P R EV I EW I N G U P C O M I N G E X H I B I T I O N S , EV E N TS , S A L E S A N D AU C T I O N S O F H I S TO R I C F I N E A RT

Celebrating 10 Years

ISSUE 60 Nov/Dec 2021

 Lee Lufkin Kaula
(1865-1957)

Fresh Flowers, oil on canvas, 37 x 27 inches

VOSE GALLERIES
238 Newbury Street . Boston . MA . 02116 617-536-6176 C e l e b r a t i n g 1 8 0 Ye a r s
www.vosegalleries.com . info@vosegalleries.com
 WO L F K A H N
(1927‒2020)

Summer House II, 1972, oil on canvas, 52½ × 72¼ in.

Debra Force F I N E A RT , I N C .

13 EAST 69TH STREET SUITE 4F NEW YORK 10021 TEL 212.734.3636 WWW.DEBRAFORCE.COM
Four Decades of Art Advisory Services Q Working with Private Collections and Museums
Specializing in American paintings from 1840-1940

A.J. KOLLAR FINE PAINTINGS, LLC

1421 East Aloha Street Q Seattle, WA 98112 Q (206) 323-2156 Q www.ajkollar.com
By Appointment Q Private Art Dealers Association Q Independent Appraiser of American Art
 EDGAR MELVILLE WARD
(American 1839-1915)

The Sail Maker circa 1888 Oil on canvas

Signed on the bench: Edgar M. Ward 18 x 15 inches

A.J. KOLLAR FINE PAINTINGS, LLC

Contact us to receive our upcoming catalogue of American paintings
 LETTER FROM
THE PUBLISHERS
NOVEMBER/DECEMBER 2021 Bimonthly

PUBLISHER: Adolfo Castillo

EDITORIAL/CREATIVE acastillo@AmericanFineArtMagazine.com

Focused Magazine PUBLISHER: ADVERTISING/ Wendie Martin

ART COMMUNITY DEVELOPMENT wmartin@AmericanFineArtMagazine.com
FOUNDER Vincent W. Miller
Welcome to our 10-year anniversary issue of American Fine Art Magazine.
Turn the page to read the letter from executive editor Rochelle Belsito, EDITORIAL
EXECUTIVE EDITOR Rochelle Belsito
who has been working on this publication since its initial concept. The rbelsito@AmericanFineArtMagazine.com
magazine’s origins are in our sister publications American Art Collector and EDITOR Michael Clawson
Western Art Collector, but we are proud to focus exclusively on the historic mclawson@AmericanFineArtMagazine.com
American art market. And in doing that we always want to help you in ASSISTANT EDITOR Alyssa M. Tidwell
your journey of collecting and appreciating the field, and also reaching new EDITORIAL ASSISTANT Chelsea Koressel
collectors and readers. This last year our reach increased 50 percent. Thank SANTA FE EDITOR John O’Hern

you for being part of this! CONTRIBUTING PHOTOGRAPHER Francis Smith

As you browse our November/December issue you will see our ADVERTISING (866) 619-0841
dedication to previewing gallery shows, events and museum exhibitions. SENIOR ACCOUNT EXECUTIVE Lisa Redwine
lredwine@AmericanFineArtMagazine.com
The upcoming auctions are always a major highlight, and in this issue you’ll
SENIOR ACCOUNT EXECUTIVE Anita Weldon
find 24 pages of sales in Philadelphia, Dallas, New York and more with rare, aweldon@AmericanFineArtMagazine.com
museum-worthy fine art for you to bid on and add to your collection. New SENIOR ACCOUNT EXECUTIVE Heather K. Raskin
hraskin@AmericanFineArtMagazine.com
York City’s Just Off Madison will return by appointment only, while ADAA’s
SENIOR ACCOUNT EXECUTIVE Constance Warriner
The Art Show shifts to November. Our museum coverage is strong with cwarriner@AmericanFineArtMagazine.com
a focus on Betsy Wyeth’s recent gift to the Farnsworth Art Museum and TRAFFIC MANAGER Jennifer Satterlee
traffic@AmericanFineArtMagazine.com
several major shows including the Denver Art Museum’s Whistler to Cassatt:
American Painters in France. MARKETING
SOCIAL MEDIA Robin M. Castillo
If you haven’t listened to our podcast, The American Art Collective, we’re ENGAGEMENT MANAGER social@americanartcollector.com
about to reach 50 shows and have had an incredible lineup of guests. We MARKETING COORDINATOR Aaron Molina
invite you to look up the show and follow us today on Apple Podcasts, ADMINISTRATIVE ASSISTANT

Spotify and on Amazon. Rochelle is one of our hosts, and in episode 37
interviews Lisa Koenigsberg, president of Initiatives in Art and Culture.
Koenigsberg discusses her passion for fine art and the conferences she hosts,
including the American Art Conference, which is previewed in this issue.
Keep giving us feedback on what you would like to see in historic
American art covered in these pages, and we will keep bringing it to you!
Sincerely,
Wendie Martin & Adolfo Castillo
Publishers
PRODUCTION
ART DIRECTOR Tony Nolan
PRODUCTION ARTIST Dana Long
SUBSCRIPTIONS (877) 947-0792
SUBSCRIPTIONS MANAGER Emily Yee
service@AmericanFineArtMagazine.com
ACCOUNTS RECEIVABLES SPECIALIST April Stewart
astewart@AmericanFineArtMagazine.com
Copyright © 2021. All material appearing in American Fine Art
Magazine is copyright. Reproduction in whole or part is not permitted
without permission in writing from the editor. Editorial contributions
are welcome and should be accompanied by a stamped self-addressed
envelope. All care will be taken with material supplied, but no
responsibility will be accepted for loss or damage. The views expressed
are not necessarily those of the editor or the publisher. The publisher
bears no responsibility and accepts no liability for the claims made, nor
for information provided by advertisers. Printed in the USA.

American Fine Art Magazine, 7530 E. Main Street, Suite 105,

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AMERICAN FINE ART MAGAZINE

(ISSN 2162-7827) is published 6 times a year
by International Artist Publishing Inc.

CANADA
On the Cover American Fine Art Magazine
Emil Bisttram (1895–1976), Oversoul, ca. 1941. Oil on Publications Mail Agreement No. 40064408
Return Undeliverable Canadian Addresses to
Masonite, 35½ x 26½ in. Private collection, Courtesy of Michael Express Messenger International
Rosenfeld Gallery LLC, New York. © Emil Bisttram. On view P.O. Box 25058, London BRC, Ontario, Canada N6C 6A8
in Another World:The Transcendental Painting Group, currently www.AmericanFineArtMagazine.com
at Philbrook Museum of Art through February 20, 2022.

4
HindmanAuctions.com
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 EDITOR’S LETTER

10 Years
I want to begin this letter with a giant and heartfelt thank you
to our devoted subscribers and to the wonderful art dealers,
auction houses, museum curators and event directors that we
work with every day. Without you we wouldn’t be marking the
occasion of 10 years of publishing American Fine Art Magazine.
Aside from all the artwork, one of the things I love the
most about this industry is how giving people are with their
knowledge, their time and their passion. It’s been amazing to
watch how readily collectors and scholars alike have wanted to
share their insights through our pages and so freely at events and
lectures around the country. It is this discourse that will only keep the historic American
art industry growing and moving forward.
Having started at International Artist Publishing in 2010, I’ve been fortunate to be an
editor for American Fine Art Magazine since the very beginning. I’ve been able to watch
it develop over the years and showcase some of the world’s best art in its pages. Moving
into the position of executive editor of this magazine has been a fulfilling and
wonderful challenge. I look forward to the next decade as we share in the
journey of art together.
l e br
We will watch it change as it continues to be recognized that Ce
there is room to grow, reevaluate and recontextualize what we know
about American art. Over the years there will be new exhibitions
and scholarship to dive into; there’s the hope that lesser-known artists
10Years at
ing
will finally get their due; and the thought of fresh collectors reshaping
trends. And we will be here for it all acting as your guide.

Here’s to American art and happy collecting!

Find us on:

Rochelle Belsito
Executive Editor
American Fine CollectArt @artmags AmericanFine
rbelsito@americanfineartmagazine.com Art Magazine ArtMagazine

6
 SIGNATURE ANNUAL LIVE SALE
Emil Bisttram (1895 – 1976)
Hopi Snake Dancer, 1933
gouache on paper, 23 x 17 in.
Estimate: $12,000 – $18,000
Save the Date: November 5-6, 2021

932 Railfan Road, Santa Fe, NM 87505

info@santafeartauction.com 505.954.5858
Now Accepting Fine Consignments for 2022 santafeartauction.com @santafeartauction
ANATOMY OF THE MAGAZINE
Editorial Coverage and Previews of Upcoming Events, Exhibitions and Auctions
American Fine Art Magazine is comprised of many different sections and features, all designed to
keep you informed on what’s happening in the market for historic American art.

UPCOMING
GALLERY SHOWS
Previews of upcoming shows of
historic American art at galleries
across the country.

UPCOMING
MUSEUM
EXHIBITIONS
Insight from top curators about
major exhibitions being staged at
key American museums.

EVENTS & FAIRS

Previews and reports of major
art fairs across the country for
you to attend.

AUCTIONS
Previews and Reports of major
works coming up for sale at the
most important auction houses
dealing in historic American Art.

IN ADDITION:

COLLEC TOR’S FOCUS COLLEC TOR HOMES MARKET REPORTS EX LIBRIS

Find out everything the
discerning collector needs to
know about important and
timely segments of the
historic American art market.
In each issue you will
find a behind-the-scenes
look into a coveted
collector home.
Find out what’s happening
in galleries from New York
to California.
Read about the best books
recently published on
topics ranging from
Hudson River School to
modernism to folk art.
DORIS LEE (1904-1983): AMERICAN STORYTELLER
OPENS NOVEMBER 11TH

Country Schoolhouse, 1947 20 x 24 inches oil on canvas

Memorial Day, Woodstock, NY 14 1⁄2 x 20 inches gouache on paper

D. WIGMORE FINE ART, INC.

152 W 57 ST, 3 FLOOR, NEW YORK, NY 10019
TH RD
DWIGMORE.COM 212-581-1657
American Art and Pennsylvania Impressionists
Featuring the Collection of Virginia and Stuart Peltz

Auction December 5, 2 PM EST

INQUIRIES:
Raphaël Chatroux, 267.414.1253
americanart@freemansauction.com

William Zorach (American, 1887–1966)

Spirit of the Dance
bronze with brown patina
Height: 77 in.
$100,000-150,000

FREEMANSAUCTION.COM
PHILADELPHIA PA
AMERICAN ART:
THE WPA ERA
AND BEYOND
Oct 24 – Jan 30 CECIL BELL (1906 – 1970)
Under the El
18 x 24 inches , Oil on Canvas. Signed and dated 1943 lower right and on the stretcher.

TREW HOCKER (1913 – 1963)

New York Subway
36 x 48 inches, Oil on Masonite. Signed and dated ’47 upper left

HeliclineFineArt.com
dƉIJĕƺĿĸŠſĕƦƩŠǚĕƺĿưƦĕIJĿŠſžŠĸƺƉǛſlĕſŜĕƺƺĕſɂ̄
The gallery is open by appointment.

hello@HeliclineFineArt.com
212.204.8833

DALE NICHOLS (1905 – 1995)

Winter
30 x 40 inches, Oil on canvas, c. 1960s. Signed lower right
 In This Issue
Features Gallery
Fine Art InSights 
Shows
Striking Gold: Exploring the popularity and demand Previews of upcoming shows of historic
of American illustrations American art at galleries across the country.
By Aviva Lehmann
50 American Greats
Building Bridges  Master painters at Questroyal Fine Art
An inside look at the new exhibition Cross Pollination: 52 An Artist’s Legacy
Heade, Cole, Church, and Our Contemporary Moment Oscar Bluemner at Menconi + Schoelkopf
By James D. Balestrieri
54 Recent Arrivals
Family Treasures 
The Farnsworth Art Museum celebrates Betsy Wyeth’s gift
of 27 works of art by N.C., Andrew and Jamie Wyeth
By John O’Hern

Jamie Wyeth,
Shorty, 1963.
Oil on canvas,
18 x 22 in.
Bequest
Events
of Betsy J.
Wyeth, 2021.
On view at the
& Fairs
Farsworth Art Coverage of all the major art fairs and events
Museum.
taking place across the country.

76 Stay Awhile
Just Off Madison

78 A Spectacular View
Departments ADAA’s The Art Show
Art Show Calendar 22 80 Women in
Art Market Updates 26 American Art
Initiatives in Art and Culture’s 26th
Market Report 28
annual American Art Conference
Curator Chat 30
New Acquisition 32

14
 NOVEMBER/DECEMBER 2021

American Fine Art Magazine is unique in its concept and presentation. Divided into four major
categories, each bimonthly issue will show you how to find your way around upcoming fine art shows,
auctions and events so you can stay fully informed about this fascinating market.

Museum Auctions
Exhibitions Previews and reports of sales at the
most important auction houses dealing
in historic American art.
Important exhibitions upcoming at key
museums from coast to coast. Previews

56 Expanding 84 Modern Icons

the Dialogue American Art at Christie’s
Whistler to Cassatt: American Painters in
France at the Denver Art Museum
88 Visual Journey
American Art at Bonhams
60 Glass Revival 92 Exceptional Diversity
Murano glass exhibition at Smithsonian
American Art at Sotheby’s
American Art Museum

64 Universal Truths 96 Rare Delights

American Art Signature Auction
Transcendental Painting Group exhibition
at Heritage Auctions
at the Philbrook Museum of Art

66 The Chase 100 Quintessential

May Family Collection at the
Dallas Museum of Art
68 Seeing the Unusual
Sam Hyde Harris at Casa Romantica
Cultural Center and Gardens
70 Simple Pleasures
Doris Lee traveling exhibition beginning at
the Westmoreland Museum of American Art
72 Defying the Trends
Traveling exhibition for Milton Avery starts
at the Modern Art Museum of Fort Worth
74 Black Artists
in America
Dixon Gallery & Gardens elevates
the work of Black artists
Examples
American Art and Pennsylvania
Impressionists Featuring the Collection of
Virginia and Stuart Peltz at Freeman’s
104 Western Views
Annual Signature Live Auction at
Santa Fe Art Auction
106 Auction Previews
Bonhams, Grogan & Company, John Moran
Auctioneers and Swann Auction Galleries
Reports
108 Auction Reports
Bonhams, Brunk Auctions, Coeur d’Alene
Art Auction, Cottone Auctions, Eldred’s,
Jackson Hole Art Auction and Thomaston
Place Auction Galleries

15
.7&18+%1
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The Knight of Lily
5 E. 57th"|u;;|ķѶYķ+ķ+ƐƏƏƑƑ www.rehs.com
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American Art
18 November 2021 | New York

INQUIRIES MILTON AVERY (1885-1965)

Morgan Martin Robed Nude
+1 (646) 565 0475 oil on canvas
morgan.martin@bonhams.com 68 1/8 x 58 1/8 in. (173 x 147.6 cm.)
bonhams.com/americanart Painted in 1960.
$1,000,000 - 1,500,000
© 2021 The Milton Avery Trust / Artists Rights Society (ARS), New York

)VUOHTZ )\[[LYÄLSKZ(\J[PVULLYZ*VYW(SSYPNO[ZYLZLY]LK5@*+*((\J[PVU/V\ZL3PJLUZL5V
 JOSEPH HENRY SHARP
“Alberto”
(1859 - 1953)

CLAGGETT/REY GALLERY
EDWARDS, COLORADO
(970) 476-9350
CLAGGETTREY.COM
 the Best Fairs, exhibitions and Events Coast to Coast

NOVEMBER 57
Delaware Antiques Show
A view from a past The Chase Center • Wilmington, DE
Delaware Antiques
More than 60 distinguished dealers come together to showcase art, antiques
Show. Courtesy of
Winterthur Museum. and design, in addition to lectures and an opening night party.
www.winterthur.org

OCTOBER 2831 NOVEMBER 5MARCH 19, 2022 THROUGH NOVEMBER 7 NOVEMBER 14MARCH 13, 2022
Artexpo New York An Adventurous Spirit: The Jane A New York Minute: Street Whistler to Cassatt: American
Pier 36 • New York, NY Costello Wellehan Collection Photography, 1920–1950 Painters in France
Over 400 local, national and international Bates College Museum of Art • The Cleveland Museum of Art • Denver Art Museum • Denver, CO
galleries gather to present forward- Lewiston, ME Cleveland, OH This is the first comprehensive exhibition
thinking works of art for every space, The collection contains around 100 A New York Minute explores the of France’s stylistic impact on American
taste and budget. paintings, ceramic vessels, baskets, spontaneous images of everyday life, a painting from 1855 through 1913.
www.redwoodartgroup.com drawings, prints and photographs, popular theme for New York City during www.denverartmuseum.org
predominantly by Maine artists of the the first half of the 20th century.
THROUGH NOVEMBER 2 20th and early 21st centuries. www.clevelandart.org
NOVEMBER 19FEBRUARY 27, 2022
www.bates.edu/museum
Inside Out: The Prints of Sam Hyde Harris:
Mary Cassatt NOVEMBER 7JANUARY 30, 2022
NOVEMBER 6JANUARY 31, 2022 Seeing the Unusual
Colby College Museum of Art • Milton Avery Casa Romantica Cultural Center
Waterville, ME In American Waters: Modern Art Museum of Forth Worth • and Gardens • San Clemente, CA
Colby College features prints by Cassatt that The Sea in American Painting Forth Worth, TX While Hyde is most known for his
invite the viewer to reflect on how we each Crystal Bridges Museum of A retrospective of Milton Avery surveys California paintings, this exhibition
experience family, caregiving and identity. American Art • Bentonville, AR works spanning his career. focuses on his more unknown
www.colby.edu/museum/ A diverse range of modern and historical www.themodern.org commercial advertising work.
artists are featured in this exhibition www.casaromantica.org
NOVEMBER 37 dedicated to the beauty and transformative NOVEMBER 1115
power of the sea in American life.
ADAA’s The Art Show www.crystalbridges.org Salon Art + Design
Park Avenue Armory • New York, NY Park Avenue Armory • New York, NY
The Art Show brings together the country’s Returning for the 10th year, Salon Art +
top galleries to showcase curated Design features among the world’s best
exhibitions of both historical vintage, and contemporary design, and
and contemporary works. blue-chip 20th-century art.
www.theartshow.org www.thesalonny.com

22
 SINCE 1969
AUCTIONEERS & APPRAISERS

i
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i>Àwi`]1/®Winter in Liberty, oil on canvas, 30” H x 36” W, $30,000-40,000

California & American Fine Art

Tuesday, November 16, 2021—2pm
Inquiries: fineart@johnmoran.com -V>˜̅ˆÃVœ`i܈̅ޜÕÀ«…œ˜i
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A family-owned auction house delivering both world-class service and results for over 50 years.
Auctions • Private Sales • Appraisals

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833
 ART SHOW CALENDAR

Collectors gather during a past American Art Conference.

Auctions
at a Glance
OCTOBER 28 NOVEMBER 18
Fine Art Auction American Art
Shannon’s Fine Art Auctioneers • Christies • New York, NY
NOVEMBER 1112 Milford, CT www.christies.com
American Art Conference www.shannons.com
The Cosmopolitan Club • New York, NY NOVEMBER 20DECEMBER 3
Now in its 26th year, the conference will explore the role that women have played OCTOBER 28 California & Western Art Online
in American art as artists, teachers, scholars, patrons and more. Women in the Arts Auction Bonhams • Los Angeles, CA
www.artinitiatives.com Eldred’s • East Dennis, MA www.bonhams.com
www.eldreds.com
NOVEMBER 22
NOVEMBER 5 American Art
NOVEMBER 20MARCH 21, 2022 DECEMBER 15 American Art Sotheby’s • New York, NY
Cross Pollination: Heade, SPECTRUM Miami Heritage Auctions • Dallas, TX www.sothebys.com
Cole, Church, and Our Mana Wynwood Convention Center www.ha.com
Contemporary Moment • Miami, FL
NOVEMBER 23
Crystal Bridges Museum of In combination with Red Dot Miami, over
NOVEMBER 6 California Art
American Art • Bentonville, AR 200 galleries and artists come together
from all over the world to showcase
Annual Signature Live Auction Bonhams • Los Angeles, CA
Eighty works of art for these artists’ will
contemporary works, along with art talks Santa Fe Art Auction • Santa Fe, NM www.bonhams.com
be on display, and explores pollination www.santafeartauction.com
in nature and artistic influence, along and special programming.
with the interconnection between art www.redwoodartgroup.com DECEMBER 24
and science. NOVEMBER 7 Premier and Emporium Auctions
www.crystalbridges.org THROUGH DECEMBER 12 The Fall Auction Brunk Auctions • Asheville, NC
Grogan & Company • Boston, MA www.brunkauctions.com
The Voyage of Life: Art, Allegory, www.groganco.com
THROUGH NOVEMBER 28 and Community Response
Women Take the Floor Reynolda House Museum of DECEMBER 5
American Art • Winston-Salem, NC NOVEMBER 16 American Art & Pennsylvania
Museum of Fine Arts, Boston •
Boston, MA Three centuries of American art are California & American Fine Art Impressionists Featuring the
This exhibition focuses on the exhibited with community stories John Moran Auctioneers • Monrovia, CA Collection of Virginia and Stuart Peltz
overlooked and underrepresented work exploring how much of the human www.johnmoran.com Freeman’s • Philadelphia, PA
and stories of woman from the 20th experience is in common with works by www.freemansauction.com
century, in over 200 works primarily artists such as Andy Warhol, Alice Neel NOVEMBER 18
from the museum’s collection. and Keith Haring, to name a few. American Art
www.reynolda.org
DECEMBER 16
www.mfa.org Bonhams • New York, NY Illustration Art
www.bonhams.com Swann Auction Galleries • New York, NY
DECEMBER 15 THROUGH DECEMBER 26 www.swanngalleries.com
Red Dot Miami Ashcan School Prints and the
Mana Wynwood Convention Center American City, 1900–1940
• Miami, FL The Cleveland Museum of Art •
Running alongside the SPECTRUM Miami Cleveland, OH THROUGH JANUARY 2, 2022 THROUGH JANUARY 9, 2022
show, this fair brings the public curated, This exhibition features prints depicting
gallery-only booths with contemporary city life made by urban realists during a
Black Artists in America: From the Pursuit of Beauty: The May Family
works on display. time of demographic, social and economic Great Depression to Civil Rights Collection
www.redwoodartgroup.com change to America’s cities. Dixon Gallery & Gardens • Dallas Museum of Art • Dallas, TX
www.clevelandart.org Memphis, TN This exhibition encompasses the
The first exhibition in a three-part series American art collection of the May family
explores the works of black American spanning a century of notable works.
artists from 1929 to 1954. www.dma.org
www.dixon.org

In every issue of American Fine Art Magazine, we publish the only reliable guide to all major upcoming fairs and shows nationwide. Contact our
editorial assistant, Chelsea Koressel, at ckoressel@americanfineartmagazine.com, to find out how your event can be included.

24
 Majestic
A spectacular Autumn auction weekend featuring important works by renowned artists from
Maine and beyond, plus a compelling variety of fine antiques and 20th c. decorative items.

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Autumn Majestic
November 12, 13 & 14 | 11 am
Catalogs are available to view online at thomastonauction.com
Please call or visit our website for preview times.

BID BY PHONE | ABSENTEE | ONLINE

51 Atlantic Highway, Thomaston, ME 04861

207-354-8141 | info@thomastonauction.com
thomastonauction.com
Kaja Veilleux (ME AUC #902)
 The Latimer School
This year, the Nevada Museum of Art
celebrates its 90th anniversary. Highlighting
this milestone is an exhibition of more
than 100 paintings by San Francisco-
based artist and teacher Lorenzo Latimer,
alongside works by Nevada artists he
mentored including Mattie S. Conner,
Marguerite Erwin, Dora Groesbeck,
Hildegard Herz, Nettie McDonald,
Minerva Pierce, Echo Mapes Robinson,
Nevada Wilson and Dolores Samuel
Young. The Latimer School: Lorenzo Latimer
will be on view through March 27, 2022.

High Museum of Art

launches LINK
The High Museum of Art in Atlanta, Lorenzo Latimer (1857-1941), The Angora (Indian Rock), Fallen Leaf, Lake Tahoe region, not dated. Watercolor on paper,
Georgia, recently launched its LINK 16¼ x 10½ in. Private collection. On view in The Latimer School: Lorenzo Latimer at Nevada Museum of Art.
project, a digital platform that extends the
reach and accessibility of the museum’s
collection and exhibitions by providing
new ways to experience them online. A
recently opened exhibition, Really Free:
The Radical Art of Nellie Mae Rowe is the
first LINK project, which debuted at
link.rowe.high.org. On the site, visitors
can move through a comprehensive
timeline of Rowe’s life and career, see
artwork in the exhibition and learn the
stories behind each piece, view archival

Esphyr Slobodkina (1908-2002), Desert Moon, 1941. Oil on board, 18 x 22 in. The Alfond Collection of Art. Gift of Barbara ’68 and Theodore ’68
Alfond, 2017.15.5. Photo courtesy the Slobodkina Foundation, Northport, New York. On view in American Modernisms at the Rollins Museum of Art.

materials and more. The exhibition is on

Nellie Mae Rowe (1900-1982), Untitled (Nellie and Judith’s Houses),
1978-1982. Crayon, marker and pencil on paper. Gift of Judith
Alexander, 2003.209. On view in Really Free: The Radical Art of
Nellie Mae Rowe and link.rowe.high.org at High Museum of Art.
view through January 9, 2022. LINK sites American Modernism
will also be published for Picturing the An exhibition running through May 8,
South: 25 Years (November 5-February 6, 2022, at the Rollins Museum of Art in
2022), and Road to Freedom: Photographs Winter Park, Florida, explores the many
of the Civil Rights Movement, 1956-1968 meanings behind the term “American
(launching in February 2022 to coincide modernism” through the museum’s
with Black History Month), and others. collection. The museum notes, “From the
intensely observed realism of the Ashcan
School to the freewheeling exploration

26
 Sol LeWitt (1928-2007), Bands of Lines in Four Directions, 1993.
One of a set of two water based woodcuts, 12 x 12 in. (image
size), 16 x 16 in. (paper size). Catalogue Raisonné: 1993.02
NBMAA Collection, 2007.136.336.1 - 2SL. On view in Strict Beauty:
Sol LeWitt Prints at New Britain Museum of American Art.

of the 1970s, American artists have used

the tools and techniques of modernist art
to inspect, reflect upon, interrogate and
change the world around them.”
An Adventurous Spirit
On view at the Bates College Museum
of Art from November 5, 2021 to March
19, 2022, An Adventurous Spirit:The Jane
Costello Wellehan Collection showcases
approximately 100 paintings, ceramic
vessels, baskets, drawings, photographs
and prints by some of the best artists
Charles Woodbury (1864-1940), Marcia in Studio, Artist’s Wife in Ogunquit, 1888. Oil on canvas, 14¼ x 20¼ in., 2019.4.13.
On view in An Adventurous Spirit: The Jane Costello Wellehan Collection at Bates College Museum of Art.
living and exhibiting in Maine in the New Britain Museum of American Art
20th and early 21st centuries. Among these hosts a large-scale exhibition showcasing
are William Zorach, Warren MacKenzie, 83 objects, consisting of single prints
Bernard Langlais and many others. and print series, making up a total of
more than 250 prints from the LeWitt
Collection and New Britain Museum of
Strict Beauty American Art. Spanning four galleries,
Conceptual artist Sol LeWitt was known Strict Beauty: Sol LeWitt Prints will be on
for his programmatic wall drawings and view through January 9, 2022. The show
modular structures, but the artist also then moves to Williams College Museum
created more than 350 print projects. The of Art from February 18 to June 12, 2022.

People & Places

 The Museum of  The Boca Raton Arts District Exploratory  The Denver Art Museum reopens its
Contemporary Corporation recently announced its first expanded and reimagined campus to the
Art has appointed seven-figure capital pledge of $5 million. public on October 24, unveiling all eight
Johanna Burton as The donation comes from The Edith levels of its iconic Gio Ponti-designed
executive director & Martin Stein Family Foundation to Lanny and Sharon Martin Building
to lead the museum support the new Boca Raton Center for (formerly referred to as the North or Ponti
in partnership with Arts & Innovation. Building), as well as the new Anna and
Klaus Biesenbach, John J. Sie Welcome Center.
the Maurice Marciano Artistic Director.
Burton has held leadership positions at a
number of major institutions.

27
 MARKET REPORT

WHAT WE’RE HEARING FROM GALLERIES AND

AUCTION HOUSES ACROSS THE COUNTRY.

COURTNEY S. the strong interest from a and connect with new clients via digital
KOPPLIN new coterie of collectors catalogs and web exhibitions, as well as
Gallery Manager in acquiring high-quality virtual art fairs and other online platforms.
Vose Galleries American impressionist and The interest in fresh-to-the-market
post-impressionist paintings. examples by women artists remains high,
Vose Galleries is proud to
John Carlson’s moody forest- particularly stand-outs like Jane Peterson,
celebrate our 180th anniversary. To honor
scapes, Charles Woodbury’s Ogunquit views Martha Walter and Gertrude Fiske. We’re
the gallery’s legacy, we are revisiting a
and Walter Farndon’s harbor scenes draw always looking for painters of similar
favorite theme this fall in Our Best to You
both regular clients and new buyers who caliber and one of these discoveries was
exhibition, showcasing some of the finest
are just beginning their collecting journeys. Helen Kiner McCarthy, a founding member
we have to offer in 19th- and 20th-century
Likewise, little gems from both the 19th of The Philadelphia Ten. We currently
American paintings.
and 20th-centuries are being snapped up have a lovely Italian scene showing her
Our collectors are largely drawn to
faster than we can have them cleaned! intuitive sense of design and color—the
bright, colorful palettes and optimistic
Examples of recent sales include a Martin sun-splashed architecture of Taormina
themes, which echoes our shared positive
Johnson Heade red rose still life, a striking glows off the canvas and is wonderfully
outlook for the future. New England
1870s view of Boston at sunset by Sylvester complemented with verdant trees and
land- and seascapes continue to sell
Hodgdon and a charming Lee Lufkin Kaula grass. Exceptional pieces like this rarely
well, particularly those by artists we’ve
garden scene. Therefore, it’s beneficial to come on the market, and we’re thrilled to
represented since their lifetimes. A trio of
check in with your trusted dealer often to represent it.
Reynolds Beal’s vibrant interpretations of
update your collecting interests. While the VOSE GALLERIES LLC
coastal Massachusetts found ready buyers
pandemic limited our in-person events 238 Newbury Street
throughout 2021, and Aldro Hibbard’s
and visits, it also allowed us to strengthen Boston, MA 02116
beautiful winter scenes sold from our
our relationships with long-time collectors www.vosegalleries.com
walls at a steady pace. We’re pleased with

28
 CURATOR CHAT

WE ASK LEADING MUSEUM CURATORS ABOUT

WHAT’S GOING ON IN THEIR WORLD

JEN PADGETT
Associate Curator
CRYSTAL BRIDGES MUSEUM OF AMERICAN ART
Bentonville, AR, (479) 418-5700, www.crystalbridges.org

Stieglitz Collection, a group of 101 works

What event (gallery show, museum
exhibit, etc.) in the next few months
are you looking forward to, and why?
I’m excited about Supernatural America:
The Paranormal in American Art, organized
by the Minneapolis Institute of Art,
opening at the Speed Art Museum in
October [and running through January 2,
2022]. It’s a fascinating subject and MIA
curator Robert Cozzolino always has an
ingenious point of view.
What are you reading?
I recently finished Isabel Wilkerson’s
The Warmth of Other Suns: The Epic Story
of America’s Great Migration. “Epic”
captures it indeed. I’d recommend to
anyone with an interest in American
history broadly.
Interesting exhibit, gallery opening
or work of art you’ve seen recently.
Things at Crystal Bridges are as dynamic
as ever, and I’m enjoying recent projects
by my curatorial colleagues. It’s been
great fun to see works from our collection
anew in the exhibition Crystal Bridges at 10,
which marks the museum’s first 10 years.
What are you researching
at the moment?
I’m diving into research on the Alfred
that Crystal Bridges co-owns with Fisk
University in Nashville, Tennessee. We’re
planning an installation of works from
the collection when it returns to Crystal
Bridges in spring 2022.
What is your dream exhibit to curate?
Or see someone else curate?
It’s impossible to pick just one. I have an
ever-growing list of ideas I’d love to see
take shape. Even better though is when
I’m surprised by work others are doing—
I love when I see an exhibition about an
artist completely unfamiliar to me and
come away energized.

30
 u r A l l-A c c e s s Pa s
Y o s
ne in e v e r y T u esday
Tu
s!
for new episode
Artist
Brian Cote
Arizona painter Brian Cote, whose
works of the Southwest are
captivating fans of both traditional
and contemporary Western
landscapes, joins us on today’s
episode. Subscribe to the American
Art Collective today so you never
miss another art interview.
Artist
Teresa Elliott
Texas painter Teresa Elliott sits
down with us to chat about
her West Texas studio, her
early illustration career and her
fascination with painting cows
and bulls. Her work ranges from
I nt ern atio n al Ar ti s t Pu bl is hi n g
:HVWHUQWRFRQWHPSRUDU\²JXUDWLYH
and she’s been included in many
major shows, including the Prix de
West, which is where we caught
up with her in Oklahoma City. This
episode is sponsored by Western
Art Collector. Subscribe to the
American Art Collective to get more
great shows like this in your feed.
Curator
Tricia Loscher
Tricia Loscher, curator at the
Western Spirit: Scottsdale’s Museum
of the West, drops by to talk about
Edward S, Curtis, Paul Calle and
Maynard Dixon, as well as other
artists that have been featured or
will be featured at the museum. The
For advertising opportunities please call (866) 619-0841.
The
Amer can
LISTEN ON SPOTIFY
Art
Collective
LISTEN ON P o d c a s t
episode is sponsored by Western
Art Collector. Subscribe to the
American Art Collective to get new
episodes each week.
Artist
Thomas Blackshear II
Thomas Blackshear II joins us from
his studio in Colorado to discuss
his long career in illustration—from
Hollywood monsters, Star Wars and
the rock band The Killers—to his
current rise through the ranks of
Western art. Thomas’ work, which
he calls Western Nouveau, has
made a huge splash on the market
and has quickly found its way into
prominent collections.
 NEW ACQUISITION

Building a Legacy
CHRYSLER MUSEUM OF ART

Romare Bearden
(1911-1988),
Pepper Jelly Lady,
1980. Lithograph.
Promised Gift from
the Collection of
John and Audrey
Settle. ART ©
Romare Bearden
Foundation/
Licensed by VAGA
at ARS, NY.

T he Chrysler Museum of Art’s Building a Legacy: Chrysler

Collects for the Future exhibition, on view November
19, 2021, to March 6, 2022, features a range of recent
and promised gifts to the museum’s permanent collection. The
exhibition is presented in conjunction with the Chrysler’s
celebration of the 50th anniversary of Walter P. Chrysler, Jr.’s
transformative gift of art to the City of Norfolk.
Among these is a 1980 lithograph by Romare Bearden
titled Pepper Jelly Lady, a promised gift from the Collection of
John and Aubrey Settle. Bearden’s print draws upon the artist’s
childhood memories of life in North Carolina in the early
20th century. The lithograph depicts a scene of the rural South
with an African American woman dressed in bold patterns.
“Building a Legacy presents the ongoing impact of Chrysler’s
generosity with objects from modern-day art collectors who
have committed to broadening the scope of the Museum’s
collection,” says Corey Piper, the Chrysler Museum’s Brock
curator of American art and curator of the exhibition.
Another piece is a circa 1917 charcoal by George Bellows,
gifted to the Chrysler Museum of Art in 2018 by Carter
Grandy Bernert in honor of Jeff Harrison, Chief Curator
Emeritus of the Chrysler Museum of Art.

32
 S U BS C R I BE Subscribe now to
TO A MERIC A’S
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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
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FRANZ XAVER PETTER (1791-1866)

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STILL LIFE WITH ROSES AND TULIPS WITH
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OCTOBER SNOW – TAOS VALLEY (FROM MY STUDIO)
$15/25,000

$20/30,000
$40,000

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 FINE ART INSIGHTS

In each issue of American Fine Art Magazine, industry experts share their
opinions and insights on a wide range of topics to help grow your knowledge of the
historic American art market and make you a more informed collector.

STRIKING
GOLD
Exploring the popularity and demand of American illustrations
By Aviva Lehmann

I will never forget the day in 2002 when I sat in the

auction room at Sotheby’s New York, watching
gobsmacked as Norman Rockwell’s Rosie the
Riveter sold for $4,959,500, at the time a new auction
record for the artist. Rosie, from 1943, represents the
the sale.That same week at another auction house on
the other side of town, an important Edward Hopper
painting from 1934, East Wind Over Weehawken, sold
for only $40 million. Rockwell was the star of the
season, once again.
American women who worked in factories during Of late, it’s a question asked over and over: Why is
World War II; it’s arguably the symbol for feminism illustration art so popular and in demand now?
and women’s economic power. It is also one of The reasons are myriad but likely simple enough,
Rockwell’s most important paintings. Just seven years among them:The masterworks cited above encapsulate
after the Sotheby’s sale, Alice Walton’s Crystal Bridges a certain flavor of American nostalgia. With all the
Museum of American Art in Bentonville, Arkansas, world has endured, there’s a hunger for the simple,
acquired the work privately for a reported $25 million; the innocent, the idyllic if not the outright ideal.
the work is among the most popular in the museum,
as much a draw as Asher B. Durand’s Kindred Spirits. Maxfield Parrish
The painting increased in value by more than five (1870-1966), The
Storm, 1907. Oil on
times in just seven years. Aside from contemporary canvas, 40 x 32 in.
art, what other category of art even comes close to Addison Gallery
such appreciation in value? of American Art,
Phillips Academy,
In years past, the world’s top auction houses were
Andover,
more likely to place illustration art in their lower price Massachusetts,
point and midseason sales. But in recent years such gift of Mrs. Henry
works have been appropriately—and finally—elevated; M. Sage, 1958.40.
Photo credit:
houses now offer a growing number of significant Addison Gallery
works in this category alongside other landmark of American Art,
and important American art sales. Take Rockwell’s Phillips Academy,
Andover, MA /
masterpiece Saying Grace, from 1951, which depicts Art Resource, NY.
a woman and boy bowing their heads in prayer at a © 2021 Maxfield
table in a bustling restaurant as other patrons pause for Parrish Family,
LLC / Licensed by
a moment to look on. This masterwork sold in 2013 VAGA at Artists
for an unbelievable $46 million. The entire auction Rights Society
realized a total of $58 million, with seven works by (ARS), NY.
Rockwell earning 60 percent of the entire revenue for

34
A rendering of the Lucas Museum of Narrative Art, which was founded by filmmaker and philanthropist George Lucas and his wife, Mellody Hobson. The
institution is scheduled to open in 2023. Image courtesy Lucas Museum of Narrative Art.

The reason these lots fetched record prices is exactly
the same reason illustration art, and Golden Age
illustration in particular, is arguably the hottest area
of the American art market these days: They provide
comfort and entertainment.
In 2010 George Lucas and Steven Spielberg, two
of the greatest collectors of Rockwell in the world,
lent their collections to the Smithsonian American Art
Museum in Washington, D.C. When Lucas was asked
what exactly appeals to him in a Rockwell painting on
CBS Sunday Morning, July 4, 2010, he said,“Rockwell
was able to sum up the story and make you want to read
the story, and at the same time actually understand who
the people were, what their motives were, everything
in one little frame.” On the same show, Spielberg said,
Rockwell “had a tremendous respect for the virtues of
mankind, and there was a real sense of community, of
family, and especially of nation.” Despite our differences,
we can all understand and appreciate Lucas and
Spielberg’s sentiments. The yearning to feel part of a
community and a unified nation as one escapes into
an illustrated narrative is what drives the marketplace
for illustration art.
The audience for Golden Age illustration grows
by the season, and the appetite for blue-chip works
by Rockwell, N.C. Wyeth and Maxfield Parrish is
voracious.There is simply more demand than supply.As
a result, lesser-known illustrators are finally receiving
the attention they deserve, and they, too, are selling
in the six- and even seven-figure range. Heritage

35
 FINE ART INSIGHTS

Eugene Iverd (1893-1936), The Siege, The Saturday Evening Post cover, January 15, 1927. Oil on canvas, 42 x 33 in. Artist World Auction Record.
Courtesy Heritage Auctions, ha.com. Estimate: $4/6,000 SOLD: $162,500

36

Joseph Christian Leyendecker (1874-1951), Beat-up Boy, Football Hero,
The Saturday Evening Post cover, November 21, 1914. Oil on canvas,
30 x 21 in. Artist World Auction Record. Courtesy Heritage Auctions,
ha.com Estimate: $150/250,000 SOLD: $4,121,250
Auctions recently established a new benchmark for a
painting by Joseph Christian Leyendecker, Rockwell’s
predecessor at The Saturday Evening Post.
Beat Up Boy, Football Hero, a Saturday Evening
Post cover from 1914, sold for an extraordinary
$4,121,250 in May, against a presale estimate of
$150,000 to $250,000. The painting outpriced the
previous auction record for Leyendecker established
just six months earlier—by more than $3.5 million.
Fourteen clients competed feverishly for more than
15 minutes to acquire this tour de force. In that same
auction, another Post cover by a relatively unknown
illustrator named Eugene Iverd blew past its $4,000
to $6,000 presale estimate, as 20 clients drove the final
selling price to a record $162,500. I predict this trend
will continue, and that we will see prices continue to
explode for illustrators that have long been considered
secondary and tertiary in relation to Rockwell.
Aside from the auction arena, institutional focus
and scholarship have been geared more toward
illustration art as well. The 1999 to 2002 traveling
exhibition Norman Rockwell: Pictures for the American
People, which made stops at the Corcoran Gallery of
Art in Washington, D.C., the High Museum of Art
in Atlanta and the Guggenheim in New York, among
other institutions, appeared to signal a willingness on
the part of the fine art crowd to take illustration art
seriously. Exhibitions of illustration art are popping up
in galleries, not only in America, but in Germany and
Japan as well. The Lucas Museum of Narrative Art is
being built in California, generating tremendous buzz
even before the doors open. I for one can’t wait to buy
my ticket and based on illustration’s wide-reaching
popularity with young and old alike, I foresee the
opening line will be quite long. Good things come
to those who wait.

Aviva Lehmann joined Heritage Auctions in January 2013 after 14 years in the auction industry.
With over 20 years of in-depth knowledge and experience in American art, she holds a broad
interest in all aspects of the field. Lehmann previously served as vice president, specialist in the
American Art department at Christie’s, where she was instrumental in establishing dozens of
auction records in virtually every category of American art. During her career at Heritage, Lehmann
has been instrumental in bringing some of the finest single-owner collections to market, including
the Judson Ball collection of Western and Wildlife Art, the Ember collection of Modernism and
Design, and the Barry and Maria King collection of early American Modernism. She also has
been instrumental in establishing dozens of new auction records in field. Lehmann lectures on American art at museums
and institutions throughout the country and has successfully completed the coursework and examination in the Uniform
Standards of Professional Appraisal Practice. She also serves as an adjunct professor of Appraisals and Valuation in the Art
Administration Master’s Program at New York University.

37
 BUILDING
BRIDGES
An inside look at the new exhibition
Cross Pollination: Heade, Cole, Church,
and Our Contemporary Moment
by James D. Balestrieri
O n my first day at Bartfield’s, a lifetime
ago, I walked into the gallery and saw,
on the wall just behind my desk, Thomas
Cole’s Autumn Landscape (View of Mt. Chocorua).
An easy sell, you would think (I did). Not so, as it
turned out. Even the greatest paintings sometimes
have to wait to find the right eyes to find them.
As it happened—fortuitously for me, if not for
the gallery—I had the privilege of looking at that
painting every day, many times a day, for well over
a year. I studied it stroke for stroke, up close and
from a distance. Sometimes I didn’t look at it;
sometimes I closed my eyes and imagined it and
then opened them to see how the image in my
mind compared with the painting. Imagine my
delight when I visited Thomas Cole’s home and
studio Cedar Grove in Catskill, New York, and
saw Autumn Landscape hanging in a room on the
second floor. There was the dreamy Cole himself,
stretched out, leaning against a rock as if listening
to—feeling, really—the vibration of the waterfall.
The dead tree bisects the painting from lower left
to upper right, and the mountain in the distance
broods anciently. Early fall, not yet peak colors,
brief and bittersweet and glorious. Looking at it,
living with it, without even knowing it, made me
want nothing more than to live there forever, or,
38
failing that, do my best to make sure that the great
beauties and truths Autumn Landscape conveyed
would never vanish from the earth.
I was there to see Cross Pollination: Heade,
Cole, Church, and Our Contemporary Moment, a
new exhibition Cole’s Cedar Grove shares with
Frederic E. Church’s Olana. Full disclosure:
Autumn Landscape is not an official artwork in an
exhibition that builds a literal bridge between
these two towers of American art, but for me, it
also built a bridge between my present and my
past, allowing me to spend time with an old friend
I hadn’t seen for 20 years.
Until recently, Cole’s home and studio, Cedar
Grove, and Church’s magnificent home, Olana,
have yearned wistfully at one another across the
Hudson River. Church was Cole’s friend and only
student, and the Hudson was the inspiration and
setting for their art, and for what became the first
American “school” of art—the Hudson River
School, naturally. Sure, you could always drive from
Olana to Cedar Grove, or vice versa. Now, via the
Hudson River Skywalk, visitors can walk from one
to another, taking in views of the river as the artists
would have experienced them, on foot.
Sixteen of Martin Johnson Heade’s
hummingbird paintings from The Gems of Brazil
Martin Johnson Heade (1819-
1904), Hooded Visorbearer, from the
16-painting series The Gems of
Brazil, ca. 1863-1864. Oil on canvas,
12¼ x 10 in. Crystal Bridges
Museum of American Art,
Bentonville, Arkansas, 2006.93.
Photo by Dwight Primiano.

39
 Thomas Cole (1801-1848), View of Mt. Etna, 1842. Oil on canvas, 32 x 48 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2007.11.
Photo by Dwight Primiano.

series (on loan from the Crystal

Bridges Museum of American Art,
which co-organized the exhibition
and will be the closing venue, on view
from November 20 to March 21), as
well as the botanical watercolors of
Cole’s daughter Emily and Church’s
daughter Isabel and a wide range of
contemporary artworks that speak
to the the beauty and fragility of
ecosystems round out the dazzling,
eclectic array. The exhibition makes a
potent contribution to the relatively
new notion that artists like Cole,
Church and Heade were proto-
environmentalists whose art brought
them close to the natural world they
loved and, as a consequence, made them
frontline witnesses to its devastation.
Artists today bring even greater
urgency to the subject of the climate
crisis. The bridge between the art of the
past and the art of the present throws
these issues into even sharper relief. A detail of Thomas Cole’s View of Mt. Etna. Photo by James D. Balestrieri.
Patrick Jacobs’ intricate miniature
landscape Pink Forest with Stump threw

40
Patrick Jacobs, Pink
Forest with Stump,
2016. Styrene, acrylic,
cast neoprene, paper,
hair, polyurethane
foam, ash, talc,
starch, acrylite, vinyl
film, copper, wood,
steel, lighting, and
BK7 glass, 20/ x 28/
x 20½ in. (box), 7/ in.
(diorama window).
Crystal Bridges
Museum of American
Art, Bentonville,
Arkansas, 2016.22.
Photo by Edward C.
Robison III.

another span from present to past. In

the October 2011 issue of American
Art Collector, I first wrote about Jacobs’
focused work: “Through a 2-inch
porthole, Patrick Jacobs’ Dandelion
Cluster offers a bud’s-eye view looking
down an estuary to a distant body of
water. Adding a third dimension to
the classic American Trompe l’Oeil
and landscape traditions locates the
work in the sphere of the natural
history museum. In full flower, gone
to the seeds my kids blow and wish
on, running in the damp grass, and
past that, to the hard ovum at the
center of the flower, this common
weed, bane, pest, attains a specialness,
is suddenly beautiful as it goes on the
same winding way we go, downstream
to our common merger with the
infinite.” Pink Forest with Stump is
larger and far more otherworldly, a
Thomas Cole (1801-1848), Autumn Landscape (View of Mt. Chocorua), ca. 1828. Oil on canvas.
Photo by James D. Balestrieri. work of fantasy arguing, perhaps, that
the imagination is as expansive, fragile

41
 Various florals and botanicals by Emily Cole (1843-1913) and Isabel Charlotte (Downie) Church (1871-1935) on view in Cross Pollination.
Photo by James D. Balestrieri.
and endangered as the environment.
Of the contemporary pieces that
were not familiar to me, Sayler/Morris’
video installation, Eclipse, features the
white silhouette of a bare tree and
roots. Over the course of the video,
a flock of extinct passenger pigeons
fills the branches—bringing it to leafy
life—before flying up and off in groups,
like spirits, leaving the tree barren once
more. It’s a poetic, tragic work, and its
placement behind the panes of a glass
door in Cedar Grove situates the work
in the time of the great flocks and
separates it from our time, when not
only the passenger pigeons but so many
other species, have fallen in what has
come to be called the sixth extinction.
When you circle back to Heade’s
hummingbirds or the florals and
botanicals painted by Cole and
Church’s daughters, you almost
forget that those birds and insects,
those flowers and plants, were already
42
dwindling in numbers. Today we see
them almost as if through a telescope
from the wrong end, sharply outlined
but small, as if receding from us. Cole
himself was even aware of the effects
of eco-tourism on the landscape, as
the detail from his painting View of
Mt. Etna shows. The tourist in a rustic
carriage who has come to gaze at
the volcano—and Cole’s work often
features such gazers—seems to ask:
When those who appreciate nature
come in numbers, can those who
appreciate nature and seek to exploit it
be far behind?
The catalog describes Martin
Johnson Heade’s awakening: “By the
early 1880s, Heade similarly became
concerned about the unrestrained
use of natural resources, in his case
overhunting and the destruction
of species. He took the pen name
Didymus and began to contribute
regularly to a sportsmen’s magazine,
Forest and Stream, calling attention to
environmental degradation…Heade had
settled in Florida and, still enthusiastic
for hummingbirds, had set up in his
backyard feeders to watch them. But,
he lamented, ‘between the frosts,
taxidermists and milliners, I fear they’ll
be almost exterminated in a few years.’”
The mashup of old and new art, old
and new artists, is intended to create
a kind of friction that makes fire—or,
in the case of the climate crisis—puts
fires out. But in touring the exhibition,
I was reminded of old historical idea
that states that people have to be ready
for change, for progress. I don’t know
if that has to do with the collective
psyche, perhaps even a genetic mutation
that opens our species to the possibility
of change, or if it is merely a question
of numbers, some critical mass that
must be reached before we can accept
that our ideas must change, and that we
must adapt to changes that have already
occurred in society and in the natural
world. Maybe it’s both.
What I know is that Thomas Cole,
proto-environmentalist, wasn’t able
to save a single one of his beloved
chestnut trees with his art, his lectures,
or his life. Indeed, the American
chestnut fell to extinction by 1900.
That its resurrection depends on
scientists, students, and genetics, much
of which is being conducted a few
hours from Cedar Grove, in the labs
of the State University of New York-
Environmental Science and Forestry in
Syracuse, is a hopeful and yet sad irony
of sorts. I have read in recent days that
the woolly mammoth may be the next
extinct creature to retake the stage. If
the chestnut and the mammoth make
Frederic E. Church (1826-1900), Mullein, 1844. Oil on board. Photo by James D. Balestrieri.
a comeback, what about the passenger
pigeon? If the flocks were restored to
their billions, would that be a good a snip here and there to improve our grew, and no one is there to appreciate
thing? Who would decide? Which empathy gene? Or will we see their art, it, does that artwork really exist at all?
begs another question: will the earnest one day, in that same tragically beautiful Autumn—I prefer the word fall—is
contemporaries whose works are and elegiac light that sometimes bathes the finest season and October is the
represented in Cross Pollination have any Thomas Cole’s? That is, if any of us are best month. Thomas Cole, in part,
better luck? Will their art spur others here to see it at all. Put it this way, if makes me think so and hope it stays
to action or, at least, give our DNA an artwork hangs where a forest once that way. Art builds bridges and hopes
we cross them.

James D. Balestrieri is the proprietor of

Balestrieri Fine Arts, specializing in arts
consulting, sales, research and writing. He
is currently the writer-in-residence for the
Clark Hulings Foundation, as well as
estate and collections consultant for The
Couse Foundation and communications
manager for Western Spirit: Scottsdale’s
Still image of Saylor/ Museum of the West. He was director
Morris, Eclipse, 2014.
Video installation,
of J.N. Bartfield Galleries for 20 years,
7-minute 14-second worked with the Scottsdale Art Auction for
loop. New site- 15 years and has written over 150 essays
specific installation
for various art publications.
created on the
occasion of Cross
Pollination at the
exhibition at Olana
and the Thomas Cole Cross Pollination: Heade,
Historic Site. Photo by Cole, Church, and Our
James D. Balestrieri. Contemporary Moment
November 20-March 21, 2022
Crystal Bridges
Museum of American Art
600 Museum Way
Bentonville, AR
t: (479) 418-5700
www.crystalbridges.org

43
 N.C. Wyeth (1882-1945), The Harbor at Herring Gut, 1925. Oil on canvas, 43 x 481⁄8 in. Bequest of Betsy J. Wyeth, 2021.
Opposite page: Andrew Wyeth (1917-2009), Geraniums, 1960. Drybrush watercolor on paper, 20¾ x 15½ in. Bequest
of Betsy J. Wyeth, 2021. © 2021 Andrew Wyeth/Artists Rights Society (ARS).

FA M I LY
TREASURES
The Farnsworth Art Museum celebrates Betsy Wyeth’s gift of
27 works of art by N.C., Andrew and Jamie Wyeth
By John O’Hern

N .C. Wyeth (1882-1945) began painting

in Maine in 1910 and bought an old
house in Port Clyde that would become
his family’s summer home for decades. He wrote
to his son Andrew (1917-2009), “One of my great
and blessed relaxations is to concentrate upon
any chance detail with remote Port Clyde and
sublime sea that bathes it shores even the imaged
sight of a small ordinary wave, glass-clear and
jewel green, gliding over the smoothed surface of
a gently shelving shore.”
Vacations in Maine provided a respite from
his high-pressure career as an illustrator. He had
completed his now famed illustrations for Robert
Louis Stevenson’s Treasure Island in 1911, as well
as countless magazine commissions. In Maine
he was free to pursue his own interests, free to
experiment, and free to take his time without

44
 Jamie Wyeth, Islander, 1975. Oil on canvas, 34 x 443⁄8 in. Bequest of Betsy J. Wyeth, 2021.

having to meet deadlines.

His painting The Harbor at Herring Gut,
1925, is an amalgam of motifs from Port
Clyde that he exhibited in the 121st Annual
Exhibition at the Pennsylvania Academy
of the Fine Arts in 1926. It has the high
chroma of the Fauves, the aerial perspective
of 19th-century paintings, the false
perspectives of American naïve paintings
and a nod to American modernists.
Andrew and his wife, Betsy James Wyeth
(1921-2020), kept the painting in their
personal collection.
Betsy James summered not far from the
Wyeths on the coast of Maine. Andrew was
introduced to Betsy in 1939. On their first
date, she took him to the Olson farm to
meet her friends Christina (1893-1968) and

N.C. Wyeth (1882-1945), Fisherman’s Family,

before 1935. Oil on canvas, 60 x 71¾ in. Bequest
of Betsy J. Wyeth, 2021.

46
N.C. Wyeth (1882-1945), Cleaning Fish, 1933. Oil on canvas, 475⁄8 x 51¾ in. Bequest of Betsy J. Wyeth, 2021.
Alvaro (1894-1967). Andrew was 22
and Betsy was 17 and within a year they
were married.
Betsy would become her husband’s
muse and manager. In his book
Andrew Wyeth: A Secret Life, Richard
Meryman wrote, “She frees him from
all responsibilities, administers the
investments, the painting collection,
the files and records, her staff, the
properties, the business decisions.”
The Olsons and their ancient house
would be immortalized in Andrew’s
paintings. Wyeth once said, “I just
couldn’t stay away from there. It was
Maine.” The couple’s friendship with
the Olsons would continue for 30 years.
The Olsons and the Wyeths are now
buried in the Olson family graveyard
not far away.
When Betsy died last year, the
Farnsworth Art Museum in Rockland,
Maine, received a bequest of 27 works
by N.C., Andrew and Jamie Wyeth,
Andrew and Betsy’s son. The Harbor
at Herring Gut is among the works
now being shown in the Farnsworth’s
exhibition Betsy’s Gift, on view
through May 8, 2022. The museum’s
director, Christopher J. Brownawell,
says, “The Farnsworth is so fortunate to
have the ongoing support of the Wyeth
family and we are deeply grateful for
this treasured gift to the museum’s
collection.”
The Wyeth’s association with the
Farnsworth goes back to 1944 when
the museum, which would open four
years later, purchased six paintings by
the then relatively unknown Andrew.
The museum notes her contributions
over the years: “Locally, Betsy supported
the Farnsworth’s efforts to create the
Wyeth Center and Wyeth Study Center
galleries, spaces devoted to showing
the work of N.C., Andrew and Jamie
Wyeth. She also played a pivotal role
in founding the Island Institute, and
47
 Andrew Wyeth (1917-2009), Room after Room, 1967. Watercolor on paper, 287⁄8 x 227⁄8 in. Bequest of Betsy J. Wyeth, 2021.
© 2021 Andrew Wyeth/Artists Rights Society (ARS).

she created the Up East Foundation.
Among other initiatives, Up East
preserved 17 acres of Christina and
Alvaro Olsons’ saltwater farm, the
place that inspired some 300 works by
Andrew Wyeth—including his iconic
1948 painting Christina’s World, which
Betsy both titled and posed for.”
Among the recent gifts are two of
Andrew’s paintings of the Olson house.
Geraniums, 1960, is a closely cropped
vignette of red geraniums in the kitchen
window. Christina had been physically
handicapped since she was a child.
When she was no longer able to walk,
she would drag herself across the fields
to gather flowers to decorate the house.
I moved to Maine in 1968, shortly
after Christina’s death. One of my first
weekend day trips was to the Olson
House with several friends. We sat out

48
Jamie Wyeth, Shorty, 1963. Oil on canvas, 18 x 22 in. Bequest of Betsy J. Wyeth, 2021.
in the field and ate wild blueberries
and raspberries and enjoyed the view of
the cove. The association with Wyeth’s
Christina’s World and other paintings
was the initial draw to the site, but the
house itself is what captured me.
Betsy referred to it as “looming up
like a weathered ship stranded on a
hilltop.” I remember being moved by
the geraniums in the kitchen window
that someone was keeping alive after
Christina was gone.
The Wyeths kept an early painting
by their son, Jamie, in their personal
collection. “Shorty” was a railroad
worker who lived as a hermit in a hut in
Chadds Ford, Pennsylvania, the winter
home of the Wyeths. The weather-
beaten, unshaven Shorty in a dirty,
sleeveless undershirt, sits incongruously
in a wing chair with elegant gold
damask upholstery. I once asked Jamie
how the portrait came about.
“I’m nervous around people,” he
confessed. “I hate having a person in
the room when I work. That’s difficult,
of course, if I’m doing a portrait.You
asked about [the] portrait of Shorty,
a painting I did when I was 17. He
hadn’t spoken to anyone for 30 years.
I met him on the railroad tracks and
took him to my studio and had him
sit in that big, uncomfortable chair. He
was totally unselfconscious, and I could
completely lose myself in him.”
The Wyeths’ association with Chadds
Ford resulted in the establishment
of the Brandywine Conservancy &
Museum of Art. Their association with
Maine resulted in the Wyeth Center at
the Farnsworth and the preservation
of the Olson House. Both museum’s
house extraordinary examples of the
three Wyeths’ works.
Andrew once said, “I think one’s
art goes as far and as deep as one’s love
goes. I see no reason for painting but
that. If I have anything to offer, it is my
emotional contact with the place where
I live and the people I do.”
Betsy’s Gift: The Works
of N.C., Andrew,
and Jamie Wyeth
Through May 8, 2022
Farnsworth Art Museum
16 Museum Street
Rockland, ME 04841
t: (207) 596-6457
www.farnsworthmuseum.org
49
 GALLERY PREVIEW: NEW YORK, NY

American Greats
Master painters from numerous catagories of American art are
featured in a new exhibition at Questroyal Fine Art

Through December 30
Questroyal Fine Art
903 Park Avenue, Third Floor
N ow open at Questroyal Fine
Art in New York City is the
gallery’s annual exhibition
devoted to the iconic American
painters whose works are so cherished
New York, NY 10075
t: (212) 744-3586 by collectors. This is the 22nd volume of
www.questroyalfineart.com the successful show, this year titled The
American Masters.
“Our fall catalog of important
American paintings always offers a
good representation of our gallery
and the things we offer,” says Nina
Sangimino, assistant director at the
gallery. “Given that we have called this
year The American Masters, we felt it
important to show painters who could
pass that test.”
One of the highlights of the show
is Albert Bierstadt’s oil from the late
1890s, Mount St. Helens, Columbia
River, Oregon. The major Bierstadt
work, measuring more than 32 inches
wide, shows the magnificent snow-
topped peak of the volcano and then
several peaceful deer in the warmer,
greener setting in the foreground.
The painting documents the size

Childe Hassam (1859-1935), Fire Opals

(Lady in Furs: Portrait of Mrs. Searls), 1912.
Oil on canvas, 48/ x 31/ in., signed
Thomas Moran (1837-1926), The Grand Canal, Venice, 1903. Oil on canvas, 20/ x 16/ in., and dated middle upper left: ‘Childe
monogrammed and dated lower right: ‘TMoran. 1903.’ Hassam / Jan. 1912; on verso: C.H. 1912’.

50
Albert Bierstadt (1830-1902), Mount St. Helens, Columbia River, Oregon, ca. 1889. Oil on canvas, 18/ x 32/ in., monogrammed lower left: ‘ABierstadt.’

and shape of the mountain 90 years

prior to the devastating eruption in
1980 that drastically changed the
mountain’s shape.
Another master landscape painter
in the show is Thomas Moran, whose
1903 oil The Grand Canal, Venice
will be offered to collectors. Moran,
whose images of the American
West are some of the most treasured
landscape paintings ever created, was
also fond of Venice and the water that
surrounded it. “It’s just a spectacular
piece and we’re hoping that it is
one of the welcoming pieces for the
catalog,” says Sangimino.
Another landscape artist
Sanford Robinson Gifford (1823-1880), Study for ‘Sunset on the Shore of No Man’s Land–Bass Fishing’,
represented in the Questroyal show 1877. Oil on canvas, 9½ x 17/ in., signed and dated lower right: ‘SRGifford 77’.
is Sanford Robinson Gifford, whose
1877 oil Study for ‘Sunset on the Shore that she’s wearing on her ring and creating a nice balance.”
of No Man’s Land–Bass Fishing’ will be on the broach at her neckline. It’s a In all, more than 50 paintings will
on view. stunning portrait, with wonderful be on view, and collectors will also
A figurative piece of note is Childe color and vibrancy, and the brushwork be able to find work by Ralph Albert
Hassam’s 1912 oil Fire Opals (Lady in is so active,” Sangimino says. “Then Blakelock, Rockwell Kent, Grandma
Furs: Portrait of Mrs. Searls). “The fire there is a quiet scene in the back Moses, Marsden Hartley, Charles E.
opals of the title refers to the jewels that adds depth through the doorway, Burchfield and many others.

51
 GALLERY PREVIEW: NEW YORK, NY

An Artist’s Legacy
Menconi + Schoelkopf spotlights Oscar Bluemner’s contribution to American modernism

November 1-December 17
Menconi + Schoelkopf
th
22 E. 80 Street
O scar Bluemner (1867-1938)
studied architecture in his
native Germany. He came
to New York in 1892 and practiced
architecture in New York and Chicago.
New York, NY 10075
t: (212) 879-8815 In 1908, he met Alfred Stieglitz who
www.msfineart.com introduced him to the modernist
movements in Europe and America. He
began painting in earnest and submitted
one work to the pivotal 1913 International
Exhibition of Modern Art, known as the
Armory Show, that introduced modern art
to America. Two years later, he showed at
Stieglitz’s 291 Gallery in New York.
In an article about the Armory Show
in Stieglitz’s publication Camera Work,
Bluemner wrote about the modernists:
“In this, however crude or strange their
work may appear at first sight, they exert
imagination and move forward within
the lines of pure art, as opposed to its
merchantable adulteration by sleek and
dexterous technicians who pamper a
vain and sentimental bourgeoisie with
superficial conventionalities. Theirs, at
best, is dead art; and our art-authorities
and dealers stick to it like the butcher to
his trade in dead meat…
“But art is not dead. Art is. It is,
because as an idea it is inherent in the
human mind. The new art movement
in Europe has once more established
the standard of true art, It is up to the
American also to give his art the form of
the living day.”
Bluemner was respected in his lifetime
and is revered today by connoisseurs
of early American modernism, but he
remains relatively neglected by the public
Menconi + Schoelkopf presents
Bluemner + the Critics from November 1
to December 17 and it will be featured at
the ADAA Art Show at the Park Avenue
Armory, November 3 through 6.
It is part of a series the gallery is
presenting “to illustrate the work of
leading American modernists with a

Oscar Bluemner (1867-1938), Silver Moon, 1927.

Watercolor and pencil on paper mounted on
board, 13 x 10 in., signed with conjoined letters
lower right: ‘BLÜMNER’; inscribed and signed
verso: ‘#3. Silver Moonlight / Oscar Bluemner.
1927. 102 Plain St. / S. Braintree, Mass’.

52
 Oscar Bluemner
(1867-1938),
Approaching Black,
1932. Casin-oil-
resin emulsion and
watercolor on
paper mounted
to millboard,
23/ x 31½ in.,
signed with
conjoined letters
lower right:
‘BLÜMNER’.

Oscar Bluemner (1867-1938), Study for “Morning Light (Dover Hills, October)”, Oscar Bluemner (1867-1938), Sunset, 1925. Watercolor, pastel
1916. Charcoal wash on paper, 20 x 30 in. signed lower left: ‘O Bluemner’; and pencil on paper, 9¼ x 12½ in., signed with conjoined letters
inscribed and dated lower left: ‘Dover / -16’. lower right: ‘BLÜMNER’.

robust analysis of their work through
the lens of understanding how scholars,
critics, and others have evaluated an
artist’s contributions.”
The gallery notes that Bluemner and
other modernists were highly regarded
in the years around the Armory Show
but “mostly fell out of favor during the
middle decades of the 20th century and
were rediscovered in the years following
America’s Bicentennial in the late 1970s
and 1980s. Only with the renewed focus
on Bluemner’s work around 1980 did
he come to be understood once more as
a major light in both the Stieglitz circle
and American modernism. Bluemner +
the Critics traces the artist’s rise and fall
and ultimate resurrection in the eyes
of the critics and features numerous
masterworks from his early years in
New Jersey, his pivotal sun-and-moon
series in the late 1920s, and the later
paintings from Massachusetts. The
exhibition includes the artist’s drawings,
watercolors and paintings.”
Silver Moon, 1927, is from a series of
watercolors of the sun and the moon that
he produced in the year following his
wife’s death. Barbara Haskell, author of
Bluemner: A Passion for Color, writes, “In
Bluemner’s hands, the imagery became
a potent signifier of the conversion of
matter to spirit. Concentric bands of
color, radiating from a central core onto
natural and man-made forms, fused
the polarities of body and soul, life and
death, ecstasy and terror, male and female,
yin and yang into a ‘single, isolated,
emotional, ecstatic moment.”

53
 Insights into historic American artwork newly available
from galleries and dealers around the country

Thornton Oakley (1881-1953)

Industry
Illustrator and muralist Thornton Oakley was born in Pittsburgh and graduated
from the University of Pennsylvania with a degree in architecture. Then he
studied with Howard Pyle, founder of the Brandywine School. In his lifetime
Oakley illustrated numerous books and magazines, including Harper’s, Century
Magazine, Collier’s Weekly and Everybody’s Magazine.
Oakley is known for his paintings of industrial America and is recognized for six
12-foot murals he painted for the Franklin Institute in Philadelphia. During World
War II, the National Geographic Society commissioned 48 paintings of war plants and
related topics. Industry was once in the National Geographic Collection.
His art is found in numerous public collections including Philadelphia Museum
of Art, Pennsylvania Academy of the Fine Arts, Historical Society of Pennsylvania,
National Gallery of Art, Library of Congress, Boston Public Library, New York
Public Library and the British Museum.
Helicline Fine Art
(212) 204-8833 • www.heliclinefineart.com

Thornton Oakley (1881-1953), Industry, ca. 1940s. Gouache and

pastel on paper, 40 x 30 in., signed lower left.

Thomas Hart Benton (1889-1975)

Study for ‘Instruction’
This example is a study for one of the figures in Thomas
Hart Benton’s famous painting Instruction, which resides
in a private collection, and in his lithograph of the same
name from circa 1940. As Debra Force Fine Art explains,
“Although the artist made some minor adjustments to the
figure’s pose between the study and the final painting, Study
for ‘Instruction’ focuses more intimately on the sitter’s facial
features and his poignant expression rendered in the artist’s
usual painterly manner and sensitivity to subject.”
The study was acquired from Associated American Artists
by a private collector in California, and it has remained in
the family for decades. As such, the work was unknown by
the Thomas Hart Benton Catalogue Raisonné Foundation
until its recent discovery.
Debra Force Fine Art, Inc.
13 E. 69th Street, Suite 4F • New York, NY 10021
(212) 734-3636 • www.debraforce.com

Thomas Hart Benton (1889-1975), Study for ‘Instruction’, ca. 1940. Tempera on gessoed canvas
board, 207⁄8 x 143⁄8 in., signed lower right: ‘Benton’. © 2021 T.H. and R.P. Benton Trusts / Licensed
by Artists Rights Society (ARS), New York.

54
 Joseph Henry Sharp (1859-1953)
Alberto
The leader and inspirational founder of the Taos Society of Artists,
Joseph Henry Sharp blazed a trail to the nuances of color and scenery
of the Southwest. As Claggett/Rey Gallery shares, “His depictions
of a fast-disappearing culture hold the history of Native societies.
Each painting an allegory of Native Americans’ simple and symbiotic
relationship with their land.”
Seen here is a little gem measuring just 9 by 6 inches and inscribed
with “Alberto – Taos Indian Boy”. The work, aptly titled Alberto, is
also personalized as a gift to Mr. Enid Stab in 1916. Sharp frequently
painted Alberto throughout his youth and “possibly into his later years;
with his very handsome, prominent high cheekbones and distinctive
cleft chin—there are similar traits through many of his paintings.”
Claggett/Rey Gallery
216 Main Street, Suite C-100 • Edwards, CO 81632
(970) 476-9350 • www.claggettrey.com

Joseph Henry Sharp (1859-1953), Alberto. Oil, 9 x 6 in., inscribed: ‘Alberto – Taos Indian
Boy’; personalized as gift to: Mr. Enid Stab in 1916.

Albert Bierstadt (1830-1902)

Cathedral Rocks,Yosemite Valley, California
In this plein air painting, Cathedral Rocks,
Yosemite Valley, California, Albert Bierstadt,
“captures the stillness of winter with a
suggestion of filtered light upon the highest
peaks. Bierstadt recorded his first impressions
on gessoed paper as he traveled across the
continent and up the West Coast, noting the
location on the reverse of the painting for
future reference. The first impressions of a
location are often some of the most creative
works, portraying a sense of immediacy.”
The work was featured in Brooklyn
Museum’s major 74-work retrospective
exhibition Albert Bierstadt: Art & Enterprise
and in American Sublime, an exhibition
including epic landscapes of 19th-century
America, at the Tate Britain, London.
A.J. Kollar Fine Paintings, LLC
1421 W. Aloha Street • Seattle, WA 98112
(206) 323-2156 • www.ajkollar.com
Albert Bierstadt (1830-1902), Cathedral Rocks, Yosemite Valley, California, 1872. Oil on paper, 137⁄8 x 191⁄8 in.,
inscribed verso: ‘Cathedral Rocks, Yosemite Valley, California’.

55
 MUSEUM PREVIEW: DENVER, CO

James Abbott McNeil Whistler (1834-1903), The Beach at Marseille, 1901. Oil on panel, 8/ x 13/ in. Terra Foundation for American Art, Daniel J. terra
Collection, 1992.143. Photography © terra Foundation for American Art, Chicago.

Expanding the Dialogue

Whistler to Cassatt: American Painters in France at the Denver Art Museum examines an
untouched chapter of American art history

Museum November 14 to March 13, institutionalized structure for American

November 14-March 13 a new dialogue about France’s stylistic
Denver Art Museum impact on American art of that period
100 W. 14th Avenue Parkway will be explored. Spotlighting more
Denver, CO 80204 than 100 paintings created between
t: (720) 865-5000 1855 and 1913, the show reveals that
www.denverartmuseum.org more than the great impressionism was
learned and idealized.
The show is curated by Timothy
artists and they would bring back the
great narrative of French art.”
Set up in seven thematic sections,
visitors to the museum will have a
Paris Salon-like experience; be able to
get a glimpse of the rigorous academic
instruction to painting; and explore
galleries for three of most associated

A merican artists going to study

art abroad has a long and
illustrious history, particularly
with early travels to France because of
its much-admired salon scene. In the
exhibition Whistler to Cassatt: American
Painters in France, on view at Denver Art
Standring, Denver Art Museum’s
curator emeritus, who says, “Five or six
years ago, I wanted to do an American
exhibition and it occurred to me that
we have a hidden chapter of American
artists Mary Cassatt, James Abbot
McNeil Whistler and John Singer
Sargent. We also learn about the smaller
art colonies in France that many artists,
including John Henry Twachtman,
art history, which is the focus on Thedore Robinson, Childe Hassam,
France. The country offered the best Williard Leroy Metcalf and Guy Rose,

56
Mary Cassatt (1844-1926), The Mandolin Player, 1868. Oil on canvas, 36½ x 38¾ in. Private collection.

57
 Henry Ossawa
Tanner (1859-1937),
The Young Sabot
Maker, 1895. Oil on
canvas, 47 3/8 x 35
3/8 in. The Nelson-
Atkins Museum of
Art, Kansas City,
Missouri. Purchase:
William Rockhill
Nelson Trust through
the George H. and
Elizabeth O. Davis
Fund and partial gift
of an anonymous
donor, 95-22. Photo:
Jamison Miller.

visited and worked in such as Giverny
and Pont-Aven. Concluding the show
are artists who exhibited in competitive
Paris salons, such as William Merritt
Chase, J. Alden Weir, Frank Benson and
Thomas W. Dewing. The group called
themselves The Ten and exhibited
together, which helped them gain a
following in the United States.
“The show starts where post-Civil
War beings with Whistler and goes
through Hopper. There are many
people who didn’t even know these
artists had spent time in France,” says
Standring. “There are artists such
as Henry Ossawa Tanner and many
women artists studying there. It’s an
exhibition that encompasses a number
of important social themes in the
history of art that are still prevalent
today about gender and racial equality
in terms of training for artists.”
Tanner, an African American artist,
spent the rest of his life in France after
moving there in 1891. He was accepted
in French artistic circles and really
became recognized on an international

58
John Singer Sargent (1856-1925), A Gust of Wind (Judith
Gautier), ca. 1883-85. Oil on canvas, 24 ¾ x 15 in. Virginia
Museum of Fine Arts, Richmond: James W. and Frances
Gibson McGlothlin Collection. Photo by Travis Fullerton. ©
Virginia Museum of Fine Arts.
Mary Cassatt (1844-1926), Autumn, Portrait of Lydia Cassatt, 1880. Oil on canvas,
36/₈ x 25/₈ in. Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Photo: Agence
Bulloz. © RMN-Grand Palais/Art Resource, NY.
Henry Mosler (1841-1920), Le Retour (The Return of the Prodigal Son), 1879. Oil on
canvas, 46¾ x 39¾ in. Paris, musée d’Orsay, dépôt au musée departmental Breton,
Quimper. © Breton Departmental Museum/SergeGoarin.
level. A salon-style painter, Tanner’s artwork had a narrative and theme
as the undercurrent. Among the works in the show is beautifully
painting work The Young Sabot Maker, 1895, which depicts a father and
son who are clog makers.
In the gallery dedicated to Cassatt, visitors will find nearly 20
works including one of her first to be exhibited at the Paris Salon
of 1868 titled The Mandolin Player, while the John Singer Sargent
showcase will have four oil studies that were produced prior to
painting Fishing for Oysters at Cancale. A Gust of Wind (Judith Gautier)
and Atlantic Storm show is more stylistic and painterly inclinations.
Whistler’s different approaches to painting will be highlighted in his
gallery and includes works such as The Beach of Marseille and The
Coast of Brittany (Alone with the Tide).
As a whole, the exhibition “reflects that wonderful richness of
complexity” that exists in American art and how it was shaped
through these journeys abroad. Standring says, “We hope to have
streamlined it, to make it presentable and manageable to our visitors
to go through and say ‘wow.” And where they can see American
art history and say it’s exciting and rich. Salon paintings were
fundamentally story first and style second, and Americans wanted to
perfect their style in order to tell their stories.”
MUSEUM PREVIEW: DENVER, CO 59
 MUSEUM PREVIEW: WASHINGTON, D.C.

Glass Revival
The Smithsonian American Art Museum mounts a new exhibition focusing on
American artists’ fascination with Murano glass

industry. In 1291, a law was passed to popularity as a destination for tourists,

Through May 8, 2022 move all glassmaking to the island of
Murano ostensibly to prevent fires from
Smithsonian American
the furnaces spreading to the center of
Art Museum
the city but, more practically, to prevent
8th and G Streets Northwest
Washington, D.C. 20004 glassmaking secrets from leaking out.
t: (202) 633-7970 Political changes caused a diminution
www.americanart.si.edu of Murano’s prominence but between
1860 and 1915 it witnessed a revival.
The exhibition Sargent, Whistler,
and Venetian Glass: American Artists and
leading to frequent depictions of
Italian glassmakers and glass objects by
artists from abroad. American painters
and their patrons visited the glass
furnaces, and many collected ornate
goblets and vases decorated with
flowers, dragons, and sea creatures.
Venetian glass vessels, and also glass
mosaics, quickly became more than
souvenirs—these were esteemed as

I talian glassmaking began during

the Roman Empire. By the eighth
century,Venice had begun to emerge
as a glassmaking center. Eventually,
glassmaking became the city’s primary
the Magic of Murano continues at the
Smithsonian American Art Museum
in Washington, D.C., through May 8.
The museums notes, “This glass revival
coincided with a surge in Venice’s
museum-quality works of fine art.”
The museum continues, “Moreover,
the inventions of Murano’s master
glassmakers established Venice as a
center for artistic experimentation.

John Singer Sargent (1856-1925), Leaving Church, Campo San Canciano, Venice, ca. 1882. Oil on canvas, 22 x 33½ in. The Collection of Marie and Hugh Halff.

60
Maurice Brazil Prendergast (1858-1924), Fiesta Grand Canal, Venice, ca. 1899. Glass and ceramic mosaic tiles in plaster, 11 x 23 in. Williams College
Museum of Art, Bequest of Mrs. Charles Prendergast, 95.4.79.

Sojourns in Venice were turning points for John Singer

Sargent, James Abbott McNeill Whistler and scores of artists
who followed in their footsteps, often referencing the glass
industry in their works.”
John Singer Sargent (1856-1925) wrote, “I don’t dig
beneath the surface for things that don’t appear before
my own eyes.” Although he painted extraordinary
watercolors of the iconic scenes of Venice, he also
produced oils of ordinary people working at their crafts
and going about their daily lives. The scene of women
Leaving Church, San Canciano, Venice, circa 1882, looks
essentially the same today. The women are models whom
Sargent often hired on his visits to the city.
James Abbott McNeill Whistler (1834-1903) was
commissioned by the Fine Art Society, London, to produce
a series of etchings of Venice. He arrived there in 1879 and
left over a year later. The Doorway (First Venice Set), 1879-80,
depicts his fascination with the light of Venice reflecting off
the canals and into the dark interiors of the city’s palazzi.
The museum explains that the “more than 150
objects, this exhibition presents a choice selection of glass
vessels in conversation with paintings, watercolors and
prints by the many talented American artists who found
inspiration in Venice. This juxtaposition reveals the impact
of Italian glass on American art, literature, design theory
and science education, as well as ideas at the time about
gender, labor and class relations.”
Jane Elizabeth Lathrop Stanford (1828-1905) is depicted
in a Venetian glass mosaic from around 1902. She and her

Maxfield Parrish (1870-1966), Venetian Lamplighters, 1922. Oil on

panel, 28¾ x 18¾ in. National Museum of American Illustration,
Newport, RI and American Illustrators Gallery, New York, NY.
© 2021 Maxfield Parrish Family, LLC / Licensed by VAGA at
Artists Rights Society (ARS), NY.

61
 Thomas Moran (1837-1926), A View of Venice, 1891. Oil on canvas, 35/ x 25¼ in. Smithsonian American Art Museum, Transfer from the U.S. Department
of Interior, National Park Service, 1968.120.1.

62
James Abbott McNeill Whistler (1834-1903), The Doorway (First Venice Set), Dott. Antonio Salviati & Co., manufacturer or Erede Dr. A. Salviati
1879-80. Etching, drypoint and roulette on paper, 11/ x 8 in. Baltimore & Co., manufacturer, Portrait of Jane Lathrop Stanford, ca. 1902. Glass
Museum of Art, The Conrad Collection, 1932.17.13. mosaic tiles, 21½ x 16/ in., Iris & B. Gerald Cantor Center for Visual Arts
at Stanford University, Gift of Erede Dr. A. Salviati & Co., JLS.11462.

husband had founded Stanford University in 1885 to honor

their son who had died at the age of 15. Leland Stanford died
in 1893 and his wife commissioned the Stanford Memorial
Chapel in his honor. She commissioned the Salviati Studios
in Venice to produce murals for the church—the firm that
would later produce her mosaic portrait. Much of the church
was destroyed in a 1906 earthquake. A fragment of the
original mosaics is in the exhibition.
Maurice Brazil Prendergast (1858-1924) was an American
impressionist watercolorist whose works have often been
compared to tapestries and glass mosaics. Around 1899 he
created a scene of the Fiesta Grand Canal, Venice of glass and
ceramic mosaic tiles in plaster.
Once the show closes at the Smithsonian in 2022, the
exhibition will travel to the Amon Carter Museum of
American Art in Fort Worth, Texas, where it will hang June 25
through September 11.

Erede Dr. A. Salviati & Co., manufacturer, Fragment from Stanford

Memorial Church Mosaic Cycle, ca. 1903-5. Glass mosaic tiles and cement
on sandstone with gold foil, 11/16 x 9½ x 215/16 in. The Corning Museum of
Glass, Gift of Sheldon Barr and Thomas Gardner, 2017.3.13.

MUSEUM PREVIEW: WASHINGTON, D.C. 63

 MUSEUM PREVIEW: TULSA, OK
Universal Truths
A major exhibition now at the Philbrook Museum of Art shines
a spotlight on the Transcendental Painting Group
Through February 20, 2022
Philbrook Museum of Art
2727 S. Rockford Road
Tulsa, OK 74114
t: (918) 748-5300
www.philbrook.org
I n the 1930s, much of the art
being created was inspired by
“seen” aspects of the world,
the parts that could be witnessed
64
through the eyes. But the members
of the Transcendental Painting
Group would argue there was also
the “unseen,” which was harder and
more complicated to quantify but still
worth the effort to explore.
And explore they did.
Now open at the Philbrook
Museum of Art in Tulsa, Oklahoma,
is a stunning new exhibition that
examines the Transcendental Painting
Group and what it is the group was
trying to achieve. Another World:
The Transcendental Painting Group:
1938-1945 will not only feature
more than 80 works, but it will also
feature works from all 11 members,
a rare treat for museum visitors.
The exhibition is organized by
independent curator Michael Duncan
and the Crocker Art Museum.
Formed in 1938, the TPG was
primarily based in New Mexico,
mostly because the members had
ventured west looking for something
different. Amid burgeoning scenes
of artists in Taos, Santa Fe and
Albuquerque, the painters found a
Raymond Jonson (1891-1982), Oil No. 2, 1942.
Oil on canvas, 42 x 36 in. Crocker Art Museum
Purchase, George and Bea Gibson Fund with
contributions from Barbara and William
Hyland and Loren G. Lipson, M.D., 2015.25.
© Raymond Jonson.
Agnes Pelton (1881-1961), Winter, 1933. Oil
on canvas, 30 x 28 in. Crocker Art Museum
Purchase; Paul LeBaron Thiebaud, George
and Bea Gibson Fund, Denise and Donald
C. Timmons, Melza and Ted Barr, Sandra
Jones, Linda M. Lawrence, Nancy Lawrence
and Gordon Klein, Nancy S. and Dennis N.
Marks, William L. Snider and Brian Cameron,
Stephenson Foundation, Alan Templeton, A.J.
and Susana Mollinet Watson, and other donors,
2013.54. © Agnes Pelton.
Robert Gribbroek (1906-1971), Composition #57
/ Pattern 29, 1938. Oil on canvas, 36 x 27 in. Fine
Arts Museums of San Francisco, The Harriet and
Maurice Gregg Collection of American Abstract
Art, 2019.42. © Robert Gribbroek.

welcome environment for modernism

and abstraction. Members were
Raymond Jonson, Emil Bisttram,
Agnes Pelton, Lawren Harris, Florence
Miller Pierce, Horace Pierce, Robert
Gribbroek, William Lumpkins, Stuart
Walker and Ed Garman, as well as
Dane Rudhyar, who wasn’t a member
but closely associated with the group.
“One of the big things they
were doing, was they saw a definite
connection between spirituality
and abstraction. For them, you
could represent what’s in front of
you—that’s the seen and the known.
But through abstraction you can
represent what’s unseen or perhaps
what’s hoped for—the bigger
possibilities of life, the universal
truths,” says Philbrook curator Susan
Green. “Each of these artists were
working in an abstract manner, but
also interested in bigger ideas and
concepts. For instance, Emil Bisttram
was trying to take his ideas and
transcend artwork in his own unique
way by representing symbols and
colors to represent these universal
Emil Bisttram (1895-1976), Oversoul, ca. 1941. Oil on Masonite, 35½ x 26½ in..
Private collection. © Emil Bisttram.
truths. Horace Towner Pierce was
thinking about mathematics and
proportions and logarithms, and how
they are connected to humanity. And
then Agnes Pelton, she was known in
art circles for exploring spirituality.”
The resulting work is astounding
in its form, color and composition, as
well as its genre-bending playfulness.
“Convinced that an art capable
of being intuitively understood
would have equal validity to
representational painting in an
era of uncertainty, political divide,
and fear, [the TPG] attempted to
promote abstraction that pursued
enlightenment and spiritual
illumination,” the Crocker Art
Museum notes. “Their manifesto
stated their purpose: ‘To carry
painting beyond the appearance of
the physical world, through new
concepts of space, color, light and
design, to imaginative realms that are
idealistic and spiritual.’”
Another World opened at the
Albuquerque Museum in June, before
heading to its current location at
the Philbrook. It then goes to the
Baker Museum in Naples, Florida; the
Crocker Art Museum in Sacramento,
California; and finally to the Los
Angeles County Museum of Art in
Los Angeles.

65
 MUSEUM PREVIEW: DALLAS, TX
The Chase
The Dallas Museum of Art honors the esteemed American art collection of the May family
Through January 9, 2022
Dallas Museum of Art
1717 N. Harwood
Dallas, TX 75201
t: (214) 922-1200
www.dma.org
A rt collecting for Thomas
May began in 1961, with
his purchase of Scene of
Wallstreet, an iconic painting by Guy
Wiggins. Sixty years since then, the
May collection has grown to include
an impressive array of American fine
art with the help of wife, Eleanor May,
along with the couple’s four children,
and is now on display for its first
standalone exhibition ever with the
Dallas Museum of Art. Pursuit of Beauty:
The May Family Collection, highlights
more than 24 works in oil paintings,
Winslow Homer (1836-1910), The Sane Dune, 1871-1872. Oil on
canvas. The Collection of Eleanor and C. Thomas May, Jr.`
66
watercolor and sculpture, spanning
about a century.
“It’s a really strong collection that
I’ve always admired and curators who
preceded me admired as well,” says
Sue Canterbury, DMA’s Pauline Gill
Sullivan Curator of American Art.
“We’ve frequently exhibited parts of
the collection over the years, but there’s
not been an exhibition overall. We
wanted to celebrate Tom as a collector
and supporter of the museum.”
Upon diving into the art collecting
world in 1961, Tom mainly concentrated
his efforts on Western works, but the
collection shifted. “It became more
cohesive and went more toward
moments in realism and American
impressionism,” Canterbury says. “This
shift could partly be due to one’s eyes
developing in terms of quality…[Tom]
generally went with his gut feeling about
the work he purchased, and according
to him, he never relied on people for
advice. His thing was to always ask, ‘Do
I love it,’ while also paying attention to
condition and quality.”
It could be that Tom was also
affected by the words of Sir Caspar
Purdon Clarke, a former director of
the Metropolitan Museum of Art,
who had written an essay about why
people should collect American art. He
expressed how American’s normally
collect art from other nations but
rarely from their own. “As a former
Naval officer,” says Canterbury, “Tom’s
reaction to what he may have read and
his service with the Navy led him to
collect art of his own country.”
Canterbury notes that there’s
a certain feeling evoked by the
collection overall, which helped
develop the title for the show.
“Pursuit of Beauty is about the chase
and the forming of a collection and
part of that pursuit is shaping it in
terms of quality and cohesiveness as
a collection,” Canterbury explains.
“One cohesive aspect of this
collection, is the overarching sense of
quiet contemplation. Whether it’s in
portraiture, landscape scenes or figures,
they all have this quiet beauty to them.”
This is most definitely found
in pieces such as The Sane Dune,
1871-72, by Winslow Homer. It’s a
simple composition of a beach scene,
specifically Coffins Beach in Gloucester,
Massachusetts, with a high horizon line
that helps the viewer focus on the few
characters depicted. “There’s children in
the lower right and a woman making
her path diagonally away from the water,
but casting a long blue-gray shadow,”
says Canterbury. “You can see the
footprints in the sand leading toward
the edge of the painting. The artist
implicates the viewer being there.”
 Alfred Henry Maurer
(1868-1932), Tabletop
A little bit later in the collection Still Life, 1913. Oil on
timeline is the more modern Tabletop canvas. The Collection
Still Life, a 1913 work by Alfred of Eleanor and C.
Thomas May, Jr.
Henry Maurer. “The artist had already
explored styles such as cubism and
expressionism,” says Canterbury, “and
in this piece, you see the influence of
Henri Matisse, but this is more realistic
than what Matisse would do. There’s a
variety of pattern that pulls your eye
around the work.”
From around the same time period,
viewers will also take splendor in
portrait pieces such as Gertrude Fiske’s
Contemplation, 1916, and John Singer
Sargent’s 1914 work Sylvia Harrison.
The exhibition at its core, is more
about collecting; “Why someone does it
and the rewards it has to an individual Gertrude Fiske
and how it enhances their life,” says (1879-1961),
Canterbury, “But it’s also how they went Contemplation, before
1916. Oil on canvas. The
about it and built the collection.” Collection of Eleanor
and C. Thomas May, Jr.

67
 MUSEUM PREVIEW: SAN CLEMENTE, CA
Seeing the Unusual
Artwork by illustrator and California landscape painter Sam Hyde Harris
is on view at Casa Romantica Cultural Center and Gardens
November 19-
February 27, 2022
Casa Romantica Cultural
Center and Gardens
415 Avenida Granada
San Clemente, CA 92672
t: (949) 498-2139
www.casaromantica.org
S am Hyde Harris was born in
England in 1889 and came
to the U.S. when he was
15, eventually becoming a famed
California plein air landscape painter.
68
He was a master at atmospheric
perspective as in his painting Old
Chavez, circa 1938. The tidy village
appears in the foreground and spread
through the ravine. Harris’ decisively
applied brushstrokes define the
buildings in the foreground with
sheets drying on the clothesline and
then imply distance with the softening
of color and the lessening of the
details of the city in the distance.
Harris was known for his
impressionistic scenes of California
but was also a less-known, successful
commercial artist, producing bold,
graphic posters for the Santa Fe, Southern
Pacific and Union Pacific railroads as well
as Gilmore Red Lion Gasoline.
Maurine St. Gaudens and Joseph
Morsman have assembled the
exhibition Sam Hyde Harris, Seeing
the Unusual at Casa Romantica in
San Clemente, California, opening
November 19 and continuing through
February 27, 2022.
More than 30 years ago, St. Gaudens
was hired by the artist’s widow to
catalog his estate. Discovering a trove
of original paintings and posters in a
storage area beneath a staircase, she
says, “It wasn’t until I fully explored
the decade’s worth of work, which
I found in his studio, that I realized
his enormous contribution to 20th-
century commercial advertising.” The
title, Seeing the Unusual, refers to the
revelation of this unexpected aspect of
Harris’ career.
The wealth of material discovered in
his studio includes sketches for poster
designs. The curators have mounted a
sketch with the final Caterpillar poster
to highlight his design process.
“Throughout the better part of the
20th century,” St. Gaudens explains,
“Harris’ commercial designs shaped
the consciousness of early- to mid-
20th-century consumers and travelers.
This is most often seen in the colorful
iconic designs he created from the
1920s to the 1950s…The opening of
the 20th century saw the development
of a growing middle class, an increase
in leisure and vacation time and the rise
in competition from the automobile,
prompting the railroad to increase
its network of ticket offices and to
Sam Hyde Harris (1889-1977), Old Chavez
(Chavez Ravine neighborhood in the City of Los
Angeles), ca. 1938. Oil on canvas, 25 x 30 in.
Photo: Martin A. Folb, PhD.
Sam Hyde Harris (1889-1977), Caterpillar, commercial advertising for Sam Hyde Harris (1889-1977), Southern Pacific’s New Daylight, commercial
the Caterpillar Tractor Company, ca. 1938. Original promo calendar advertising for the Southern Pacific Railroad, 1937. Original full size promotional
minus calendar pad presented with original concept design pencil lithograph poster. Collection of Charles N. Mauch. Photo: Martin A. Folb, PhD.
sketch. Collection of Charles N. Mauch. Photo: Martin A. Folb, PhD.

accelerate the marketing of its product,

with the rallying cry, ‘Take the train.’
Continuing the traditions of earlier
Santa Fe Railway’s commercial artists,
Harris developed a style and design
distinctly his own by 1925, which used
brilliant red, blue and yellow highlights
to dramatize his subjects.”
She continues, “His iconic art deco
themed Southern Pacific’s New Daylight
poster has become one of the most
recognizable images of this art form and
one that has become highly praised by
railroad and design enthusiasts alike.”

Sam Hyde Harris (1889-1977), Parrots, ca. 1945.

Tempera on heavy Epson board. Collection of Harris
Estate. Photo: Martin A. Folb, PhD.

69
 MUSEUM PREVIEW: GREENSBURG, PA

Simple Pleasures
A traveling exhibition beginning at the Westmoreland Museum of American Art sheds
light on the compelling art of Doris Lee

Through January 9, 2022

The Westmoreland Museum
of American Art
221 N. Main Street
Greensburg, PA 15601
(724) 837-1500
www.thewestmoreland.org

A n exhibition devoted to
20th-century painter Doris
Lee’s unique, illustrative
artwork has been a long time coming.
Known for her figurative painting and
printmaking, Lee dealt in both realism
and modernism, her paintings evoking
bright colors and sentiments of joy and
playfulness. And now, the exhibition
Simple Pleasures:The Art of Doris Lee,
held at The Westmoreland Museum
of American Art in Greensburg,
Pennsylvania, will feature 77 of the most
noteworthy works by the artist.
“The goal of this exhibition is to
give overdue recognition to Doris Lee,
an artist who successfully navigated
the marginalization of both female and
figurative art and kept it as a coherent
vision throughout her career, even
as abstract expressionism became the
dominant style in the art world,” says
Barbara Jones, chief curator at the
Westmoreland Museum. Jones co-
curated the show alongside Melissa
Wolfe, curator of American art at the
St. Louis Art Museum. “[Lee] pushed
against that idea,” Jones continues.
“She saw all her work, including the
myriad commercial commissions she
accepted, as equally creative. Her work
was often dismissed by critics as not
being serious because of her folksy and
often humorous subject matter.” Wolf
Doris Lee (1905-1983), Fisherman’s Wife, 1944. Oil on canvas, 22½ x 28½ in. Cranbrook Art Museum,
Gift of George Gough Booth and Ellen Scripps Booth through The Cranbrook Foundation, CAM
1945.27. © Estate of Doris Lee, Courtesy D. Wigmore Fine Art, Inc. Photo: R.H. Hensleigh & Tim
Thayer.
says, “Lee is an exemplar of how many abstraction and folk style,” Jones says.
leading female and figurative artists “For sheer beauty of atmosphere and
found outlets to produce extraordinary mood, [I also love] Garden in Moonlight,”
works of art that challenge the artists’ she adds.
marginalization both in their day and “We hope visitors will find the same
often still today.” pleasure in the simple things that Lee
The artist was well-known in the has depicted in her work,” says Jones.
American art world during the mid- “Her work draws on folk art, abstraction
1930s to 1950s, Jones explains, but and art history and shows her ability to
her work gradually lost recognition merge all three successfully.”
as she developed Alzheimer’s disease Simple Pleasures:The Art of Doris Lee
in 1968, 15 years before her death in will be on view at The Westmoreland
1983. Several standout paintings in Museum through January 9, 2022.
the exhibition include Thanksgiving, It then continues on to Figge Art
a bustling joyous scene capturing the Museum running February 5 to May
busyness and excitement of the holiday, 8;Vero Beach Museum of Art June 5
her still life Oranges and Avocados, as to September 18; and finally Dixon
well as The View,Woodstock. The latter Gallery and Gardens from October 30
is an example of Lee “merging [her] to January 15, 2023.

70
Doris Lee (1905-1983),
Thanksgiving, 1935. Oil
on canvas, 28/ x 40/ in.
The Art Institute of
Chicago, Mr. and Mrs.
Frank G. Logan Purchase
Prize Fund, 1935.313.
© Estate of Doris Lee.
Courtesy D. Wigmore
Fine Art, Inc. Photo: Art
Resource, NY.

Doris Lee (1905-1983),

Oranges and Avocados,
ca. 1950s. Oil on
canvas, 16 x 20 in.
The Westmoreland
Museum of American
Art, Greensburg, PA. Gift
of Mr. and Mrs. Charles
H. Booth, Jr. and Burrell
Group, Inc., 2009.10.
© Estate of Doris Lee,
Courtesy D. Wigmore
Fine Art, Inc. Photo:
Richard A. Stoner.

71
 MUSEUM PREVIEW: FORT WORTH, TX

Defying the Trends

The career of celebrated 20th-century painter Milton Avery is explored in a traveling
exhibition beginning at the Modern Art Museum of Fort Worth

November 7-January 30, 2022

Modern Art Museum
of Fort Worth
3200 Darnell Street
Fort Worth, TX 76107
(817) 738-9215
www.themodern.org

A major exhibition for 20th-

century American master
Milton Avery begins at the
Modern Art Museum of Fort Worth
in Fort Worth, Texas, this November.
It brings to the art world the first
retrospective for the celebrated artist
since 1982 when it was held at the
Whitney Museum of American Art.
“This retrospective survey presents a
selection of Avery’s finest work from
Milton Avery (1885-1965), Coney Island, 1931. Oil on canvas, 32 x 40 in. The Milton and Sally Avery
across his career, charting his constant
Arts Foundation. Photo: Adam Reich. © 2021 Milton Avery Trust / Artists Rights Society (ARS),
development and revealing his unique New York and DACS, London 2021.
ability to create exquisitely balanced
poetic compositions of color and form,” Milton Avery
says exhibition curator Edith Devaney, (1885-1965),
Breaking
contemporary curator at the Royal Wave, 1959.
Academy of Arts in London. The show Oil on
will survey approximately 70 works of canvas,
32 x 42 in.
art from the 1910s to the mid-1960s, Private
demonstrating Avery’s style that was collection.
nearly impossible to box into just one Photo:
category, falling between both the eras Adam Reich.
© 2021
of American impressionism and abstract Milton
expressionism. A number of these works Avery Trust /
have rarely been seen by the public. Artists Rights
Society (ARS),
Following the artist’s career New York
chronologically gives visitors a clear and DACS,
narrative of his artistic growth and London 2021.
development, Devaney explains,
adding that American impressionism
and abstract expressionism each had
significant impacts on his oeuvre.
“Never affiliated to any particular

72
Milton Avery (1885-1965), Blossoming, 1918. Oil on board, 11 x 15 in. Milton Avery Trust. Photo: Adam Reich. © 2021 Milton Avery Trust / Artists Rights
Society (ARS), New York and DACS, London 2021.
Milton Avery (1885-1965), March in Brown, 1954. Oil on
canvas, 44 x 32 in. Private collection. Photo: Adam Reich.
© 2021 Milton Avery Trust / Artists Rights Society (ARS), New
York and DACS, London 2021.
group or tendency, Avery followed his own artistic inclination,”
she says. “With his steadfast adherence to representation and the
innovative ways in which he balanced color and form within his
compositions, he often appeared to be running counter to the
prevailing trends of the time.”
Devaney notes the 1954 oil March in Brown as an outstanding
example of the innovations Avery made in his use of form and color.
“He flattened and layered his pigments onto the canvas, creating
a luminosity across closely related planes of different tone, with
each color modulated to complement the adjacent hue rather than
providing contrast,” she says. “Black Sea, 1959, from the Phillips
Collection in Washington, sees him working on the edges of
abstraction and is another stand out work where he used color to
create a great sense of harmony.”
Milton Avery will be on view November 7 through January 30, 2022
at the Modern Art Museum of Fort Worth; continues at the Wadsworth
Atheneum Museum of Art in Connecticut from February 25 to June
5, 2022; and concludes at the Royal Academy of Arts from July 16
through October 16, 2022.
“Throughout his career he maintained a steadfast commitment to
depicting the natural world, of being true to his own eye. Even in the
later, more abstracted works, he never invents, he merely pares away
detail, simplifying what is there,” says Devaney. “I hope visitors will...
come away with the sense of the sheer joy with which Avery imbued
each of his compositions.”
73
 MUSEUM PREVIEW: MEMPHIS, TN

Black Artists in America

The Dixon Gallery & Gardens puts forth a significant exhibition of
Black artists’ contribution to American art

Through January 2, 2022

Dixon Gallery & Gardens
4339 Park Avenue
T he first exhibition in a three-
part series, Black Artists in
American: From the Great
Depression to Civil Rights encompasses
African American artists from 1929
to the political, social and economic
climate of the United States [during this
time],” says the museum.
In 2013, the museum acquired a
sculpture by Augusta Savage, the first
Memphis, TN 38117
t: (901) 761-5250 through 1954. The Dixon Gallery piece of artwork by a Black artist to enter
www.dixon.org & Gardens “explores ways in which the collection. “We had an exhibition on
African American artists responded the artist and Black art in the early 20th

Horace Pippin (1888-1946), Holy Mountain I, 1944. Oil on canvas, 30½ x 35 in. Art Bridges, AB.2018.24.

74
Rose Piper (1917-2005), The Death of Bessie Smith, 1947. Oil on canvas, Elmer Brown (1909-1971), Gandy Dancer’s Gal, 1942. Oil on canvas, 24 x 32 in.
25 x 30 in. The John and Susan Horseman Foundation of American Art. ARTneo, Gift of the Elmer Brown Estate.

century,” says Julie Pierotti, Martha R.

Robinson Curator at the Dixon. “It was
a small exhibition, but it made us want
to dig deeper.” With the help of guest
curator Dr. Earnestine Jenkins, Professor
of Art History at University of Memphis,
along with the generosity of collectors
such as Susan and John Horseman, the
Dixon has put together a fine display of
Black voices in art.
“It’s a big chunk of time we’re
covering,” says Pierotti, “along with a
variety of artists. There was such rich
work being made during this moment
in history. We’re looking at the Black
artists experience during the depression
and how it affected them differently
than white artists. We also go into
World War II and how Black artists and Hughie Lee Smith (1915-1999), Contemplating My Future, 1954. Oil on canvas, 24 x 36 in. The John
their creative talents were used during and Susan Horseman Foundation of American Art.
the war, and then into postwar years
as the conversation shifts in art from was made in response to WWII and is was really common in American art in
representational into abstraction.” a reaction to D-Day,” Pierotti explains. the 1930s and 1940s. It’s big, colorful
There will also be variety of The painting looks so peaceful and and lively. There was so much poverty
medium and styles represented, with there was a tradition at this time to during this time, that the art was
approximately 55 paintings, sculptures convey peace in the midst of all this supposed to be an escape, but an escape
and works on paper, with a special destruction and bloodshed. Looking at that people could understand. It was
mural series that has been restored by this peaceful kingdom or Eden, there meant to be art for the people.”
the museum. are exotic animals and a man in the After the close of this exhibition in
Viewers will see works such as middle of them like there his flock.” January 2022, the public can expect two
Holy Mountain I by self-taught artist Another significant piece is Gandy additional exhibitions in the coming
Horace Pippin (1888-1946). The piece Dancer’s Gal by Elmer Brown (1909- years to follow on a linear timeline.
comes from Art Bridges, a nonprofit art 1971), well known in Cleveland. “We’re excited about this,” says
foundation that’s based in Bentonville, “This is a really interesting scene that Pierotti, “and hope our visitors
Arkansa, and has a mission of sharing comes out of a regionalist aesthetic of will come away with a better
their collection. Pippin served in World working-class life,” Pierotti furthers. understanding of the remarkable
War I, and often depicted scenes from “These workers, railroad workers, are contributions that Black artists have
his experiences at war. “[Holy Mountain] having a party. This type of painting made in American art.”

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 EVENT PREVIEW: NEW YORK, NY
Stay Awhile
Galleries affiliated with Just Off Madison will be available by
appointment during the fall New York American Art Week
November 16-22
Just Off Madison
New York, NY
www.justoffmadisongalleries.com
T he highly anticipated fall
American Art Week in New
York City is fast approaching
again. Amid all of the fine art events
and auctions, collectors can also make
their way toward Madison Avenue
for the biannual Just Off Madison.
And while there isn’t a formal event
with open houses, hors d’oeuvres
and other delights, Just Off Madison’s
regular top dealers and galleries
will be available by appointment
with open arms during that week,
Everett Shinn (1876-1953), Young Woman on a
staircase, sketch, ca. 1935. Oil on canvas, 30 x 25 in.,
signed verso lower stretcher bar: ‘E.SHINN’. Courtesy
Graham Shay 1857.
76
November 16 to 22. Among these
are Graham Shay 1857, Debra Force
Fine Art, Avery Galleries, Kraushaar
Galleries, Conner • Rosenkranz,
Alexandre Gallery, Meredith Ward
Fine Art, Betty Krulik Fine Art, Ltd.
and more.
“The Just Off Madison galleries
are available to welcome our clients,
colleagues and curators during
their visit to New York American
Art Week, or any time visitors are
in our neighborhood,” says Betty
Krulik of Betty Krulik Fine Art, Ltd.
and organizer of the event. “Those
dealers that are by appointment only
will require a simple call or email
to assure an opportunity for a visit.
Those that are open to the public are
free to accept visitors at any time...
We look forward to an exciting sale
Arshile Gorky (1904-1948), Untitled, ca.1946. Pencil, pastel and wash on paper,
18¾ x 245/16 in. Courtesy Betty Krulik Fine Art, Ltd.
season with the opportunity to see
our friends in person.” Among the
offerings from Betty Krulik are a circa
1946 Untitled abstract by Armenian-
American artist Arshile Gorky.
Debra Force Fine Art will be
offering an 1893 oil on copper by
Jefferson David Chalfant, among other
treasures. “The gallery will feature 19th-
and 20th-century paintings and works
on paper by Thomas Hart Benton,
Albert Bierstadt, Paul Cornoyer,
Charles Demuth, George Henry
Durrie, Robert Gwathmey, Rockwell
Kent, Grandma Moses, Guy Pène
du Bois, Maurice Brazil Prendergast,
George Tooker, Max Weber, Julian
Alden Weir and Guy Wiggins, among
others,” says Bethany Dobson, director
at Debra Force Fine Art. “We’re excited
to see clients, curators and colleagues in
 Jefferson David Chalfant (1856-1931), An Inventory, 1893. Oil on copper, 8¼ x 65/8 in. Courtesy Debra Force Fine Art.
person for those who are going to be in
New York during American Art Week.”
At the time of Just Off Madison,
Graham Shay 1857 will be showing a
selection of American art from the late
19th-century through 1980, including
oil paintings, works on paper, bronze
castings, marble and wood carvings,
both traditional and modern in style.
Among these is Everett Shinn’s Young
Woman on a staircase, sketch from
around 1935. “A typical subject for
the artist, [this is] a scene featuring
an elegant young woman in a dress
gown, descending the highly decorative
staircase of an opera hall or theater,”
says Cameron M. Shay, director of
Graham Shay 1857.
Those interested in visiting the
galleries during the fall American
Art Week can visit the event website
for the full list of dealers, as well
as phone numbers, email addresses,
websites and photos.
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 EVENT PREVIEW: NEW YORK, NY

A Spectacular View
Members of the Art Dealers Association of America bring historic
works to light in breathtaking exhibitions and presentations

November 3-7
The Art Show
Park Avenue Armory
T he Art Dealers Association of
America (ADAA) is delighted
to be bringing back The Art
Show, an annual celebration of fine
art. Exhibitors and ADAA members
643 Park Avenue
New York, NY 10065 such as Peter Blum Gallery, Forum
t: (212) 488-5550 Gallery, Hirschl & Adler Galleries and
www.theartshow.org DC Miller Gallery, to name just a few,
come together to display their fine
Arthur B. Carles (1882-1952), Still Life with Irises. Oil on canvas. Courtesy of Avery Galleries.
art selections, along with more than
40 presentations and a variety of 72
exhibitions that showcase historic and
contemporary works.
“It’s so exciting to bring members
of the ADAA back together again,
after an unprecedented year, to share
their vibrant programs with the public,
and engage directly with collectors
and each other,” say Anthony Meier,
president of the ADAA and founder
of Anthony Meier Fine Arts, and
Susan Sheehan, chair of The Art Show
committee and founder of Susan
Sheehan Gallery. “The Art Show is well-
positioned to continue with its more
than three-decades-long history of
showcasing the high-quality programs
and expertise of our member galleries,
as well as supporting the important
work of Henry Street Settlement.”
The Art Show serves as both
a popular cultural event, and a
fundraising opportunity for the Henry
Street Settlement: New York’s leading
social service, arts and health care
organizations. All proceeds from fair
admissions go toward the Settlement
and its many causes that have upheld
the community.
There’s incredible anticipation
for this year’s presentations and
exhibitions, with over half of this year’s
presentations “dedicated to exploring
the practices and significance of artists
from around the world, ranging from
key art historical figures of the 19th
century, to up-and-coming voices in
contemporary art,” explains the ADAA
press release.
This includes Avery Galleries’
presentation of works by Arthur B.
Carles (1882-1952), in which they
examine the artist’s contributions to
early American modernism. In pieces

78
such as Still Life with Irises, one can see Carles’
iconic use of color to emphasize the floral
scene, along with many modernist themes he
was known for, such as abstracted elements
with experimentation in form and shape.
Other significant presentations include
the works of Honoré Sharrer (1920-2009),
who was a socially minded surrealist painter,
with Hirschl & Adler Modern. Pieces like
Amazing Grace are an example of the artist
calling out the hypocrisy of America’s
patriarchal society. “It is Sharrer’s women,
intelligent and unapologetic, that break
the strained silence of conformity and
complicity in our society,” says the gallery.
“Her paintings’ potency places Sharrer at the
vanguard of artistic discourse to this day.”
Thomas Colville Fine art will be
exhibiting works by artists such as
George L.K Morris, Charles Green Shaw
and Raymond Jonson. The exhibition
concentrates on these American artists
working in abstraction and were inspired by
the collage process in the 1930s and ’40s. On
view will be Oil No. 10, by Jonson (1891-
1982), a minimal, yet awe-inspiring view that
includes unique shape and line.
Debra Force Fine Art will be examining
movements in 20th-century American art,
with the exhibition of noteworthy works on
paper, sculpture and paintings such as Maurice
Brazil Prendergast’s Bathers. This group figure
painting is but one piece that explores social
and political shifts that influenced the art scene
and society during this period of time.
This prestigious, high-standard art event
will also be including a new element for those
who don’t want to attend in person. The public
will be able to engage from anywhere in the
world with the advent of an online presence at
www.theartshow.org. There will be a Benefit
Preview of works on November 3 to kick off
the four-day extravaganza of specutacular works
of iconic art.

Top: Raymond Jonson (1891-1982), Oil no. 10, 1946. Oil

on canvas. Courtesy of Thomas Colville Fine Art.
Middle: Maurice Brazil Prendergast (1858-1924),
Bathers, ca. 1912. Oil on canvas. Courtesy of Debra
Force Fine Art.
Right: Honoré Sharrer (1920-2009), Amazing Grace,
1989. Oil on canvas. © Eric W. Baumgartner. Courtesy
of the Estate of Honoré Sharrer and Hirschl & Adler
Modern, New York.

79
 EVENT PREVIEW: NEW YORK, NY

Women in American Art

Initiatives in Art and Culture’s 2022 American Art Conference highlights the
contributions women have made in the American art industry

November 11-12
Initiatives in Art and
Culture’s 26th annual
American Art Conference
The Cosmopolitan Club
122 E. 66th Street
New York, NY 10065
t: (646) 485-1952
www.artinitiatives.com

F or the past 25 years

Initiatives in Art and
Culture has presented
dynamic conferences dedicated
to a variety of topics in American
art. This year’s 26th annual event
is no different with the theme
of “Women in American Art”
that will focus on the roles
women have played in American
art. Often unrecognized and
overlooked, women have been
artists, teachers, patrons, gallerists,
scholars, curators, subjects and
philanthropists. They have forged
noteworthy paths in American
art both past and present, playing
primary or secondary roles in
creating museums, painting and
sculpting art and pushing for the
public prominence of the arts.
This American Art Conference
will show the underpinnings of
the historic and contemporary
art worlds and spotlight key
players in discussions by some of
the foremost curators, collectors,
dealers and historians. Through
these events, women artists will be
considered in the conversation of
American art, perhaps some for
the very first time. Mary Cassatt (1844-1926), Portrait of Madam Sisley, 1873. Oil on bard, 7 x 5½”

80
 Attendees
According to the event, “Given that gather
2021 has seen the first female vice during a past
presentation of
president take office, thereby constituting the Initiatives
a real if unofficial ‘year of the woman,’ it in Art and
is the ideal time for such consideration. Culture’s
American Art
The coming year will also mark the 50th Conference.
anniversary of the publication of Linda Photo by Alice
Nochlin’s seminal essay, ‘Why Have Young.
There Been No Great Women Artists?’
and it is thus useful to consider whether
or to what extent the institutional
obstacles she identified as preventing
Western women from succeeding in the
arts have been removed.”
The conference will include
receptions, viewings and book signings
to complement formal talks and panels
all related to the theme. There will
be notable participates in the event
including collectors of figurative art
by women, Steven Allen Bennett
and Dr. Elaine Mellotti Schmidt. The
couple’s collection includes historic
and contemporary examples. Wanda Peggy Bacon
Corn will discuss the persona of (1895-1987),
Georgia O’Keeffe, while there will be Nude in the
Living Room,
a presentation from Clarisse Fava-Piz, ca. 1947. Oil on
Mellon Postdoctoral Curatorial Fellow canvas, 12 x 8”

81
 Georgette
Seabrooke
Powell
(1916-2011),
Grandmother’s
Birthday, ca.
1961-62.
Oil on canvas,
40 x 24 in.

82
Faith Ringgold, Groovin’ High, 1996. Silkscreen, ed. 96 of 425, 32½ x 44 in. © 2018 Faith Ringgold,
member Artists Rights Society (ARS), NY / Courtesy ACA Galleries, NY.

at The Meadows Museum, SMU, Dallas.

Gallery owner Debra Force, of Debra
Force Fine Art, will anchor a panel on
the role of women as dealers, advisors
and at auction houses. There will also
be a dialogue from Dakota Hoska, the
assistant curator of Native American
art at the Denver Art Museum. Nonie
Gadsden, of the Museum of Fine Arts,
Boston, will discuss the museum’s
exhibition of 20th-century women artists
in “Women Take the Floor”.
There will be several other museum
exhibitions spotlighted including the
Pennsylvania Academy of the Fine
Art’s Women in Motion show from
Anna O. Marley. The exhibition, and
the presentation, will focus on the
Doris Lee (1905-1983), The View, Woodstock, 1946. Oil on canvas, 27½ x 44 in. The John and Susan
“networks of women artists working Horseman Collection of American Art. Courtesy the Westmoreland Museum of American Art.
professionally in the American art
world from PAFA’s founding in 1805 to
the end of World War II.” All required health and safety measures vaccinated. The Club also has a dress
This timely conference will take will be in place, including following code that will need to be followed. The
place November 11 and 12 at The the Cosmopolitan Club’s guidelines conference will be open both days 8:30
Cosmopolitan Club in New York City. of checking that guests are fully a.m. to 6 p.m., with evening events.

EVENT PREVIEW: NEW YORK, NY 83

 AUCTION PREVIEW: NEW YORK, NY

Modern Icons
Christie’s November sale of American art focuses on one
of the most sought-after areas of American art

Thomas Hart Benton (1889-1975), Keith Farm, Chilmark, 1955. Oil on canvas, 21 x 29 in., signed and dated lower left: ‘Benton ‘55’. Estimate: $2/3 million

November 18, 10 a.m.

Christie’s
20 Rockefeller Plaza
T his November Christie’s will
present a curated American
Art sale centered on 20th-
century American modernism. The
auction is anchored by the special
New York, NY 10020
t: (212) 636-2000 segment “Modern Icons: Property
www.christies.com from an Important Private Collection”
that includes 25 lots by blue-chip
artists. As a whole, the sale will have
approximately 80 works of art with
the majority representing this dynamic
period of American art.
Leading “Modern Icons” is Arthur
Garfield Dove’s 1935 oil on canvas
Sunset. “The work is really rare to
market and from one of his best
decades,” says Caroline Seabolt, the
auction’s head of sale and junior
specialist. “It’s certainly one of the stars
in the grouping for us.” The painting
has an estimate of $2 million to
$3 million. Another stellar painting
with the same estimate is Thomas Hart
Benton’s Keith Farm, Chilmark from
1955 that shows off his regionalist and
modernist style. The Edward Hopper

84
Arthur Garfield Dove (1880-1946), Sunset, 1935. Oil on canvas, 24 x 33 in., signed lower center: ‘Dove’. Estimate: $2/3 million

work on paper Prospect Street, Gloucester,

1928, is also expected to perform well
and carries an estimate of $1.5 million to
$2.5 million.
“There are high-value and seven-
figure works in the group, but there’s
really excellent material under a million
as well,” says Seabolt. One of her
personal favorites is a “tight and really
fantastic” painting by Stuart Davis titled
Coast Town Landscape Study from 1940,
which has an estimate of $400,000 to
$600,000. She explains, “It has really
fantastic texture, rhythm and color

Edward Hopper (1882-1967), Prospect Street,

Gloucester, 1928. Watercolor on paper, 14 x 20 in.,
signed and inscribed lower left: ‘Edward Hopper/
Gloucester’. Estimate: $1.5/2.5 million

85
 Jacob Lawrence (1917-2000), Builders—19 Men,
1979. Gouache and tempera on paper, 30 x 22 in.,
signed and dated lower right: ‘Jacob Lawrence
79’. Estimate: $100/150,000

associated with some of his best work.

It’s absolutely wonderful.”
Not a modernist, but coming from the
collection, is a stunning 1956 painting by
Maxfield Parrish titled Dingleton Farm.
Measuring just over 11 by 15 inches,
the work has all of the color and details
expected in a Parrish. It has a presale
estimate of $600,000 to $800,000.
Outside of the “Modern Icons”
segment, another illustrator with a
prime example in the auction is N.C.
Wyeth. His piece “The Boy, Moses…”,
from 1928, includes all of the stylistic
hallmarks that are known from the
artist’s top works. This piece has an
estimate of $250,000 to $350,000.
“Parrish is part of ‘Modern Icons’,
but [both works] are hallmarks of the
illustration section. Wyeth is one of
the top storytellers of the early 20th
century. He was really able to tell a
story in paint that no one else could,”
Seabolt explains. “Parrish used really
dynamic coloring and detail for a style
that’s totally unique. We’re thrilled to be
offering both of these.”
A circa 1922 Henrietta Shore
painting titled Unity (est. $100/150,000)
is another notable item and is being sold
to benefit the Rady Children’s Hospital,
San Diego. “Shore is one of those artists
who in her lifetime was very popular.
Her work received very positive reviews
and was as popular as O’Keeffe as far as
critics were concerned,” says Seabolt.
“But after her death her work is now
still somewhat emerging. In this work
you can see she was interested in
spiritual elements and abstract qualities.”
Two works from the collection of
Martin and Rena Blackman will hit the
market. Fairfield Porter’s Island Beach has
an estimate of $150,000 to $250,000,
while Jacob Lawrence’s 1979 painting
Builders—19 Men is set at $100,000 to
$150,000. Discussing the latter work,

Stuart Davis (1892-1964), Coast Town

Landscape Study, 1940. Oil on canvas,
10 x 14 in., signed lower right: ‘Stuart Davis’.
Estimate: $400/600,000

86
Henrietta Shore (1880-1963), Unity, ca. 1922. Oil on canvas, 38¼ x 27½ in., N.C. Wyeth (1882-1945), “The Boy, Moses…”, 1928. Oil on canvas,
signed lower right: ‘H Shore’; signed on the overlap: ‘H.M. Shore.’; signed 42 x 32 in., signed lower right: ‘N.C. Wyeth’. Estimate: $250/350,000
again three times on tacking edges. Estimate: $100/150,000

Seabolt says, “It has imagery that
recalls what he was doing in the early
to mid-20th century. You get that
quality in that lesser price than if it
was dated later. Those early qualities
make it really special. Lawrence has
been really underappreciated in the
past years until recently, and we’re
seeing strong interest in his work at all
shapes and sizes.”
A well-preserved Charles E.
Burchfield painting from the property
of James William Glanville and Nancy
Hart Glanville Collection hits the
market with an estimate of $100,000
to $150,000. Titled Ancient Maples
in August, the work “packs a visual
punch in execution, condition and
colors,” says Seabolt. Also noteworthy
in the auction is a 3-by-5-inch
painting By Charles Sheeler titled
Conversation #2 that is estimated at
$50,000 to $70,000.

Maxfield Parrish (1870-1966), Dingleton Farm,

1956. Oil on gessoed Masonite, 11½ x 15½ in.,
signed and dated lower right: ‘Maxfield Parrish
1956’; signed and dated on label affixed verso.
Estimate: $600/800,000

AUCTION PREVIEW: NEW YORK, NY 87

 AUCTION PREVIEW: NEW YORK, NY

Visual Journey
Bonhams’ November 18 sale is a cohesive and broad look at American art from
approximately 1850 through 1960

Fairfield Porter (1907-1975), Roses, 1967. Oil on

canvas, 175/8 x 141/8 in., signed and dated lower
left: ‘Fairfield Porter 67’; signed and dated again
and inscribed with title on stretcher.
Estimate: $100/150,000

November 18, 2 p.m.

Bonhams
580 Madison Avenue
New York, NY 10022
t: (212) 644-9001
www.bonhams.com

T he field of American art is

diverse and intriguing, and
in Bonhams’ American Art
sale on November 18, collectors will
be treated to paintings and sculpture
Milton Avery (1885-1965), Robed Nude, 1960. Oil on canvas, 681/8 x 581/8 in., signed and dated lower
right: ‘Milton Avery 1960’. Estimate: $1/1.5 million

that encompass many of its prime
periods. The firm’s American art
specialist Morgan Martin shares,
“I’m really thrilled to say it’s a very
good representation of American art
from about 1850 to 1960. And to
get this great variety of property that
encompasses so much of American art
is rare in my experience. We have 120
lots of phenomenal property, a lot of
which are fresh to the market. We have
great private collections, and it’ll look
very cohesive and visually tell the story
of American art.”
One of the stars of the auction is the
1914 portrait Chow Choy by Robert
Henri from his first trip to California.
The work, estimated to sell between
$300,000 and $500,000, is a rarity for
the artist because of its beautiful, bright
palette showing the joy of his young
sitter. “I always feel when I look at a
Henri that he captures the essence, and
here he’s captured this lovely, bright
young girl. She’s probably 10 or 12
years old,” says Martin. “She’s full of life
and vigor and is in this beautiful blue
dress and there are light yellows. Henri
does many dark backgrounds, but this

88
 Robert Henri (1865-1929), Chow Choy, 1914. Oil on canvas, 32 x 26 in., signed lower left: ‘Robert Henri’; signed again verso; inscribed verso:
‘La Jolla Calif’; dated verso: ‘1914’’ titled and inscribed with artist’s notebook number verso; inscribed with title twice on tacking edges.
Estimate: $300/500,000

just exudes warmth. That’s somewhat
atypical for Henri as he’s an Ashcan
School painter.”
Three works by Milton Avery will
cross the block during the sale including
the large-scale Robed Nude, from 1960,
which will grace the cover of the auction
catalog. The painting is estimated to sell
for $1 million to $1.5 million and is the
major highlight of the day. According to
Martin, the work is from Avery’s most
desirable period. The second standout,
Bird Over Sea (est. $100/150,000), was
painted just a year later in 1961. “If you
ask me, he did his best work in the last 10

89
 John Henry Twachtman (1853-1902), Road Scene, Cincinnati, 1878. Oil on canvas, 13½ x 23¾ in., signed and dated lower left: ‘J.H. Twachtman. Cin. 78’.
Estimate: $40/60,000

Theodore Earl Butler (1861-1936), New York Harbor, 1917. Oil on canvas, 31½ x 44 in., signed and dated lower left: ‘T.E. Butler 1917’. Estimate: $30/50,000

90
 years of his life,” says Martin. “That’s when
he’s pushing the envelope of what he was
capable of. [Bird Over Sea] is a phenomenal
example. It gives you a lot of things you want
from his work.” The third item coming to
auction by the artist is a still life.
Along with the modernist works by
Avery, a 1967 still life titled Roses by
Fairfield Porter is another great example of
the period. “Porter was one of those artists,
much like Avery, whose best works were
done in the last 10 years of his life. Those
are the most sought-after, and he was just
unafraid and painted what he wanted
to paint. It really showed that when the
passion is there, the works can be amazing,”
Martin describes. “[Roses] is a fabulous
example and one of the best still lifes I’ve
seen from him, with the handling of the
Herbert Haseltine (1877-1962), Percheron Mare: Messaline and Foal, modeled ca. 1922-24. paint and brushstrokes.” The painting has a
Parcel-gilt bronze with verdigris patina, 9¾ in. on 21/8 in. black marble base. presale estimate of $100,000 to $150,000.
Estimate: $70/100,000 A painting by Theodore Earl Butler,
New York Harbor, 1917, which is expected
to sell between $30,000 and $50,000,
comes from a private Texas collection.
The large work, measuring 31 by 44
inches, could almost be seen as a “study
in the color blue of New York City
harbor and skyline,” Martin says. “It’s so
inviting. It’s very impressionistic, and the
handling of the painting is lovely.” John
Henry Twachtman’s Road Scene, Cincinnati
(est. $40/60,000) comes from the Sam
and Diane Stewart Collection, while a
Herbert Haseltine work, Percheron Mare:
Messaline and Foal, has an estimate of
$70,000 to $100,000.
In the sale collectors can also expect
to find a Thomas Moran Venetian scene,
a 1943 painting of the Brandywine
in winter by Andrew Wyeth, a 1950s
Charles E. Burchfield, and a painting of
the 1893 America’s Cup race by James E.
Buttersworth.

Milton Avery (1885-1965), Bird Over Sea, 1961. Oil on

canvasboard, 28 x 221/8 in., signed and dated lower
left: ‘Milton Avery 1961’. Estimate: $100/150,000

AUCTION PREVIEW: NEW YORK, NY 91

 AUCTION PREVIEW: NEW YORK, NY

Exceptional Diversity
Important works from many categories will be available
to bidders at Sotheby’s American Art sale

November 22, 4 p.m.

Sotheby’s
1334 York Avenue
A merican illustration, Hudson
River School, cubism,
surrealism, Western art,
portraits and much more will be
available at the November 22 American
New York, NY 10021
t: (212) 606-7000 Art sale held by Sotheby’s in New York
www.sothebys.com City. The auction, with more than 60
lots, will serve as a cross section for
American art’s many wonderful periods
Jacob Lawrence (1917-2000), The Family, 1964. Tempera on board, 24 x 20 in., signed and dated
lower right: ‘Jacob Lawrence’ and ‘’64’. Estimate: $1.2/1.8 million
and movements.
“The sale will be similar in size to
our spring offerings, which brought
in $15 million, not including a $12
million Childe Hassam from the
Impressionist & Modern Evening Sale,”
American art specialist Charlotte
Mitchell says. “We’re looking forward
to capitalizing on the appetite of the
market, especially since collectors
are approaching the fall season with
reinvigorated senses.”
Mitchell adds that the pandemic
and a general increase in comfort with
technology has made internet bidding
very popular. “We’re seeing continued
growth with our online sales and with
participation,” she says. “People are
very comfortable bidding online. It will
never replace an in-person auction, but
it has made bidding much easier for
many of our bidders.”
Standout lots in the sale include
Jacob Lawrence’s tempera work The
Family, estimated at $1.2 million to
$1.8 million. “High-quality works
by this artist don’t come up very
often, so we’re thrilled to be seeing
it and it is most certainly a highlight
of this sale. We expect to see interest
because works by Black artists, Jacob
Lawrence in particular, have done very
strong,” says Mitchell. “Within the last
year, we’ve set Lawrence records for
tempera works and for works on paper,
so there is definitely a strong demand
for his work.”
The sale will also feature two
exceptional Mary Cassatt paintings:
Girl in a Hat with a Black Ribbon
(est. $400/600,000) and Portrait
of Mrs. Clement B. Newbold (est.
$800/1,200,000). Girl in a Hat with
a Black Ribbon comes from the
collection of Jay I. Kislak and will

92
Theodore Roszak (1907-1981), Study for “Forty-
Second Street”, 1936. Oil on Masonite, 8 x 4¾ in.
Estimate: $40/60,000

Mary Cassatt (1844-1926), Portrait of Mrs. Clement B. Newbold, 1894-95. Oil on canvas, 32¼ x 26 in.,
signed lower right: ‘Mary Cassatt’. Estimate: $800/1,200,000

Norman Rockwell (1894-1978), The

Adventurers, 1928. Oil on panel, 19/ x 28 in.,
signed lower right: ‘NORMAN / ROCKWELL’.
Estimate: $1.5/2.5 million

Albert Bierstadt (1830-1902), Tuolumne Meadows. Oil on canvas, 36½ x 52/ in., signed lower right:
‘ABierstadt’. Estimate: $1.2/1.8 million

93
 be sold to benefit the Kislak Family
Foundation. Mitchell notes that the
painting of the young girl is one that
must be seen in person—“A photo
just doesn’t do it justice,” she says.
“You can really see the nuance of the
pastel medium, and also the precision
with which she executes the girl’s face.
The background is also very nice with
these vivacious and loose strokes. The
green background is incredibly rich in
person, just truly beautiful.”
In the area of American illustration,
Norman Rockwell will be represented
by a 1928 work that ended up on the
cover of The Saturday Evening Post. The
Adventurers, estimated at $1.5 million
to $2.5 million, shows two figures: an
old man at a globe and a young sailor
Mary Cassatt (1844-1926), Girl in a Hat with a Black Ribbon, ca. 1901-02. Pastel on paper, 17¾ x 21½ in.,
signed lower right: ‘Mary Cassatt’. Estimate: $400/600,000
94
at a ship’s wheel. The work doesn’t
resemble some of Rockwell’s later
cover formats—some viewers may even
mistake it for an N.C. Wyeth painting—
but his attention to detail and the
unique composition of the paired
images will be familiar to Rockwell
collectors and fans.
Other works include Gertrude
Abercrombie’s surrealist 1949 oil Hand
and Tent (est. $50/70,000); Theodore
Roszak’s 1936 oil Study for “Forty-
Second Street” (est. $40/60,000); and
Henry Farny’s watercolor and gouache
Nyutchi, The Old War Chief, Zuni (est.
$30/50,000).
Two Albert Bierstadt pieces from
opposite ends of the American West
will also be available to bidders, one
from California and another from
Kansas. “Neither have been on the
market before and they will appeal to
different types of collectors,” Mitchell
says. “We are absolutely thrilled to be
presenting them.”
The California painting is
Tuolumne Meadows, an oil on canvas
measuring more than 52 inches wide.
It was likely inspired by Bierstadt’s
extensive travels in the early 1860s in
Yosemite, where Tuolumne Meadows
sits on the eastern side of the national
park. The work is estimated at $1.2
million to $1.8 million, which could
make the piece one of the most
expensive Bierstadt’s to hit the market
since 2017, when the artist had
several $1-million-plus sales. “The
Gertrude Abercrombie (1909-1977), Hand and Tent, 1949. Oil on Masonite, 4½ x 6½ in., signed and dated lower right: ‘Abercrombie ’49’. Estimate: $50/70,000

scale on this painting is wonderful

and it reads very nicely in person,”
Mitchell says. “I work of this caliber
hasn’t been offered in some time.”
The Kansas painting, Early Settlers,
comes from 1861 and it shows several
figures working outside a simple log
cabin as they tend to livestock and a
loaded wagon. The work is estimated at
$500,000 to $700,000.
For the first time in more than a
year at Sotheby’s, the sale will be held
live with in-person bidders, as well as
phone, internet and absentee bidding.
Bidders are encouraged to follow along
at Sotheby’s website to see updates
prior to the sale.

Albert Bierstadt (1830-1902), Early Settlers, 1861. Oil on canvas, 20 x 30 in., signed and dated lower
right: ‘ABierstadt. ‘61’. Estimate: $500/700,000

AUCTION PREVIEW: NEW YORK, NY 95

 AUCTION PREVIEW: DALLAS, TX

Rare Delights
Heritage Auctions’ upcoming American art auction includes rare and
never-before-seen works from a variety of top-tier artists

during its November 5 sale. Taking
November 5, 11 a.m. place at 11 a.m. Dallas time, the fall
American Art Signature Auction will
Heritage Auctions
2801 W. Airport Freeway include work by blue-chip artists
Dallas, TX 75261 as well as rare finds that will excite
t: (214) 528-3500 bidders. The auction will have around
www.ha.com 200 lots, and a special session titled
Soul of a Nation: African American Art
from a Distinguished Collector will have
100 pieces telling the story of African
hit the market. “It’s a really special
piece, and perfect timing with the
sale being right before Thanksgiving,”
says Aviva Lehmann, vice president
and director of American art. “We’re
really honored to be handling the sale
of this work.” This particular piece
depicts a soldier and his mother peeling
potatoes on Thanksgiving, and it has
a special provenance that elevates the

A fter a strong American art

auction in May, Heritage
Auctions is looking to
continue its success with Golden Age
illustrations, Western art and more
American art.
In the illustration category of
the sale Norman Rockwell’s iconic
Saturday Evening Post cover Home for
Thanksgiving (est. $4/6 million) will
work. It is being sold by the E.M.
Connor Post #193 American Legion in
Winchendon, Massachusetts, to benefit
operational and building funds.
“The Legion was gifted the work

Romare Bearden (1911-1988), Harlequin, ca. 1956. Ink, pencil, paint, Robert Henri (1865-1929), Sarah Burke, 1926. Oil on canvas, 24 x 20 in., signed
with collage on paper, 24½ x 17½ in. (sheet), signed lower right: lower left: ‘Robert Henri’. Estimate: $150/250,000
‘Romare Bearden’. Estimate: $250/350,000

96
Norman Rockwell (1894-1978), Home for Thanksgiving, The Saturday Evening Post cover, November 24, 1945. Oil on canvas, 35 x 33 in. Estimate: $4/6 million
around circa 1950 by Monsignor
Wilfred Tisdale, and it’s been there ever
since,” says Lehmann, adding the work
has toured two times, most recently
in the Rockwell Four Freedoms tour.
“Aside from those two showings, it
hasn’t been seen in over 70 years. The
condition is spectacular…and it has
this Rockwellian story and is coming
full circle. It’s of a military hero and it’s
being sold by military heroes.”
Other Rockwells in the sale
include Portrait of Richard Nixon (est.
$200/300,000), which appeared on
the cover of the November 5, 1960,
edition of The Saturday Evening Post;
the charcoal study for the same
work with an estimate of $40,000 to
$60,000; and the study of Vacation: Boy
Riding Goose from the collection of
the late Mort Walker with an estimate
of $60,000 to $80,000.
Nine works by Joseph Christian
Leyendecker will hit the market
including three top examples of
Saturday Evening Post covers. Summer
is a fun and vibrantly colored scene
depicting a couple in their bathing suits;
it is expected to sell between $200,000
and $300,000. A 1918 military scene
97
 Joseph Christian Leyendecker (1874-1951), Summer, The Saturday Evening Post cover, August 27, 1927.
Oil on canvas, 26½ x 19½ in. Estimate: $200/300,000

98
Andrew Wyeth (1917-2009), Rough Pasture, 1939. Watercolor on paper, 21¾ x 29¾ in. George Wesley Bellows (1882-1925), Portrait of Florence
Estimate: $60/80,000 Budd, 1914. Oil on panel, 39 x 31 in., signed and inscribed
verso: ‘Portrait of Florence Budd / Geo Bellows / 146 E.
19 St. / New York’. Estimate: $150/250,000

titled Croix de Guerre, and depicting Sentinel Falls and Cathedral Peaks in the from the same consignor.
a French solider bestowing the medal Yosemite Valley (est. $300/500,000). To close the first session of the sale,
of distinction on a U.S. soldier, is also There will be notable Ashcan prior to the start of the Soul of a Nation:
estimated at $200,000 to $300,000. The School, impressionist and modernist African American Art from a Distinguished
whimsical work Circus Dog, showing a works in the auction as well. Robert Collector segment, the auction house
clown holding a hula hoop in the air Henri’s 1926 portrait of Sarah Burke is will present a spectacular mixed media
as a poodle jumps through it, is set at expected to land between $150,000 collage work by Romare Bearden titled
$100,000 to $150,000. and $250,000. George Wesley Harlequin (est. $250/350,000). “This
In Western art, collectors Bellows’ Portrait of Florence work is an homage to Picasso, and it
will be thrilled to find Budd (est. $150/250,000), was gifted by Bearden to important
two newly discovered a society portrait in his African American art scholar Halima
Charles M. Russell trademark simplified Taha,” says Lehmann. The work
watercolors that since and gritty style, has was later acquired from Taha by an
being authenticated been in one family for important collector, and it has been
and will be added to many years and is very on view at the National Gallery of Art
the catalogue raisonné. fresh to the market. and other institutions as part of the
Untitled (The Lone Scout) Three standout Andrew exhibition The Art of Romare Bearden.
has a presale estimate of Wyeth paintings estimated After a short break the Soul of a
$150,000 to $200,000 and at $60,000 to $80,000 Nation session will begin. Describing
Untitled (Scouting Party) is at each are Rough Pasture, the the offerings, Lehmann says, “It’s a
$70,000 to $100,000. watercolor portrait modern-day handbook on the history
A grouping of Dee and the still of African American art.” Included will
Birger Sandzén life-style work be Sargent Johnson busts; James Lesesne
artworks will Picnic (Tea for Two Wells’ Wanderers, circa 1930, with an
include the study). The latter estimate of $30,000 to $50,000; and
standout Twilight two pieces come many other strong pieces.
on the Smoky (est.
$300/500,000),
while Albert Sargent Johnson (1888-1967), Head of a Youth, ca. 1930s.
Terra cotta, 7 in. high on a 3½ in. high wood base, inscribed
Bierstadt is on back of head: ‘Sargent Johnson’. Estimate: $30/50,000
represented by Images courtesy Heritage Auctions, ha.com.

AUCTION PREVIEW: DALLAS, TX 99

 AUCTION PREVIEW: PHILADELPHIA, PA

Quintessential Examples
Freeman’s December 5 sale of American art and Pennsylvania Impressionism includes a
dedicated segment to the Collection of Virginia and Stuart Peltz

December 5, 2 p.m.
Freeman’s
2400 Market Street
Philadelphia, PA 19103
t: (215) 563-2975
www.freemansauction.com

V irginia and Stuart Peltz began

collecting works by some
of the most sought-after
Pennsylvania Impressionists directly
in Bucks County, Pennsylvania, in the
late 1980s. Their interest began prior
to when the market for Pennsylvania
Impressionism exploded in the
early 2000s and were able to build a
quintessential collection. On December
5 the items they masterfully collected
will be available at Freeman’s in the
specially named American Art and
Pennsylvania Impressionists Featuring the
Collection of Virginia and Stuart Peltz Edward Willis
Redfield (1869-1965),
auction. Abandoned Road. Oil
“The Peltz’s were quite well known, on canvas, 28 x 32
and they collected 16 works of leading in., signed bottom:
‘E.W. REDFIELD’;
Pennsylvania Impressionist artists,”
titled and signed
says Raphaël Chatroux, Freeman’s on upper stretcher
department specialist and head of sale. verso. Estimate:
“The collection is interesting and $120/180,000
arguably important as well. It’s not just
quintessential examples of the artists,
but you have a level academism. They
are beautiful pieces but tend to be
important for the artist themselves,
which conveys an aura to an overall
collection. A lot of collectors have William Zorach (1887-
1966), Spirit of the
known the Pletz name.” Dance. Bronze with
The pair began collecting in the brown patina, 77 in.,
1980s when “that market really hadn’t signed, copyrighted,
dated and number
started to explode,” which happened
on base: ‘Zorach ©
around 2000, explains Chatroux. He 1932 4/6’. Estimate:
adds, “What motivated them was $100/150,000

100
Daniel Garber (1880-1958), Sycamores. Oil on canvas, 52 x 56 in., signed bottom right. Estimate: $300/500,000
the narrative of the painting and the
backstory behind each. They started
with several pieces and realized they
were collecting art by members of the
New Hope School, and they voluntarily
decided to buy one example by each
artist to show the best example.”
Included are two Bucks County show
scenes by Coppedge including an early
one with recognizable “pastel-like tones
and a later one using strong contrasts
and much bolder colors in general,” says
Chatroux. The work of Cartersville is
titled December Afternoon (Cartersville) and
has an estimate of $80,000 to $120,000.
“Edward Willis Redfield is represented
by a winter scene that uses the typical
muted colors that are associated with
his subject,” Chatroux shares. “There’s
also a Daniel Garber, but it’s interesting
because it’s rare in that it depicts a
winter scene. Garber is known for
depicting fall or spring, not so much
winter.”
Three works by artists not often
arriving at auction will be included
in the offerings. One of two works by
Kenneth R. Nunamaker is River Road
at Centre Bridge (est. $60/100,000)
and is a work the Peltz’s fell in love
with after seeing it at the local Swan
Hotel in Lambertville and later had
the chance to buy. “Also included is
an intimate portrait by John Fulton
Folinsbee, who is mostly known for his
landscapes,” says Chatroux. “It depicts
his wife and daughter. Mrs. Peltz got it
directly from the widow of the artist.”
The portrait has an estimate of $20,000
to $30,000. Rounding out the three
is The Butcher Wagon, by Morgan Colt,
with an estimate of $40,000 to $60,000.
Chatroux shares, “Colt is one of the
youngest artists associated with the
group in the sense that he was at the
beginning of it, but because he died
early and after death a large number o
his work was destroyed, he’s not that
101
 Artwork from the Collection of Virginia and Stuart Peltz. Clockwise from top: Morgan Colt (1876-1926), The Butcher Wagon, 1920. Oil on canvas, 30 x 36¼
in., signed bottom right. Estimate: $40/60,000; Kenneth R. Nunamaker (1890-1957), River Road at Centre Bridge, 1920. Oil on canvas, 44 x 50 in., signed
bottom left. Estimate: $60/100,000; Fern Isabel Coppedge (1883-1951), December Afternoon (Carversville), ca. 1930. Oil on canvas, 30 x 30 in., signed
bottom right. Estimate: $80/120,000; John Fulton Folinsbee (1892-1972), Mother and Daughter, 1917. Oil on canvas, 30/ x 24/ in., signed and dated
bottom right. Estimate: $20/30,000

well represented on the market or in museums…[The

Butcher Wagon] is the quintessential painting by him. It’s
one of the strongest, if not the strongest available from
him.”
Outside the Peltz collection, the sale will have several
standout pieces including the top lot of the sale: Garber’s
commanding painting Sycamores (est. $300/500,000),
which measures more than 50 inches on either side and
is housed in its original Harrer frame. Arriving to market
from a private collection in Philadelphia, this is the first
time the painting will be available at auction. “It’s a very
large decorative work that he was known for at the start
of the career. Many of his friends and dealers considered
those great canvases to be Garber’s best achievements,”
Chatrox says. “This one in particular was well known

Mary Elizabeth Price (1877-1965), Mallow and Lily. Oil with gold and
silver leaf on Masonite, 44 x 42/ in., signed bottom center right:
“M. ELIZABETH PRICE’. Estimate: $60/100,000

102
 Jamie Wyeth, Saltwater Ice. Oil on board, 36 x 30 in., signed bottom left. Estimate: $200/300,000
in Garber’s time, because it won a
medal in Carnegie Institute in 1924,
which was the first time it was granted
to an American artist. That led to a
series of exhibitions on the East Coast
and Midwest, and that’s when it was
bought by Albright-Knox and they later
deaccessioned the painting.”
A small collection of approximately
10 Pennsylvania Impressionist works
from one consignor will be available in
the auction. The highlight is Redfield’s
Abandoned Road, which features an
explosion of color as winter beings
to turn to springtime. It has a presale
estimate of $120,000 to $180,000.
Another notable item is Jamie Wyeth’s
Saltwater Ice, which Chatroux says
shows the legacy of the Wyeth family.
“It’s everything you want in a Wyeth.
For Jamie, you’re close to the level of
ravens, and sharing the point of view. It
channels much of [his father] Andrew
Wyeth’s realism, but has the eeriness and
daunting-ness that unique to Jamie…
[It also has his grandfather] N.C. Wyeth’s
love of color.” This marks the first time
the work is available at auction, and it
has an estimate of $200,000 to $300,000.
William Zorach’s life-size bronze
Spirit of the Dance, edition 4 of 6, hits the
market with an estimate of $100,000 to
$150,000, while Mary Elizabeth Price’s
Mallow and Lily (est. $60/100,000)
highlights the artist’s unique use of silver
and gold leaf.
AUCTION PREVIEW: PHILADELPHIA, PA 103
 AUCTION PREVIEW: SANTA FE, NM

Western Views
Stunning works from the Southwest are highlights in
Santa Fe Art Auction’s upcoming signature sale

November 5-7
Santa Fe Art Auction
932 Railfan Road
Santa Fe, NM 87505
t: (505) 954-5858
www.santafeartauction.com

B eginning November 5, Santa

Fe Art Auction will celebrate
modernism in the Southwest
with its Annual Signature Live Sale that
will offer nearly 400 works of art to
bidders. The two-session sale, which will
also include educational programming
and speakers, continues through
November 7. In addition to stunning
works of modernism, the sale will also
showcase artworks from categories such
as Western, Native American art, abstract,
still life, portraiture and works on paper.
“After a difficult year in 2020, during
which many events were canceled or held
online, we’re excited to bring bidders
once again into our annual signature
sale,” says Gillian Blitch, president and
CEO of Santa Fe Art Auction. “This past
year people have been coming back to
Santa Fe, whether its for Spanish Market
or Santa Fe Indian Market, and they feel
more confident being out and being
comfortable in public spaces again. It’s
encouraging for us, and we’re excited to
welcome them back.”
Highlights from the Annual Signature
Live Sale include several major collections,

Top: Gerard Curtis Delano (1890-1972),

Sunlight and Shadow. 17½ x 19½ in.
Estimate: $30/50,000
Right: William Penhallow Henderson
(1877-1943), Nude on Daybed, New Mexico. Oil
on board, 7/ x 11/ in. Estimate: $10/15,000

104
 Leon Gaspard (1882-1964), Untitled (San Juan Maiden). Oil on canvas on panel. Estimate: $40/60,000

Emil Bisttram (1895-1976), Untitled (Abstraction),

1939. Encaustic on paper, 12 x 8/ in.
Estimate: $2/4,000

including additional works from June’s

Chris Cardozo Collection of Edward S.
Curtis materials, as well as items from the
collection of Georgia Loloma, the wife of
Native American jeweler Charles Loloma,
who collected major works from Fritz
Scholder, Kevin Red Star and others.
Available lots include the lovely Nude
on Daybed, New Mexico (est. $10/15,000)
by William Penhallow Henderson; a fall
scene with horses and figures cooking
over a campfire in Will Shuster’s Vallecito
(est. $15/25,000); Marsden Hartley’s
Pears and Lemons (est. $8/12,000);
Marguerite Zorach’s Untitled (Tree
in Landscape) (est. $5/7,000); Gerard
Curtis Delano’s Sunlight and Shadow
(est. $30/50,000); and an incredible
Leon Gaspard portrait, Untitled (San Carl Von Hassler (1887-1969), Untitled (Adobe Homes with Cottonwood Tree). Oil on linen, 22 x 27¾ in.
Juan Maiden), estimated at $40,000 to Estimate: $8/10,000
$60,000. Additionally, two remarkable
color woodblock prints from T.C. Latham, Pablita Velarde and Helen Blitch says. “When you talk about
Cannon will be available at estimates of Green Blumenschein, daughter of Taos diversity in art, that’s the story of New
$4,000 to $6,000 each. Society of Artist founder Ernest L. Mexico, especially throughout the
Blitch is also excited to present Blumschein. 20th century. The artists from the east
a strong grouping of women artists “What’s great about this sale is it’s discovered the light and set up homes
that includes works by Beulah a cross section of our other sales—an here, and they joined the artists who
Stevenson, Edna Bradley Stevenson, aggregation of our calendar year.You’re were living and working here. What
Emmi Whitehorse, Susan Hertel, going to see all the categories and a you see in Santa Fe, and our sales, is the
Janet Lippincott, Gene Kloss, Barbara great diversity among our materials,” essence of the Southwest.”

105
 AUCTION PREVIEWS: BOSTON, LOS ANGELES,
MONROVIA, NEW YORK

BOSTON, MA
GROGAN & COMPANY
NOVEMBER 7
Fall Auction
A selection of nearly 100
works by foremost American
artists like Wolf Kahn and
Frederic Remington will be
available during Grogan &
Company’s annual Fall Auction
on Sunday, November 7. A
standout in the sale is Anna
Mary Robertson “Grandma”
Moses’ 1945 A Blanket of
Snow (est. $30/50,000), which
follows her first solo gallery
exhibitions and museum
shows in the 1940s.
Four early American
portraits by Thomas Ware
and two Frederic Remington
watercolors in the upcoming
auction come from the
collection of a Woodstock,
Vermont, family. Ware’s Four
Marcy Family Portraits, painted Anna Mary Robertson “Grandma” Moses (1860-1961), A Blanket of Snow, 23 x 27½ in. (framed).
Courtesy Grogan & Company. Estimate: $30/50,000
in 1823, is expected to fetch
between $15,000 and $25,000. The auction will be live- MONROVIA, CA estimated $20,000 to $30,000,
Remington’s watercolor from streamed from Grogan & among many others.
JOHN MORAN
the same collection, Watering Co.’s Boston headquarters, The sale takes place on
AUCTIONEERS
the Horses in a ‘Dobe Hole, has an with multiple online bidding November 16 at 2 p.m.
estimate of $30,000 to $50,000. NOVEMBER 16
platforms available. California & American Pacific Time.
Fine Art Sale
The biannual California & LOS ANGELES, CA
American Fine Art Sale, held BONHAMS
by John Moran Auctioneers, NOVEMBER 23
will feature a variety of California Art
artwork by blue-chip Bonhams’ California Art
California artists, including auction on November 23
Granville Redmond, Edgar will feature over 125 lots
Payne, Percy Gray, Jules of landscapes, portraits, and
Tavernier, Thomas Hill sculpture representing the
and Jack Wilkson Smith. best historic artists of the
Highlights include Gray’s Golden State. The sale is
large-scale watercolor, A Lane particularly strong on works
of Eucalyptus Trees, which has a by Southern California
presale estimate of $8,000 to Impressionists, with highlights
$12,000; Redmond’s October such as John Frost’s Live Oaks
(Study) (est. $10/15,000); (est. $250/350,000); Joseph
and an oil by Payne titled Kleitsch’s Artist’s Paradise
Granville Redmond (1871-1935), October (Study). Oil on canvas, 10¼ x 12 in. Swiss village with mountains, (est. $70/100,000); and Jessie
Courtesy John Moran Auctioneers. Estimate: $10/15,000

106
Arms Botke’s Decoration
(est. $60/80,000). Works
by California Impressionist
masters Edgar Payne, William
Wendt and Charles Reiffel
round out the sale, along with
significant works from the
estate of respected dealer and
art historian John Garzoli.

NEW YORK, NY
SWANN AUCTION
GALLERIES
DECEMBER 16
Illustration Art
The Illustration Art auction,
celebrating the artistic
achievements of illustrators
for nearly a decade, is set
for December 16 and will
feature original magazine-
story illustrations; works by
American luminaries such as
James Montgomery Flagg and
Howard Chandler Christy;
stage illustrations by Al
Hirschfeld; as well as cover
designs and more from key Joseph Kleitsch (1882-1931), Artist’s
Paradise. Oil on canvas, 261⁄8 x 30
in. Courtesy Bonhams. Estimate:
$70/100,000

American artists.
Included in the sale Flagg’s
mixed-media drawing for
Gerald Mygatt’s The Million-
Dollar Hairpin published in
the December 1931 issue of
Good Housekeeping, estimated
at $1,500 to $2,500; Christy’s
charcoal for Scarlet: The Story
of a Woman with a Past by
Wallace Irwin and published
in the May 1926 issue of
Liberty magazine, which
is set at $3,000 to $4,000;
and Hirschfeld’s 1968 pen
and ink Mr. and Mrs. Richard
Burton, published in The
New York Times, estimated at
$5,000 to $7,500.

James Montgomery Flagg (1877-1960), “Mr. Corroway was wearing a broad smile. He slapped Dave jovially on the shoulder and
said: ‘No hard feelings, I hope, about our little deal? I’m glad to see you realize that business is business,’” illustration for The Million-
Dollar Hairpin by Gerald Mygatt published in Good Housekeeping, 1931. Mixed media, 21¼ x 16¼ in. Courtesy Swann Auction
Galleries. Estimate: $1,5/2,500

107
 JOINT AUCTION REPORTS: ASHEVILLE, EAST DENNIS, GENESEO,
JACKSON, LOS ANGELES, RENO, THOMASTON

EAST DENNIS, MA
ELDRED’S
JULY 2830
The Summer Sale
$2.3 million
Eldred’s The Summer Sale,
held at the end of July, had
more than 550 bidders,
in-person, online and by
phone as well as absentee.
Achieving a sales total of
$2.3 million, The Summer
Sale had several noteworthy
lots, including Blanche
Nettie Lazzell’s Provincetown
Water Front, which sold for
a massive $150,000 against a
presale estimate of $35,000
to $45,000. In addition,
Edward Henry Potthast’s oil
Moonlit seascape more than
quadrupled its high estimate
of $30,000 when it sold for
$130,000.

Charles M. Russell (1864-1926), Roping a Wolf, 1904. Oil on canvas, 15 x 20 in.

Courtesy Coeur d’Alene Art Auction. Estimate: $1/1,500,000 SOLD: $1,770,000

RENO, NV 1925 oil The Domain of Their

COEUR D’ALENE
ART AUCTION
JULY 31
Coeur d’Alene Art Auction
$17.6 million
The annual Coeur d’Alene Art
Auction was held July 31 at the
Grand Sierra Resort in Reno,
Nevada. The single largest
event in the field of classic
Western and American art
brought a strong total of over
$17.6 million with over 95
percent of all lots sold during
this year’s sale.
Charles M. Russell’s 1904
Roping a Wolf sold for a solid
Blanche Nettie Lazzell (1878-1956), Provincetown Water Front. White line $1.77 million against a presale
woodblock print, 12½ x 14½ in., titled in ink lower left and signed lower right:
‘Blanche Lazzell 1945’; signed in image lower right: ‘B. Lazzell’, titled on label verso, estimate of $1 million to $1.5
and inscribed: ‘513 number from all blocks 4 number from this block’. Estate of million. Other top selling lots
Hilary Bamford of Provincetown, Massachusetts. Courtesy Eldred’s.
Estimate: $35/45,000 SOLD: $150,000 were Oscar E. Berninghaus’
Ancestors at $847,000 and
Moonlight Sonata by Eanger
Irving Couse, which achieved
$217,800.
LOS ANGELES, CA
BONHAMS
AUGUST 3
California Art
$2.98 million
Bonhams’ August 3 California
Art sale saw strong bids from
excited buyers throughout the
entirety of the auction. The
sale, which had 138 lots in
total, achieved $2.98 million,
with 88 percent sold by lot
and by value, as well as five
new world auction records.
Plein air painter Guy
Rose’s Foggy Morning,Veules

108
 Guy Rose (1867-1925), Foggy Morning,
Veules (Normandy Coast), ca. 1909.
23¾ x 28¾ in. Courtesy Bonhams.
Estimate: $200/300,000
SOLD: $250,313

(Normandy Coast) took the top

lot of the sale, selling within
estimate at $250,313. A new
auction world record was set
for Maurice Logan, whose
Portrait of a Japanese Woman
in an Iris Garden more than
tripled its high estimate when
it achieved $181,563.

LOS ANGELES, CA
BONHAMS
AUGUST 4
Western Art
$1 million
The 80-lot Western Art sale,
which took place the day after
Bonhams’ California Art sale,
was led by landscape painter
Birger Sandzén (1871-1954), Riverbank with Cedars, Rocheport, MO, 1928. 35/ x 48 in. Courtesy Bonhams. Birger Sandzén’s Riverbank
Estimate: $50/70,000 SOLD: $137,813

109
 Andrew Wyeth (1917-2009), In the Georges Islands. Ink drawing on Strathmore paper, signed lower right, and dated: ‘1940’. Courtesy Thomaston Place Auction Galleries.
Estimate: $50/60,000 SOLD: $87,750

with Cedars, Rocheport, MO,
selling for $137,813 against
an estimate of $50,000 to
$70,000, almost doubling its
high estimate. Sculpture also
performed well in the August
4 sale: Chief Black Bird, Ogalalla
Sioux (est. $80/100,000) by
Adolph Alexander Weinman
(1870-1952) sold for $112,813.
The Western Art sale
achieved 81 percent sold by
lot and 86 percent sold by
value, reaching a sales total of
$1,034,227.
to $75,000, while Wyeth’s In the
Georges Islands (est. $50/60,000)
achieved $87,750.
“With wild and fast bidding
coming from all directions,
I haven’t had this much fun
at the podium in quite a
while,” says Thomaston Place
auctioneer and president Kaja
Veilleux. “It was fantastic!”
ASHEVILLE, NC
BRUNK AUCTIONS
SEPTEMBER 911
Premier & Emporium Auctions
$3.7 million
Based in Asheville, North
Carolina, Brunk Auctions held
another rendition of its Premier
& Emporium Auction from
September 9 to 11. The sale
achieved a total of $3,716,152,
with Jasper Francis Cropsey
and Albert Bierstadt leading
the bidding. An 1879 oil by
Cropsey, Autumn Landscape
with Cattle, achieved $196,800
soaring past its high estimate
of $120,000, and Bierstadt’s
1855 A Quiet Valley sold for
$159,900 (est. $70/90,000).

THOMASTON, ME
THOMASTON PLACE
AUCTION GALLERIES
AUGUST 2729
Splendid Part II
$3 million
Marine paintings and drawings
were the stars of Thomaston
Place Auction Galleries’
three-day Splendid Part II sale,
which brought in nearly $3
million in total. Both James
E. Buttersworth and Andrew
Wyeth had major pieces in the
sale: an oil on board depicting
the “America” yacht, by
Buttersworth, sold for $117,000 Jasper Francis Cropsey (1823-1900), Autumn Landscape with Cattle, 1879. Oil on canvas, 22½ x 39 in.,
reproduction carved gilt wood frame, 29¾ x 47 in., signed lower right: ‘J.F. Cropsey 1879’. Courtesy Brunk Auctions.
against an estimate of $50,000 Estimate: $80/120,000 SOLD: $196,800

110
JACKSON, WY
JACKSON HOLE
ART AUCTION
SEPTEMBER 1718
Jackson Hole Art Auction
$8.9 million
The 15th annual Jackson Hole
Art Auction on September 17
and 18 saw stellar results with
95 percent of the lots sold and
nearly $8.9 million in sales. The
auction had multiple booming
lots, including We Take All, by
John Clymer, which more
than doubled its high estimate
when it sold for $480,000,
and Above the Treeline, by Carl
Rungius, which achieved John Clymer (1907-1989), We Take All. Oil on canvas, 24 x 48 in. Courtesy Jackson Hole Art Auction.
$324,000. Twenty-four new Estimate: $100/200,000 SOLD: $480,000
artist world auction records
were established, including GENESEO, NY September 18 Fine Art & Tiffany lamps were also
Roy Andersen’s Day of the COTTONE AUCTIONS Antiques auction. After stellar performers, achieving
Dog Soldier at $156,000 (est. SEPTEMBER 18 trade competition into the more than $1 million
$75/125,000). Fine Art & Antiques high six figures, the work combined, with the rare
Other top lots were Taos $3.75 million achieved an astonishing Elaborate Peony selling for
Field of Workers by Oscar E. John F. Kensett’s stunning $1,080,000 against a presale $390,000. The 170-lot
Berninghaus, which achieved seascape oil Singing Beach estimate of $200,000 to sale, which also included
& Eagle Rock, Magnolia, $400,000, and sold to a contemporary and Native
$216,000, and Stuff of Legends
Massachusetts stole the show private collector who was American artwork, reached a
by Bob Kuhn, selling for
during Cottone Auctions’ bidding by phone. sales total of $3.75 million.
$480,000 (est. $100/150,000).

John F. Kensett (1816-1872), Singing Beach & Eagle Rock, Magnolia, Massachusetts. Oil on canvas, 22 x 36 in., signed & dated lower left: ‘J.F. K. ‘68’.
Courtesy Cottone Auctions. Estimate: $200/400,000 SOLD: $1,080,000

AUCTION REPORTS 111

 Index
Artists in this issue
Abercrombie, Gertrude 95 Flagg, James Montgomery 107 Leyendecker, Joseph Christian 98 Russell, Charles M. 108
Avery, Milton 72, 88 Folinsbee, John Fulton 102 Maurer, Alfred Henry 67 Sandzén, Birger 109
Bacon, Peggy 81 Garber, Daniel 101 Moran, Thomas 50, 62 Sargent, John Singer 59, 60
Bearden, Romare 32, 96 Gaspard, Leon 105 Moses, Anna Mary Robertson Sharp, Joseph Henry 55
Bellows, George Wesley 99 Gifford, Sanford Robinson 51 ‘Grandma’ 106 Sharrer, Honoré 79
Benton, Thomas Hart 54, 84 Gorky, Arshile 76 Mosler, Henry 59 Shinn, Everett 76
Bierstadt, Albert 51, 55, 93 Gribbroek, Robert 65 Nunamaker, Kenneth R. 102 Shore, Henrietta 87
Bisttram, Emil 65, 105 Harris, Sam Hyde 68 Oakley, Thornton 54 Slobodkina, Esphyr 26
Bluemner, Oscar 52 Haseltine, Herbert 91 Parrish, Maxfield 61, 87 Smith, Hughie Lee 75
Brown, Elmer 75 Hassam, Childe 50 Peale, Sarah Miriam 34 Tanner, Henry Ossawa 58
Butler, Theodore Earl 90 Heade, Martin Johnson 39 Pelton, Agnes 64 Thomas, Alma 35
Carles, Arthur B. 78 Henderson, William Penhallow 104 Piper, Rose 75 Twachtman, John Henry 90
Cassatt, Mary 57, 80, 93 Henri, Robert 89, 96 Pippin, Horace 74 Von Hassler, Carl 105
Chalfant, Jefferson David 77 Homer, Winslow 66 Porter, Fairfield 88 Way, Mary Elizabeth 36
Church, Charlotte (Downie) 42 Hopper, Edward 85 Powell, Georgette Seabrooke 82 Whistler, James
Church, Frederic E. 43 Jacobs, Patrick 41 Prendergast, Maurice Brazil 61, 79 Abbott McNeil 56, 63

Cole, Emily 42 Jonson, Raymond 64, 79 Price, Mary Elizabeth 102 Woodbury, Charles 27

Cole, Thomas 40 Jonson, Sargent 99 Redfield, Edward Willis 100 Wyeth, Andrew 45, 99

Colt, Morgan 102 Kleitsch, Joseph 107 Redmond, Granville 106 Wyeth, Jamie 46, 103

Coppedge, Fern Isabel 102 Latimer, Lorenzo 26 Ringgold, Faith 83 Wyeth, N.C. 44, 87

Davis, Stuart 86 Lawrence, Jacob 86, 92 Rockwell, Norman 93, 97 Zorach, William 100

Delano, Gerard Curtis 104 Lazzell, Blanche Nettie 108 Rose, Guy 109

Dove, Arthur Garfield 85 Lee, Doris 35, 70, 83 Roszak, Theodore 93

Fiske, Gertrude 67 LeWitt, Sol 27 Rowe, Nellie Mae 26

Advertisers in this issue

A.J. Kollar Fine Paintings, LLC (Seattle, WA) 2-3 Hindman (Denver, CO) 5
American Art Conference (New York, NY) 10 John Moran Auctioneers (Monrovia, CA) 23
Bonhams (New York, NY) 19 Red Dot Miami (Miami, FL) 20
Christie’s Fine Art Auctions (New York, NY) Cover 3 Rehs Contemporary Galleries, Inc. (New York, NY) 16-17
Clagget Rey Galleries (Edwards, CO) 21 Santa Fe Art Auction (Santa Fe, NM) 7
D. Wigmore Fine Art, Inc. (New York, NY) 9 Scottsdale Art Auction (Scottsdale, AZ) Cover 4
Debra Force Fine Art, Inc. (New York, NY) 1 SPECTRUM Miami (Miami, FL) 18
FOG Design + Art (San Francisco, CA) 12 Thomaston Place Auction Galleries (Thomaston, ME) 25
Freeman’s (Philadelphia, PA) 11 Vanessa Rothe Fine Art (Laguna Beach, CA) 29
Helicline Fine Art (New York, NY) 13 Vose Galleries (Boston, MA) Cover 2

112
AMERICAN ART

AUCTION • New York, 18 November 2021

CONTACT • Tylee Abbott · tabbott@christies.com · +1 212 707 5925

STUART DAVIS (1892–1964)

Coast Town Landscape Study, 1940
oil on canvas
10 x 14 in.
Estimate: $400,000–600,000

Auction | Private Sales | christies.com

Christie’s Inc. License #1213717

 S COTTSDALE A RT A UCTION
APRIL 8-9, 2022

Estimate: $125,000 - 175,000 25" x 30" Oil

Joseph Henry Sharp
(1859-1953)

S PECIALIZING IN A MERICAN , WESTERN, WILDLIFE AND S PORTING A RT

N OW A CCEPTING IMPORTANT CONSIGNMENTS
FOR OUR A PRIL 8-9, 2022 AUCTION

For more information please call (480) 945-0225 or visit www.scottsdaleartauction.com

7176 MAIN STREET • SCOTTSDALE, ARIZONA 85251 • 480 945-0225 • www.scottsdaleartauction.com