realists"; Robert C. Morgan "All the Lost Souls: Lu Zhang's Mirror of Identity"; promotional material for Lefebre Gallery; Walker Art Center "Michelangelo Pistoletto: A Reflected World"; Pierre Alechinsky "Three Pillories: A Key to an Image"; five catalogs from Dre Devens Dutch Constructivist; catalog from the Museum of Modern Art, Minneapolis Institute of Arts, San Francisco Museum of Art and the Art Gallery of Toronto "Les Fauves"; catalog from the Minneapolis Institute of Arts "Modern Illustrated Books from the Collection of Louis E. Stern"; Sylvan Cole, Jr and Robert Doty "Will Barnet: Etchings, Lithographs, Woodcuts, Serigraphs 1932-1972 catalog raisonne"; Edith Hoffmann "Kokoschka Life and Work"; Elac Lyon "Mattiacci, Mochetti, Nannucci"; Wladimiro Settimelli and Filippo Zevi "Gli Alinari: Fotografi a Firenze 1852-1920"; William C. Seitz "Mark Tobey"; Kunstforum International "Zwischenbilanz II Neue Deutsche Malerei"; Henry Geldzahler "New York Painting and Sculpture: 1940-1970"; Virginia M. Mecklenburg "The Patricia and Phillip Frost Collection: American Abstraction 1930-1945"; Gert von Osten "Plastik seit 1800 in Deutschland, Osterrich und der Schweiz"; Steven Heller and Louise Fili "Dutch Moderne: Graphic Design from Destijl to Deco"; one Christie's catalog; Joshua C. Taylor "Futurism"; Sotheby's catalog, "The Eye of a Collector: Works from the Collection of Stanley J. Seeger"; journal from the University of Minnesota "Germany in the Twenties: The Artist as a Social Critic"; Bruckmann Munchen "Marino Marini"; Verlag Torsten Brohan "Hans Moller"; Henri Baruk, Andre Neher and Leon Askenazi "Le Livre de Ruth"; catalog from Istituto di Cultura di Palazzo Grassi "La Pittura Metafisica"; catalog from Galerie van de Loo Munchen "Maurice Wuckaert"; Marlborough Gallery "Avigdor Arikha Ink Drawings 1965-1972"; catalog from Weinstein Gallery "Fifteenth Anniversary"; two copies of Malcolm C. Salaman "Fine Prints of the Year: An Annual Review of Contemporary Etchings and Engraving"; catalog from the Pushkin Museum, Moscow "Impressionist and Post-Impressionist Paintings from the U.S.S.R."; catalog from the Far Gallery "Leonard Baskin: The Graphic Work, 1950-1970"; catalog from Editions Limited Gallery "Jurgen Peters"; Martin Friedman and Graham W.J.Beal "George Segal: Sculptures"; Judith Zilczer "'The Noble Buyer: John Quinn Patron of the Avant-Garde"; Luis R. Cancel, Jacinto Quirarte, Marimar Benitez, Nelly Perazzo, Lowery S. Sims, Eva Cockcroft, Felix Angel, and Carla Stellweg "The Latin American Spirit: Art and Artists in the United States, 1920-1970"; catalog from the United Book Guild "Aubrey Beardsley Drawings"; Peter Selz "Emil Nolde"; Kunsthaus Richterswil "Ardyn Halter"; Jean Dubuffet "Dubuffet: 1962-66"; John Richardson "Georges Braque 1882-1963: An American Tribute"; Walker Art Center catalog "Scale and Environment: 10 Sculptors"; Pace Gallery Publications "Dubuffet"; William H. Wilson "Raoul Dufy: A Retrospective"; Publication from R.S. Johnson International, Chicago "Pablo Picasso (1881-1973): Master of Graphic Art"; Martin H. Bush and Kenworth Moffett "Goodnough"; David Eugene Smith "Mathematics and Poetry"; catalog from Galerie van de Loo Munchen "Dimitri Hadzi"; Stephanie Barron "German Expressionist Sculpture"; an issue of "Avant-Garde" magazine; Carl de Keyzer "Homo Sovieticus"; catalog from the Tel Aviv Museum of Art "Yigal Ozeri 1994-1997"; Demetrio Paparoni "Stefano Peroli"; two issues of Design Quarterly journal; Robert P. Metzger "Reuben Nakian: Centennial Retrospective 1897-1986"; Schule von Pistoia "Barni Buscioni Ruffi"; publication from Hundert Tage fur Salzburg "Mimmo Paladino"; Minnesota Museum of Art publication "Clara"; James David Draper and Guilhem Scherf "Augustin Pajou: Royal Sculptor 1730-1809"; Albert Scaglione "Laszlo Dus"; Germano Celant "Mario Merz"; catalog from Tubingen-Hamburg-Zurich "Joseph Beus Olfarben 1949-1967"; two copies of Ronald Paulson "Hogarth's Graphic Works: First Complete Edition"; Pierre Courthion "Rouault"; Leon Bellefleur postcards "12 Dessins - Drawings"; "Byelorussian Glassmaker's Art"; catalog from G. di San Lazzaro.
SKU: 04011
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Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- LOUISE NEVELSON ABSTRACT PLASTER SCULPTURELouise
LOUISE NEVELSON ABSTRACT PLASTER SCULPTURELouise Nevelson (Ukrainian/American, 1899-1988). Black plaster abstract sculpture depicting a figure on a marble base, ca. 1935.
Exhibitions: Washburn Gallery, New York, "Louise Nevelson: Sculpture and Drawings from the 1930s," March 21 - April 19, 1997.
Provenance: Estate of the Artist; Private Florida Collection; Washburn Gallery; Private Massachusetts Collection; Private Minnesota Collection.
Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.
Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.
When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.
Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.
In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.
In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.
She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.
Height: 19 1/4 in x width: 15 in x depth: 22 in.
Condition:
The artwork is in good condition overall. There are a few areas with small chips and losses to the paint. There are a few areas of possible restoration; it is difficult to determine due to the uneven textures of the work. Some light wear to the base. Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- LOUISE NEVELSON "BESIDE THE SEASIDE"
LOUISE NEVELSON "BESIDE THE SEASIDE" SILKSCREENLouise Nevelson (American, 1899-1988). Screenprint on acetate over serigraph on glossy white wove paper titled "I Do Like To Be Beside the Seaside," from the portfolio "Facade," 1966. Faintly pencil signed and dated along the lower right; inscribed "Artist's Proof" along the lower left. Titled and with a poem by British poet Edith Sitwell printed along the verso. This work depicting an abstract collage of Nevelson's own sculptures inspired by Sitwell's poetry.
Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger-than-life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.
Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumber yard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.
When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.
Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.
In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.
In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.
She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry.
Sight; height: 22 3/4 in x width: 17 1/4 in. Framed; height: 23 1/2 in x width: 18 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- SAM GILLIAM "CHARTMAKING" ACRYLIC ON
SAM GILLIAM "CHARTMAKING" ACRYLIC ON BIRCH 1997Sam Gilliam (American, 1933-2022). Acrylic on birch plywood titled "The Chartmaking" depicting a colorful abstract composition, 1997. Two pieces are hinged and can swing outwards from the main body of the work. Signed, dated, and titled along the verso.
Lot Essay:
Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.
Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.
From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.
His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.
From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died of renal failure in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.
Height: 22 1/4 in x width: 33 in x depth: 1 3/4 in.
Condition:
The artwork is in fairly good condition. The surface is stable and there are no losses, breaks, or restorations. Both hinged panels swing open smoothly. All parts are firmly attached and there are no loose panels. Along the left hinged panel along the upper edge there are two star-shaped cracks that project outwards; visible in the lot listing. Along the center panel there is a network of paint accretions that sit on top of the thick resin layer; possibly original to the artistic process. Some light wear throughout the edges, consistent with age and use.