I N S I D E : E D WA R D H O P P E R ’ S N E W Y O R K • S A R G E N T I N S P A I N • J A C O B L AW R E N C E • R O M A R E B E A R D E N

Celebrating 10 Years

ISSUE 65 Sept/Oct 2022

 Andrew wyeth (1917-2009)

Winter Morning, 1946

Drybrush watercolor on paper, 25 1/2 x 38 3/8 inches, signed lower left: Andrew Wyeth

Andrew Wyeth’s signature drybrush technique and introspective color are on full display
in Winter Morning. The painting was originally purchased from Doll and Richards Gal-
lery in 1954 by an artist and contemporary of Wyeth, and it has remained in the same fam-
ily until now. Winter Morning has been featured in major exhibitions of the artist’s work
at leading institutions, including the Metropolitan Museum of Art in New York, the Mu-
seum of Fine Arts, Boston, and the Pennsylvania Academy of the Fine Arts in Philadelphia.

Vo s e G a l l e r i e s llc

238 Newbury Street Boston MA 02116 617.536.6176 www.vosegalleries.com

American & European Art
Tuesday, September 27, 2022 | 10:00 AM | Chicago

CONTACT FEATURED
Dale Nichols
Joseph Stanfield (American, 1904-1995)
Vice President, Senior Specialist, Fine Art Autumn Furrows, 1938
Estimate: $60,000 - 80,000
312.600.6063
josephstanfield@hindmanauctions.com
Download the
Hindman App
HINDMANAUCTIONS.COM for iOS and Android
CONTEMPORARY ART, DESIGN + PHOTOGRAPHY
Live Online Auction: September 23 – 24, 2022

Specializing in Classic & Contemporary Fine Art, Native American,

Ethnographic, New Mexico & Western American schools. Consignments
of individual items to large single owner collections invited year round.

Fine Consignments Welcome

932 Railfan Road, Santa Fe, NM 87505

info@santafeartauction.com 505.954.5858
santafeartauction.com @santafeartauction
 SIGNATURE ANNUAL LIVE SALE
Save the Date: November 4 – 5, 2022

November 2022 Auction: Billy Schenck, The Girl From Chinle, 2018 November 2022 Auction: Apache, Polychrome Olla, ca 1910-20
 LETTER FROM
THE PUBLISHERS SEPTEMBER/OCTOBER 2022 Bimonthly

PUBLISHER: Adolfo Castillo

EDITORIAL/CREATIVE acastillo@AmericanFineArtMagazine.com
PUBLISHER: ADVERTISING/ Wendie Martin
ART COMMUNITY DEVELOPMENT wmartin@AmericanFineArtMagazine.com
FOUNDER Vincent W. Miller

A Time to Collect EDITORIAL

INTERIM MANAGING EDITOR Michael Clawson
mclawson@AmericanFineArtMagazine.com
Welcome to the September/October issue of American Fine Find us on:
EDITOR Sarah Gianelli
Art Magazine! As the historic American art market continues sgianelli@AmericanFineArtMagazine.com
to climb, we are here to cover it from every angle. We are ASSISTANT EDITOR Alyssa M. Tidwell
seeing a large influx of collectors in this market. Collectors American Fine EDITORIAL ASSISTANT Chelsea Koressel
Art Magazine
are investing, curating, inheriting and seeking out the SANTA FE EDITOR John O’Hern
treasures of American historic art at a record pace. CONTRIBUTING PHOTOGRAPHER Francis Smith

To ensure you have the knowledge at your fingertips, EDITORIAL & EMAIL Casey Woollard
TRAFFIC COORDINATOR cwoollard@americanartcollector.com
we have an exceptional auction section for this issue. Our CollectArt
coverage includes Hindman, Bonhams, Freemans, Santa ADVERTISING (866) 619-0841
SENIOR ACCOUNT EXECUTIVE Lisa Redwine
Fe Art Auction and the highly anticipated Jackson Hole lredwine@AmericanFineArtMagazine.com
Art Auction—coverage begins on Page 76. If you haven’t @artmags
SENIOR ACCOUNT EXECUTIVE Anita Weldon
aweldon@AmericanFineArtMagazine.com
registered to bid, there is still time to get your bidder number.
SENIOR ACCOUNT EXECUTIVE Heather K. Raskin
In addition, our gallery preview section has an array of truly hraskin@AmericanFineArtMagazine.com
wonderful pieces that help showcase new shows opening. SENIOR ACCOUNT EXECUTIVE Constance Warriner
cwarriner@AmericanFineArtMagazine.com
In July executive editor Michael Clawson and account AmericanFine
ArtMagazine SENIOR ACCOUNT EXECUTIVE Michael Bright
executive Heather Raskin attended the Coeur d’Alene Art mbright@AmericanFineArtMagazine.com
SPONSORSHIPS & MAJOR ACCOUNTS Skye Fallon
Auction and the sales were well over $16 million. Famous
sfallon@AmericanFineArtMagazine.com
works from Edgar Payne, Charles M. Russell, Joseph Henry Sharp and TRAFFIC MANAGER Jennifer Nave
William Herbert “Buck” Dunton all performed exceptionally well. The traffic@AmericanFineArtMagazine.com

market for top pieces from American masters is very strong. It was a great MARKETING
SOCIAL MEDIA Robin M. Castillo
event with huge energy. Please see the auction results on Page 92. ENGAGEMENT MANAGER social@AmericanFineArtMagazine.com
Our previews of upcoming museum exhibitions are full of historic PRODUCTION
material of all kinds. The article on the National Gallery of Art’s Sargent ART DIRECTOR Tony Nolan
in Spain exhibition is a must-read piece of this issue. It starts on Page 38. PRODUCTION ARTIST Dana Long
This issue American Fine Art Magazine is your curated field guide to immerse PRODUCTION ARTIST Lizy Brautigam

yourself in the world of popular, rare and important historic American art. It
gets us excited just writing about it! Enjoy!
ACCOUNTS RECEIVABLES SPECIALIST April Stewart
Wendie Martin & Adolfo Castillo
Publishers
P.S. Join us on October 21, 2022, as Adolfo Castillo and Wendie Martin host
a live panel discussion at the Boston International Fine Art Show. We will be
discussing with top dealers and collectors several critical points: Which artists
are being noticed by collectors? What is selling? What is the American art
market like now? And even what is being held privately that may soon be
available? We want to provide insider knowledge for your path to collecting and
appreciating these beautiful works of art. Register at www.fineartboston.com.
YOUR ALL-ACCESS PASS!
SUBSCRIPTIONS (877) 947-0792
OFFICE MANAGER Emily Yee
service@AmericanFineArtMagazine.com
astewart@AmericanFineArtMagazine.com
ADMINISTRATIVE ASSISTANT Bianca Martos
& MARKETING COORDINATOR bmartos@AmericanFineArtMagazine.com
Copyright © 2022. 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, 3260 N. Hayden Rd. Ste.201,
Scottsdale, AZ 85251.Telephone (480) 425-0806. Fax (480) 425-0724 or
write to American Fine Art Magazine, P.O. Box 2320, Scottsdale, AZ
85252-2320. Single copies 11.95. Subscription rate for one year is $40
U.S., $46 Canada. To place an order, change address or make a customer
service query, please email service@AmericanFineArtMagazine.com
or write to P.O. Box 2320, Scottsdale, AZ 85252-2320.

Scan this QR code to start listening to POSTMASTER: Send all address changes to
American Fine Art Magazine, PO Box 2320,
The American Art Collective podcast! Scottsdale, AZ 85252-2320

AMERICAN FINE ART MAGAZINE

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

On the Cover CANADA

George Hitchcock (1850-1913), The White Lilies, ca. 1895. American Fine Art Magazine
Publications Mail Agreement No. 42330013, Return Undeliverable
Signed “G. Hitchcock” lower right. 55¾ x 47½ framed. Provenance: Canadian Addresses to Asendia, Inc.
Private Collection, New England (Two Generations). Courtesy of P.O. Box 400 LCD 20, Thornhill, Ontario, Canada L3T QH2
Guarisco Gallery (DC) Application to mail at periodicals postage prices pending at
Scottsdale, AZ 85251 and additional mailing offices.
www.AmericanFineArtMagazine.com
4
 TH E O D O R E E A R L B U T L E R
(‒)

Church, Giverny, , oil on canvas, ½ ×  in.

The current example shows the Sainte-Radegonde Catholic Church in Giverny. Theodore Butler married
Suzanne Hoschedé, Claude Monet’s stepdaughter, at the Church in , and Monet is buried in its graveyard.

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
 Celebrating Art, History, and Nature

“Think Giverny in Connecticut.”

WILLARD SPIEGELMAN, WALL STREET JOURNAL

“Visitors can stroll the gentle slope to the river and maybe, just maybe, experience a
moment in which art, history, and nature combine to show them something amazing.”
JUSTIN SHATWELL, YANKEE MAGAZINE

On view October 1, 2022 – May 14, 2023

Dreams & Memories, combining historic and contemporary art
from the Museum’s permanent collection.

Center: Childe Hassam (1859–1935), Summer Evening, 1886 (detail). Oil on canvas, Gift of The Hartford Steam Boiler Inspection and Insurance Company

96 Lyme Street, Old Lyme, Connecticut • 860.434.5542

FlorenceGriswoldMuseum.org
PAUL JENKINS (1923 - 2012):
LYRICAL ABSTRACTION

Phenomena Place of Three Rivers, 1978, 72 x 68 inches, acrylic on canvas

September 7 - November 11, 2022

D. WIGMORE FINE ART, INC.

152 W 57 ST, 3 FLOOR, NEW YORK, NY 10019
TH RD
DWIGMORE.COM 212-581-1657
 Now Inviting Consignments for Our American Art
and Pennsylvania Impressionists Auction

TO BE OFFERED DECEMBER 4 CONTACT

Bo Bartlett (American, B. 1955)
Raphaël Chatroux
The Promised Land
Signed and titled verso, oil on linen 267.414.1253
88 x 120 in. (223.5 x 304.8cm) americanart@freemansauction.com
$200,000-300,000
 ABEL G. WARSHAWSKY
(American 1883-1962)

The Sun Worshippers circa 1912 Oil on canvas

[Ile Aux Moines, Gulf of Morbian, Brittany, France] 32 x 25.5 inches
Signed lower right: A.G. Warshawsky

“The Ile Aux Moines, destined to play a considerable role in the history of my career” -Warshawsky

Four Decades of Art Advisory Services Working with Private Collections and Museums
■

Specializing in American paintings from 1840-1940

A.J. KOLLAR FINE PAINTINGS, LLC

1421 East Aloha Street ■ Seattle, WA 98112 ■ (206) 323-2156 ■ www.ajkollar.com
Contact us to receive our upcoming 2022-23 catalogue of American paintings
By Appointment ■ Private Art Dealers Association ■ Independent Appraiser of American Art
 September 10 – December 24, 2022
Mint Museum Uptown
Charlotte, North Carolina
More than 100 paintings and sculptures showcasing
two centuries of American creativity, from elegant
portraits and striking landscapes to fascinating scenes
of everyday life.

American Made: Paintings and Sculpture from the DeMell Jacobsen Collection is generously presented in
Charlotte by PNC Bank. Additional generous support is provided by The Dowd Foundation and Windgate
Foundation. The Mint Museum is supported, in part, by the Infusion Fund and its generous donors.
IMAGE: Charles Ethan Porter (1847–1923). Sunflowers (detail), circa 1880s, oil on linen canvas. Courtesy of
the Thomas H. and Diane DeMell Jacobsen PhD Foundation.
 SINCE 1969
AUCTIONEERS & APPRAISERS

Ernie Barnes (1938-2009, American) Two football players, 1968, oil on canvas, 19.5” H x 23.5” W, $40,000-60,000

Summer
Modern & Contemporary Fine Art
Tuesday, August 30, 2022—12pm PDT
Auction & Consignment Inquiries: fineart@johnmoran.com Scan this code with your phone
to learn more about this sale

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
 24th ANNUAL
BOSTON INTERNATIONAL
FINE ART SHOW

Now including
October 20-23, 2022
The Cyclorama,
The premier showcase for
At the Boston Center for the Arts talented emerging and
mid-career artists!

FineArtBoston.com
Sponsored by:
Produced by Fusco & Four/Ventures, LLC Joseph Lindon Smith (9863-9950),
617-363-0405 www.BostonArtFairs.com Self-Portrait in his Paris Studio, 9884,
oil on canvas. Courtesy Martha
Richardson Fine Art (MA)
Complimentary weekend admission Friday-Sunday courtesy of American Fine Art
https://BIFASWeekendVIP.eventbrite.com
 SINCE 1969
AUCTIONEERS & APPRAISERS

Colin Campbell Cooper N.A. (1856-1937, Santa Barbara, CA) Cathedral at Les Martigues, France, 1914, oil on canvas, 36.5” H x 29.25” W $20,000-30,000

Consign Today
California & American Fine Art
November 15, 2022
Scan this code with your phone
Auction & Consignment Inquiries: fineart@johnmoran.com to learn more about this sale

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
 In This Issue
Features Gallery
Unlikely
Juxtapositions
32 Shows
Previews of upcoming shows of historic
Hudson River Museum presents a new exhibition that American art at galleries across the country.
explores new approaches to looking at American art that
reconsider past and present expressions of American
identity 44 Painting a Region
Defining a Region: Contextualizing Art of
By James D. Balestrieri the Pacific Northwest at A.J. Kollar Fine
Paintings
Sargent & Spain 38
The National Gallery of Art presents an extensive 48 Going Places
collection of art and never-before-published photographs Women Artist Travelers of the Early 20th
that reveals the influence travels through Spain had on Century at Hawthorne Fine Art
iconic 20th century artist John Singer Sargent
By John O’Hern 52 Recent Arrivals

62 A History of
Museum Influence
American Travelers: A Watercolor Journey
Exhibitions Through Spain, Portugal and Mexico featured at
the Hispanic Society Museum & Library
Important exhibitions upcoming at key museums
from coast to coast. 64 Global
Conversations
54 Hopper’s City Black Orpheus: Jacob Lawrence and the Mbari
Edward Hopper’s New York exhibition at the Club at the Chrysler Museum of Art
Whitney Museum of American Art
Jacob Lawrence (1917-2000),
58 The Free World of Market Scene, 1966. Gouache
on paper. Chrysler Museum
the Imagination of Art, Museum purchase
Romare Bearden: Artist, Activist, and Advocate 2018.22. © 2022 The Jacob and
of The Promised Land at the Brigham Young Gwendolyn Knight Lawrence
Foundation, Seattle / Artists
University Museum of Art Rights Society (ARS), New York.

14
 SEPTEMBER/OCTOBER 2022

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.

E A
 F Previews and reports of sales at the
most important auction houses dealing
in historic American art.
Coverage of all the major art fairs and events
taking place across the country. Previews
Previews 76 Into the Wild
Jackson Hole Art Auction
66 Masterful Art
Boston International Art Show 80 Casting Spells
Casting Spells: The Gertrude Abercrombie
70 Only the Finest Collection of Laura and Gary Maurer at
The Baltimore Art, Antique & Jewelry Show Hindman
72 Discovery Through 82 Old Fashioned
Design American Art at Bonhams Skinner
Arts & Crafts Conference
84 Joint Auction
74 Cultural Landscape Previews
The Armory Show California, North Carolina, Illinois,
Connecticut
Attendees
view and Reports
discuss
artwork
during The
88 Overdue Acclaim
American Art and Pennsylvania
Armory
Show in
Impressionists at Freeman’s
2021. Photo
by Casey
90 Paint and Stone
Kelbaugh. Signature Summer Sale at Santa Fe Art
Auction

92 Strength in Numbers
Coeur d’Alene Art Auction
D 94 Joint Auction
Art Show Calendar 20 Reports
Art Market Updates 26 Maine, Massachusetts

Curator Chat 28
New Acquisition 31

15
 Hale Woodruff, Landscape, oil on canvas, 1967. $150,000 to $250,000. At auction October 6.

Upcoming Auctions

SEPT 22 American Art OCT 20 Fine Photographs

OCT 6 African American Art NOV 3 Old Master Through Modern Prints

Download the App

104 E 25th Street, NYC • 212 254 4710 • SWANNGALLERIES.COM

 Premier Auction
SePtember 16-17, 2022

NCAL3095

Featuring works by Bierstadt, Church, Mignot, Henri, Hassam, Herzog, Alice R.H. Smith, Emil Bisttram, Malvina Hoffman,
Frank Tenney Johnson, Hunt Diederich, Elizabeth Gilbert Jerome, and many others

info@brunkauctions.com BrunkAuctions.com 828-254-6846

 the Best Fairs, exhibitions and Events Coast to Coast

ONGOING THROUGH SEPTEMBER 4 SEPTEMBER 8؏11 SEPTEMBER 16؏18

We the People: The Radical Notion
of Democracy
Crystal Bridges of Museum of
American Art • Bentonville, AR
Crystal Bridges will place a rare, original
print of the U.S. Constitution in conversation
with works by historical and contemporary
artists that provide diverse perspectives on
the nation’s founding principles.
www.crystalbridges.org
ONGOING
Transgressions and Amplifications:
Mixed Media Photography of the
1960s and 1970s
New Mexico Museum of Art •
Santa Fe, NM
The exhibition examines inventive work as
it developed in the 1960s and 1970s and
reinvigorated the vocabulary of photography.
www.nmartmuseum.org
ONGOING
An American Place: The Art Colony
at Old Lyme
Florence Griswold Museum •
Old Lyme, CT
The exhibition explores iconic works made
by artists who were a part one of the
largest and most significant art colonies in
America in the early 20th century.
www.florencegriswoldmuseum.org
Graphic Eloquence: American
Modernism on Paper from the
Collection of Michael T. Ricker
Georgia Museum of Art –
University of Georgia • Athens, GA
The exhibition includes approximately
150 modernist works on paper by 70
artists, both well-known and overlooked,
and will be accompanied by a catalogue
published by the museum.
www.georgiamuseum.org
THROUGH SEPTEMBER 5
Drawn from Life: Three Generations
of Wyeth Figure Studies
Fenimore Art Museum •
Cooperstown, NY
With a focus mainly on N.C., Andrew
and Jamie, this exhibition examines the
process of how each artist honed their
expertise of the human form.
www.fenimoreartmuseum.org
THROUGH SEPTEMBER 5
The Lincoln Memorial Illustrated
Norman Rockwell Museum •
Stockbridge, MA
To celebrate the memorials centennial, the
museum will highlight the work of noted
historic and contemporary artists who have
incorporated the icon as a symbolic element.
www.nrm.org
Art on Paper New York
Pier 36 • New York, NY
This event is known for its unique
and powerful projects in visual and
experiential art, and will feature top
modern and contemporary paper-based
art from 100 galleries.
www.thepaperfair.com
SEPTEMBER 9؏11
ART San Diego
San Diego Convention Center, Hall C •
San Diego, CA
Over 75 galleries come together for
this 14th annual art fair to present
contemporary art from around the world.
www.redwoodartgroup.com/art-
san-diego/
SEPTEMBER 9؏11
The Armory Show
Javits Center – Main Entrance Crystal
Palace • New York, NY
This year, the show will include more
than 240 galleries across over 30
countries, displaying thought-provoking
programming, top curatorial leadership
and engaging art presentations.
www.thearmoryshow.com
Artexpo Dallas
Dallas Market Hall • Dallas, TX
More than 100 galleries and 300 artists
from around the world will gather to
feature contemporary fine art and design
in a variety of mediums.
www.redwoodartgroup.com/
artexpo-dallas/
THROUGH SEPTEMBER 18
Rodin in the United States:
Confronting the Modern
The Clark Institute •
Williamstown, MA
This is one of the largest U.S. exhibitions
about Auguste Rodin with more than 50
sculptures and 25 drawings from several
U.S. museums and private collections.
www.clarkart.edu
THROUGH SEPTEMBER 30
Fritz Scholder: Focus on the Figure
Roswell Museum • Roswell, NM
Roswell Museum exhibits 23 of Scholder’s
Native American portrait lithographs that
the artist began creating in the late 1960s.
www.roswell-nm.gov/1259/Roswell-
Museum.com

ONGOING Florence V. Robinson (1874-1937),

Court of Lions, Alhambra, ca. (detail)
Western Eyes: 20th Century Art 1920-22. Watercolor on board.
Here and Now
New Mexico Museum of Art •
Santa Fe, NM
From its own collection, the museum
surveys the history of modern art, regional
developments of modernism and how
modern artists of New Mexico engaged
with national and international trends.
www.nmartmuseum.org

THROUGH SEPTEMBER 3
THROUGH OCTOBER 16
Variations of Place: Southern
California Impressionism in the American Travelers: A
Early 20th Century Watercolor Journey Through
UC Irvine Jack and Shanaz Langson
Institute and Museum of California Spain, Portugal and Mexico
Art • Irvine, CA Hispanic Society Museum & Library • New York, NY
The exhibition examines the work of over The museum and library traverse the many American artists who
20 artists who lived in Santa Barbara, Los were inspired by the historic watercolors painted in and depicting the
Angeles, Laguna Beach and San Diego in regions of Spain, Portugal and Latin America.
the late 19th and early 20th-centuries. www.hispanicsociety.org
www.imca.uci.edu

20
 ART SHOW CALENDAR

Auctions
OCTOBER 1, 2022؏MAY 14, 2023
Dreams and Memories
The exhibition examines the work of two
Spanish masters of the early to mid-19th
at a Glance
century, with a focus on the light and
Florence Griswold Museum • color emanating from their gardens—a
Old Lyme, CT vibrant source of inspiration in their final AUGUST 30 SEPTEMBER 27
This is an exploration of historic and creative periods. Summer Modern & Contemporary American & European Art
contemporary art from the Museum’s www.parrishart.com Auction Hindman • Chicago, IL
permanent collection, that considers John Moran Auctioneers • Monrovia, CA www.hindmanauctions.com
themes of dreams and memories www.johmoran.com
as expressions of powerful forces in THROUGH OCTOBER 16
SEPTEMBER 28
American society. Andrew Wyeth: Early Temperas
www.florencegriswoldmuseum.org SEPTEMBER 15؏17 Casting Spells: The Gertrude
Farnsworth Art Museum •
Rockland, ME Premier & Emporium Auction Abercrombie Collection of Laura and
OCTOBER 7, 2022؏ The exhibition explores the creative process Brunk Auctions • Asheville, NC Gary Maurer
behind four of Wyeth’s first tempera www.brunkauctions.com Hindman • Chicago, IL
JANUARY 8, 2023 www.hindmanauctions.com
paintings created between 1937 and 1939,
Black Orpheus: Jacob Lawrence accompanied by a selection of studies for SEPTEMBER 16؏17
and the Mbari Club each piece in pencil, ink and watercolor. Jackson Hole Art Auction SEPTEMBER 29؏30
www.farnsworthmuseum.org
Chrysler Museum of Art • Norfolk, VA Trailside Galleries & Gerald Peters The Estate of Peter H. Tillou
This traveling exhibition marks the Gallery Brunk Auctions • Asheville, NC
60th anniversary of social realist Jacob OCTOBER 19, 2022؏ www.jacksonholeartauction.com www.brunkauctions.com
Lawrence’s first exhibition and visit to MARCH 5, 2023
Nigeria, a look at members of the Mbari
Artists and Writers Clubs, and honors Edward Hopper’s New York SEPTEMBER 21 OCTOBER 27
the 65th anniversary of the publication Whitney Museum of American Art •
American Art Fine Art Auction
Black Orpheus. New York, NY Bonhams Skinner • Marlborough, MA Shannon’s Fine Art Auctioneers •
www.chrysler.org The exhibition will take a comprehensive www.skinnerinc.com Milford, CT
look at Hopper’s life and work through his www.shannons.com
THROUGH OCTOBER 10 city pictures, from his early impressions SEPTEMBER 22
of New York in sketches, prints and American Art
Spotlight on Spring illustrations, to his late paintings. Swann Auction Galleries • New York, NY
Georgia O’Keeffe Museum • www.whitney.org www.swanngalleries.com
Santa Fe, NM
A focused installation surrounds the
newly conserved painting Spring,
1948, featuring original correspondence Mark Baum (1903-1997),
between Georgia O’Keeffe and her Bailey’s Island (detail) , 1946.
personal conservator, Caroline Keck, Oil on canvas, 20 x 24 in. ©
The Mark Baum Estate (ME).
alongside the very objects that inspired
this remarkable work.
www.okeeffemuseum.org

OCTOBER 15, 2022؏

JANUARY 22, 2023
Romare Bearden: Artist, Activist,
and Advocate of The Promised Land
Brigham Young University Museum of OCTOBER 20؏23
Art • Provo, UT
As one of the most important visual artists 24th Annual Boston
of the 20th-century, the museum presents
examples of Bearden’s influences as an International Fine Art Show
artist of social conscience and action. The Cyclorama, Boston Center for the Arts • Boston, MA
www.moa.byu.edu/ While 40 galleries showcase fine art from historic masters to
contemporary artists, this year there will be an emphasis on
historic American art from the 18th century through mid-20th
THROUGH OCTOBER 16 century, along with new contemporary art section.
Joaquín Sorolla and Esteban www.fineartboston.com
Vicente: In the Light of the Garden
Parrish Art Museum • Water Mill, NY

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.

22
OCTOBER 20-23, 2022
B M LT N M O R E C O N V E N T N O N C E N T E R
One West Pratt Street | Baltimore, Maryland 21201

SCMN THE QR CODE WNTH

YOUR PHONE TO REGNSTER
FOR COMPLNMENTMRY
GENERML MDMNSSNON TNCKETS
FOR YOU MND GUEST.

COMPLIMENTARY TICKETS ARE LIMITED.

REGISTER NOW!

BaltimoreFallShow.com
 MARY JOHNSTON // COLORS IN THE SKY #5

SEPTEMBER 9-11, 2022

14th Edition

REDWOODARTGROUP.COM/ART-SAN-DIEGO QUARTZ // RACHEL DALY

 ONLINE EXHIBITION & SALE

Going Places:
Women Artist Travelers
in the Early 20th Century
September 13–November 1, 2022
Featuring over 30 works including those by:
Anna Mary Richards Brewster, Theresa Bernstein,
Anna Klumpke, Jane Peterson, Pauline Palmer,
and Beatrice Whitney Van Ness

CLOCKWISE FROM TOP LEFT

Jane Peterson (1876–1965)

Street Scene in Biskra, Circa 1910, Oil on canvas, unlined,
18 x 24 inches, Signed lower right

Alice Lolita Muth (1887–1952)

Portrait de Deux Tunisiennes, Oil on canvas, 29½ x 26¾ inches,
Signed lower right

Martha Walter (1875–1976)

Women and Children in Anticoli, c.1908–1910, Oil on canvas,
36 × 40 inches, Signed lower right

Martha Wood Belcher (1844–1930)

The Fountain at Amalfi, Italy, 1921, Oil on canvas mounted on board,
10 x 12 inches, Signed lower right; titled and inscribed with artist’s
name and studio address verso; original exhibition label verso

Exhibition catalogue can be downloaded at: hawthornefineart.com/catalogues

Manhattan Showroom | 135 East 57th Street, 14th Floor, NY, NY 10022 | By Appointment Only
212.731.0550 | info@hawthornefineart.com | hawthornefineart.com

MISSING AN ISSUE? NO
AVAIL W
VISIT WWW.AMERICANFINEARTMAGAZINE.COM/STORE DIGITAALBLLE
Y!
OR CALL ؏877؏ 947؏0792 TO PURCHASE PAST ISSUES

Nov/Dec 2013 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 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
AMrICAN

FINE
AMrICAN

Previewing Upcoming Events, Sales and Auctions of Historic Fine Art

FINE
Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
ISSUE 14
FINE
AMrICAN

March/April 2014 ISSUE 15

FINE
AMrICAN

May/June 2014

M A G A Z I N E M A G A Z I N E

Stay informed on the latest exhibits across the country, subscribe today online at
WWW.AMERICANFINEARTMAGAZINE.COM

The Woman in White
James McNeill Whistler (1834-1903), Symphony in White, No. 1:
The White Girl, 1861–1863, 1872. Oil on canvas, 83 7/8 x 42½ in.
National Gallery of Art, Washington, Harris Whittemore Collection.
The Woman in White: Joanna Hiffernan and
James McNeill Whistler explores the close
personal relationship between famed
historic artist James McNeill Whistler
and Joanna Hiffernan. Featured in many
of Whistler’s works including his famous
Symphony in White series, Hiffernan is
somewhat of a mystery. This exhibition
at the National Gallery of Art, which
features nearly 60 works including
paintings, drawings, and prints, seeks to
shed new light on Hiffernan’s life. Works
will be on view through October 10 in
the National Gallery’s East Building in
Washington, D.C.
26
new modern auction gallery,” says
Andrew Wyeth: president, Leland Little. “This gallery
Life and Death was designed to provide a space for the
collecting community–to gather, to
learn, to connect, and to grow in their
field of interest, as well as to provide
an opportunity to buy and sell in a
professional, 21st century auction venue,
whether digitally or in person.”
James Fitzgerald
Retrospective
Andrew Wyeth (1917-2009), Breakup, 1994. Tempera on
panel. © Andrew Wyeth, Artists Rights Society (ARS). Collection
of Jeb Jeutter, North Carolina. Photo courtesy Bonhams.
An intriguing exhibition on view through
October 16, Andrew Wyeth: Life and Death
is the first public presentation of a group
of drawings in which the artist imagined
his own funeral. Painted in the early
1990s, the images depict Wyeth’s “friends,
neighbors, and wife, Betsy, surrounding
a coffin at the base of Kuerner’s Hill in James Fitzgerald (1899-1971), Surf at Lobster Cove, ca. 1955.
Chadds Ford, Pennsylvania, a site the artist Watercolor and Chinese ink on paper, 21¼ x 28½ in. James
Fitzgerald Legacy, Monhegan Museum of Art & History.
long associated with death, including that
of his father. Some of the drawings offer
a view inside the coffin, revealing a rare The Monhegan Museum of Art
self-portrait,” the museum notes. Andrew & History is currently holding a
Wyeth: Life and Death is held at the Colby retrospective for 20th-century painter
College Museum of Art. James Fitzgerald (1899-1971). Showcasing
the artists’ watercolors and oil paintings,
the exhibition begins with early
Leland Little moves to sketches from his time as a student at
the Massachusetts College of Art and
new gallery the School of the Museum of Fine Arts,
Hillsborough, North Carolina-based
Boston. It continues with paintings from
Leland Little Auctions recently moved
Monterey, California, where he relocated
into its new gallery, exhibition space
in 1929 and became part of a community
and administrative offices. This new
of artists and writers known as the
construction, the vision of Leland Little
Cannery Row Circle. The exhibition will
and executed through architect Richard
focus especially on Fitzgerald’s paintings
Gurlitz, directly connects with the auction
of Monhegan Island. The Odyssey of James
house’s existing building, providing a total
Fitzgerald will be showing through the
41,000 square feet of space. The material
end of September.
and structure of this new gallery will
elevate the auction experience, with glass
walls, high ceilings and sophisticated
spaces.“We are privileged and excited
to announce the opening of our

Lynn Mapp Drexler
Lynne Mapp Drexler (1928-1999), Untitled (Purple
Yellow), 1960. Gouache on paper, 19 x 24½ in.
Painter and photographer Lynn Mapp
Drexler–a rare woman of abstract
expressionism in late 1950s New York–is
only now starting to be recognized as
a master, and celebrated internationally.
According to California-based Rubine
Red Gallery, which houses a number of
Drexler’s works, her prices have risen
steadily over the last five to seven years,
“with a major value jump up starting
early this year with auctions at Sotheby’s,
People
Amy Smith-Stewart
has been named chief
curator of the Aldrich
Contemporary Art
Museum in Ridgefield,
Connecticut.
Smith-Stewart has
served nine years at
the museum, first as curator, and most
recently as senior Curator. Smith-Stewart
succeeds Richard Klein who retired
from his position as Aldrich’s exhibitions
director on June 10 after more than 30
years at the institution.
Christie’s and Bonhams.” One of her
works, a 1959 Untitled gouache, recently
sold for $208,275 during Bonhams’ May
19 Post-War and Contemporary Art sale,
while her 1966 Transported Blossems (est.
$50/70,000) achieved $630,000 during
Sotheby’s Contemporary Day Auction on
May 20.
Illustrating Race
Imprinted: Illustrating Race, held at the
Norman Rockwell Museum, examines
the role of published images in shaping
attitudes toward race and culture. The
exhibition features 300 artworks created
between the late 18th century and present
day, each impacting the public’s perception
regarding race in the United States. The
exhibition also explores the creative
accomplishments of contemporary artists
and publishers who have shifted the
cultural narrative through the creation of
positive, inclusive imagery emphasizing
full agency and equity for all. Imprinted:
Illustrating Race is on view through
Charles White (1918-1979), Wanted Poster Series #17 (detail),
October 30. 1971. Oil and pencil on poster board. Collection of the Flint
Institute of Arts. Gift of Mr. and Mrs. B. Morris Pelavin, 1971.43.
& Places
Joslyn Art Museum The Farnsworth
has announced the Art Museum has
appointment of appointed Jaime
Kenneth Brummel DeSimone as its
to the position of new chief curator.
curator of 20th century DeSimone began
art. Most recently, her new role this
Brummel served as July, leading the
associate curator of modern art at the museum’s exhibition and collection
Art Gallery of Ontario (AGO) in Toronto, programs, withith nearly 20 years of
Canada. curatorial experience under her belt.
DeSimone comes to the Farnsworth Art
Museum from the Portland Museum of
Heritage Auctions recently announced that
Art in Maine, where she served as the
Mark Grol, a leading expert with 25 years
Robert and Elizabeth Nanovic Curator of
of experience in the auction business and
Contemporary Art.
international fine art community, has joined
its London office as managing director.
27
 CURATOR CHAT
WE ASK LEADING MUSEUM CURATORS ABOUT
WHAT’S GOING ON IN THEIR WORLD
BARBARA HASKELL
Curator
WHITNEY MUSEUM OF AMERICAN ART
New York, NY • www.whitney.org
What event (gallery show, museum
exhibit, etc.) in the next few months
are you looking forward to, and why?
I am looking forward to the September
rotation of At the Dawn of a New Age, the
exhibition I organized at the Whitney
Museum of American Art. Starting in
September, the works that are currently in
the show will be replaced by others. The
rotation will provide a further opportunity
to reframe the understanding of early 20th-
century modernism by introducing more
artists who were well known in their time
but have been largely forgotten.
What are you reading?
I am reading about the Transcendental
Painting Group, a band of artists in Santa
28
Pippin, who was one of America’s foremost
early 20th-century Black artists. Wounded
Fe and Taos in the late 1930s and early
in World War I and largely self-taught,
1940s who were committed to creating
he used sophisticated compositional
and promoting hard-edged, geometric
strategies to depict everyday Black life and
painting imbued with metaphysical
the dynamics of race and segregation in
content.
America.
Interesting exhibit, gallery opening
What is your dream exhibit to curate?
or work of art you’ve seen recently?
Or see someone else curate?
For me, the simultaneous presentation
I would like to see a host of exhibitions
of the 2022 Whitney Biennial and the
that reexamine art of the first half of the
museum’s survey of America’s early
20th-century, whether of individual artists
20th-century avant garde is fascinating
or groups of artists with shared formal or
in revealing the diametrically opposite
thematic concerns. Horace Pippin and Ben
moods and concerns of the two periods.
Shahn are examples of individual artists,
What are you researching but there are countless others whose art is
at the moment? relevant to today.
I am researching the art and life of Horace
 Dallas Design Week
1 TICKET | 2 MAJOR FAIRS
3 DAYS OF EYE-POPPING ART & DESIGN
SEPTEMBER 16 - 18, 2022

PATRIZIA CASAGRANDA // CONTEMPORARY ART PROJECTS USA

Dallas Market Hall 2200 Stemmons Freeway | Dallas, TX 75207

R E D W O O D A R T G R O U P . C O M / A R T E X P O - D A L L A S
 S UB SC RIBE Subscribe now to
TO A MERIC A’S
NO. 1 MAGAZINE
this unique magazine

$7
Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
FOR HISTORIC
and website
FINE ART FOR UNDER
PER ISSUE

W
hile impressive auction results of historic American
paintings and sculpture or an occasional celebrity YOUR ANNUAL
collector may garner a newspaper headline now and
then, there is no magazine, until now, that has offered SUBSCRIPTION
complete and comprehensive coverage of the upcoming shows and GIVES YOU
events of this always-fascinating market that is so deeply tied to
American history, society and culture. • 6 Issues of
the Printed
Bimonthly
Previews of Upcoming Read Up-To-Date Magazine
Shows and Auctions Auction Reports and Analysis A visual feast
The historic fine art of America’s In every issue we’ll publish detailed analysis of large-format
greatest artists is in big demand and if you with charts highlighting the results of images and articles
are serious about acquiring it, you need to major shows and auctions so you can track
previewing important
know about it sooner so you can plan your the movement of key works and prices of
collecting strategies. major artists. works coming to market in major
When you subscribe to American Fine shows and auctions coast to coast.
TOP 10 LOTS
Art Magazine you’ll know in advance what FREEMAN’S AUCTIONEERS & APPRAISERS DECEMBER 4, 2011 (INCLUDING BUYER’S PREMIUM)
• Bimonthly Online
ARTIST TITLE LOW/HIGH EST. SOLD
major works are coming to market because, JAMES ABBOTT MCNEILL WHISTLER (1834-1903) BLUE AND OPAL – THE PHOTOGRAPHER $150/250,000 $469,000
Link to all the
EDWARD WILLIS REDFIELD (1869-1965) SPRING $200/300,000 $241,000

every other month, you’ll have access to NICOLAI FECHIN (1881-1955) SEATED FEMALE NUDE $80/120,000 $145,000
FERN ISABEL KUNS COPPEDGE (1883-1951) LAMBERTVILLE ACROSS THE DELAWARE, WINTER $30/50,000 $79,000 Magazine’s Content
this valuable information when we email MARY ELIZABETH PRICE (1877-1965) TIGER LILIES $20/30,000 $79,000
RAE SLOAN BREDIN (1881-1933) UNDER THE TREE $70/100,000 $49,000
Direct access to the entire
you the upcoming issue—up to 10 days CHARLES ROSEN (1878-1950) DELAWARE RIVER VIEW $40/60,000 $43,000

before the printed magazine arrives in your

FRANZ XAVER PETTER (1791-1866)

JOSEPH HENRY SHARP (1859-1953)

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

$20/30,000
$40,000

mailbox—and before the shows even open.
DAVID DAVIDOVICH BURLIUK (1882-1967)
Inside the Homes of Contributing Editors and
Major Collectors Consultant Columnists
Some of the most authoritative fine art
Our nationally-recognized fine art
experts in the country will contribute
consultants and award-winning
regular columns explaining current
photographers take you inside the homes
and future trends to better inform your
of the country’s top art collectors to give
decision-making.
you full access to some never-before-seen
collections.
Who Makes the American
Fine Art Market Tick?
In each bimonthly issue you can read
interviews with the people behind the
scenes in this fascinating industry.
$37,000
magazine online where you
FLOWER ABSTRACT $12/18,000 $37,000
can flip the virtual pages to
see paintings up to 10 days
earlier than they appear in the
print edition.
• Keep Back Issues Online
You can refer to all the online
back issues of your subscription
right on your monitor.
NO RISK MONEY
BACK GUARANTEE
If, at any time during the
period of your subscription,
you are unhappy for any reason,
you can cancel for a full refund
on undelivered copies – no
questions asked!

SUBSCRIBE
ONLINE
AmericanFineArtMagazine.com
US $40 Canada US$46

Fitz Henry Lane
HUDSON RIVER MUSEUM
Fitz Henry Lane (1804–1865), Gloucester, Stage Fort Beach, 1849. Oil on canvas. Gift of Shelley and Felice Bergman, 2021 (2021.14.1).
D onated by Shelley and Felice Bergman to the
Hudson River Museum of Yonkers, New York, is the
important work of mid-19th century marine artist
Fitz Henry Lane (1804-1865), Gloucester, Stage Fort Beach, 1849.
This extraordinary piece, alongside the donation of a Severin
Roesen (1815-c. 1872) still life, highlight the museum’s vast
collection of American paintings, sculptures and decorative arts,
among other mediums.
Lane spent the majority of his life in Gloucester,
Massachusetts, and dedicated his career to depicting scenes
of the region, especially of Cape Ann, the site where English
settlers first landed in the 1600s, and what is also featured in
Gloucester, Stage Fort Beach. The contribution of Lane’s awe-
inspiring landscape and water scene, is a perfect example of
what the museum notes was the development of the Hudson
River School’s study of light effects at different times of day
NEW ACQUISITION
that they coined “luminism.”
“Lane’s expanse of light-filled sky, taking up over half the
canvas, and the mirror-like bay that reflects it, are classic elements
of the style,” the Hudson River Museum notes. “The artist’s
refined use of color, nuances of tinted light, and crystalline
surfaces of calm waters presage the hallmarks that would come
to define Lane’s unique and celebrated pictorial vision.”
The Bergmans’ donation of both paintings has greatly
expanded the museum’s support of and impact on American
fine art education and awareness. “I cannot overstate the impact
these masterpieces and these artists will have on the collection
and on the stories we tell in our galleries,” says Laura Vookles,
Chair of the HRM’s curatorial department. For starters, the
paintings have been debuted in HRM’s ongoing exhibition
Cycles of Nature: Highlights from the Collections of the Hudson River
Museum and Art Bridges, on view through February 2023.
31
 Frances Flora Bond Palmer (1812–1876), Landscape, Fruit, and Flowers, 1862. Two-color lithograph, hand colored.
Collection of the Hudson River Museum. Gift of Mrs. George J. Stengel, by exchange, 2017 (2017.05).

UNLIKELY
JUXTAPOSITIONS
An exhibition at the Hudson River Museum
reconsiders past and present expressions of American identity through the
lens of American art
By James D. Balestrieri

32
Charles M. Russell (1864–1926), Range Mother (A Serious Predicament), 1908. Oil on canvas.
Collection of the Joslyn Art Museum. Gift of Foxley & Co., 2000 (2000.27).

O rder/Reorder: Experiments with

Collections, the exhibition now
on view at the Hudson River
Museum in Yonkers, New York, is a study
in deliberately unlikely juxtapositions.
Co-curated by Laura Vookles, chair
of the curatorial department at the
Hudson River Museum, and Bentley
Brown, adjunct professor of art history
at Fordham University and PhD fellow
at New York University Institute of Fine
Arts, the works—paintings, sculptures,
prints, photographs, and decorative
arts—are organized into familiar
categories: portraiture, figural studies,
still life, landscape and abstraction. These
categories are then grouped into genres
and themes: labor and leisure; friendship,
family and intimacy; the body and the
gaze; finding home and community; and
the production of meaning in portraiture,
still life and landscape. The overarching
idea is one of exploring “new approaches
to looking at American art that
Rudolf Eickemeyer Jr. (1862–1932), The Dance, 1899. Photogravure. Collection of the Hudson River reconsider past and present expressions
Museum. Gift of Mrs. Erik Kaeyer, 1975 (75.29.37). of American identity.”

33
 Tuesday Smillie (b. 1981), S.T.A.R., from the FREE OUR SIBLINGS///FREE OURSELVES series, 2012. Watercolor on paper, collage on board. Collection of the
Hudson River Museum. Gift of Mrs. Eleanor Lewis, by exchange, 2021 (2021.2). Recent acquisition. © Tuesday Smillie.

Embracing 19 th -century works,
recently acquired pieces by contemporary
artists, and some fine pieces on loan
from the Joslyn Art Museum in Omaha,
Nebraska, the exhibition asks us who we,
as Americans, are—or imagine ourselves
to be. In isolation, each work has a
unique, discernible voice. In aggregate,
the works murmur cacophonously. Or
take a visual approach, as if each work
is a mirror. In each piece, we can see
our own reflection, sometimes readily,
sometimes dimly, sometimes resistantly.
Taken together, what we confront, for
that is the correct verb—confront—is
a house of mirrors that challenge our
notions of identity, both as individual
human beings, and as Americans.
It should be noted that the curators
insist on the provisional nature of their
organization of the works and encourage
visitors not only to envision different,
disparate groupings, but to create their
own on a wall of reproductions of the
works in the museum lobby. So, while I
will hew somewhat to the exhibition’s
order to things, I will also feel free to
deviate from the curatorial path and
make observations and comparisons
that strike me. What intrigues me is the
way even the most disparate works can
somehow lead and link to one another.
For example, Frances Flora Bond
Palmer’s 1862 lithograph, Landscape,
Fruit, and Flowers, done for Currier &
Ives, might seem at first to be antithetical
to Charles M. Russell’s 1908 oil, Range
Mother (A Serious Predicament), yet a
second look at the two works, side-by-
side suggests a number of congruities.
First, sheer space. In both works, an
active foreground recedes to an idea of
American vastness and promise. Second,
color. Color explodes in both works,
from edge to edge. The negative spaces

34
John White Alexander (1856–1915), Azalea (Portrait of Helen Abbe Howson), 1885. Oil on canvas. Collection of the Hudson River Museum. Gift of Mrs.
Gertrude Farnham Howson, 1974 (74.19.6). © John White Alexander.

are big skies. The blues of the Russell’s

sky and the flowers and flowers painted
on the vase in Palmer’s work pop. Third,
abundance. Fruits and flowers in Palmer’s
imagery, pollinated by a hummingbird.
In the distance, tidy dwellings beside
what looks to be the Hudson River,
plied by sailing ships and boats. In
Russell’s oil, cowboys wrestling with
an angry cow protecting her calf. Yes,
this is a dangerous moment, but, in the
distance, an entire herd on the move.
Fourth, and most important, abundance
tamed and made useful. Palmer’s cut
flowers serve an ornamental purpose,
while the succulent berries and grapes
indicate a land of plenty. Russell’s cows
are beef on the hoof. What’s absent in
both, of course, is any suggestion of
Indigenous presence or of a potentially
hostile wilderness. Yes, the range mother
is angry, but her fate is sealed. She may
be wild, but only for the moment.
Consider this pairing: Seongmin
Ahn’s 2019 drawing, Aphrodisiac 30, and
Alvin C. Hollingsworth’s portrait Aspects
of Women, painted circa 1987. Again,
at first, how could these seem at all
similar? And yet, walking back and forth
between them, how could they not?
The rich, golden backgrounds against
which both works are set recall Gustav
Klimt’s sumptuous portraits, as does the
Anna Walinska (1906–1997), Self-Portrait: Flamenco, 1939. Oil on canvas. Collection of the Hudson
shared verticality of both. In Aspects of
River Museum. Gift of Rosina Rubin, 2020 (2020.12). Recent acquisition. © Anna Walinska.

35
 Women, there is a regality in the length
of the woman, especially her neck, a nod,
surely, to Modigliani, but also to African
traditions. With her hair breaking free
of the picture plane, it is as if she—
goddess-like—is about to grow even
taller and more majestic, transforming,
perhaps, into a tree—or a mountain. This
symbolic shift, from individual to aspect
of landscape, is a very American conceit,
where we conflate beauty and power and
seek to align ourselves and our heroes
with the forces of the natural world.
Ahn humanizes and “humorizes” this
notion in Aphrodisiac 30. Water dripping
from noodles rolled onto chopsticks falls
into a bowl, making huge waves that
rock mountains and spill over onto the
gold background. The surreal nature of
the work is self-evident as it destabilizes
our sensibility and forces us to engage it
from different points of view. And yet,
underneath this, there may well be a
more serious intention. Food is so much
a part of American culture. Yet how
36
many ethnic cuisines have conquered
America, even when the people who
brought those cuisines have themselves
been treated as second-class citizens—
that is, when they were allowed to be
citizens at all?
A single, simple formal moment
links Rudolf Eickemeyer Jr.’s 1899
photogravure, The Dance, with Tuesday
Smillie’s 2012 watercolor and collage,
S.T.A.R., from her FREE OUR
SIBLINGS///FREE OURSELVES
series—and that is that raised hands of
the girls in Eickemeyer’s photograph and
the raised fists of the women in Smillie’s
work. For despite the overwhelming
sense of regimentation in The Dance—
the girls in identical clothes, dancing to
the pianist’s tune and beat, while a boy
trussed up in Little Lord Fauntleroy garb
looks on, with his arm around his hobby
horse and a rider’s crop at his side, the
girls are looking, not at any of this, nor
the dour portraits that hang over them
like the nooses of legacy, but at one
another. They are lost in one another,
quite oblivious, at least for the moment,
to the weight of the patriarchy—and
matriarchy—that surrounds them. For
the moment, in the moment, they are
free.
Smillie’s S.T.A.R., a spare watercolor
and collage, makes the fleeting
recognition in The Dance overt. In fact,
the woman at left, in a long black dress
with white lapels and a flower in her hair
might well be a woman from the past,
from a past not too far from the world
of The Dance—perhaps 1910 or 1920.
The raised fist of the woman at right,
as well as the moment of recognition
from the woman beside her, might just
be a gesture of sisterhood expressed over
time. The abstract shapes behind the
women—two joined at left, separated by
a slender gap from the one at right—
echo the figures. The arm of the woman
at right, extended, bridges the gap and
unites the women and the composition.
The streetlight that hangs at left doesn’t
Mary Frey (b.
1948), Girls
Sunbathing,
from the
Domestic
Rituals series,
1979–83.
Gelatin
silver print.
Collection of
the Hudson
River Museum.
Gift of the
artist, 1984
(84.22). © Mary
Frey.
Winfred Rembert (1945–2021), The Curvey II, 2014. Dye on carved and Seongmin Ahn (b. 1971), Aphrodisiac 30, 2019. Ink, pigments and
tooled leather. Collection of the Hudson River Museum. Gift of Jan and Warren wash on mulberry paper. Collection of the Hudson River Museum.
Adelson,2020 (2020.11). Recent acquisition. © Winfred Rembert. Museum Purchase, 2021 (2021.6). Recent acquisition. © Seongmin Ahn.

reveal whether it says “Walk” or “Don’t
Walk.” And it doesn’t matter.
Like The Dance, Anna Walinska’s 1939
Self-Portrait: Flamenco subverts the kinds
of expectations we find in, say, Degas’
dancers where the gaze of the viewer
is almost a transgression. Walinska, who
was an important arts organizer as well
as a painter, is the one painting herself
dancing. The exercise is reflexive, a
circle already closed by the artist as
artist who is also the artist as subject
and, perhaps, the intended viewer. We
can observe her heightened state of
being but can no more break into it
than the guitarist who accompanies
her. Contrast this, for a moment, with
John White Alexander’s 1885 painting,
Azalea (Portrait of Helen Abbe Howson).
The correlation between the potted
azalea branch and the stillness of the
classic, “woman in white” portrait
defines one standard of American
beauty in the late 19 th century. Swing
back to Hollingsworth’s Aspects of
Beauty. Both exude stillness, yet there is
potential energy in the towering black
woman in Hollingsworth’s painting,
while Helen Abbe Howson’ stillness
seems restrained. Her arms, hands, and
jaw want to move, to explode, but they
cannot. Is this deliberate on the part of
the artist, or does it express something
of the era’s zeitgeist, or both?
Mary Frey’s photograph, Girls
Sunbathing, and Winfred Rembert’s
painting, The Curvey II return us to
an innocence that is part and parcel of
America’s dream of itself in an eternally
renewable youth, a childhood we
never see as childish, even when we
ought to. Images like these, however,
of young Black Americans in the joy
of swimming—at leisure and at rest—
are images we rarely see, images that
should not be so uncommon. Indeed,
compare these to Ghanaian artist Tijay
Mohammed’s 2021 work, Ruby Bridges,
and the weight of history on children
in Black America is made manifest.
Bridges, whose role as a 7-year-old
girl in the desegregation of American
schools in 1960 continues to inspire, is
here superimposed on a five-dollar bill.
With concentric gold haloes around
her head, Mohammed’s work offers a
new vision of a new America, from an
African artist’s point of view.
So, who are we? Order/Reorder:
Experiments with Collections asks the
questions and leaves the answers to us as
we shuffle and reshuffle the works in the
exhibition. Are we powerful, beautiful,
innocent, joyous? Are we despotic, self-
absorbed, corrupt, melancholy? Are we
childlike with wonder when we look at
one another and the natural world? Or
are we childish conquerors of everything
and everyone we see?
Art always seems to ask if we’re makers
or takers. But perhaps there is no either
or. Perhaps, no matter how we juxtapose
the images, we’re all of the above at one
time or another. And “all of the above,”
after all, is a very American idea.

37
 S A R G E N T

& S P A I N
The National Gallery of Art presents an extensive collection of art and
never-before-published photographs that reveals the influence travels through
Spain had on iconic 20th century artist John Singer Sargent By John O’Hern

Above: John Singer Sargent (1856-1925), Alhambra, Patio de Los Leones (Court of the Lions), 1895. Oil on canvas, 293/16 x 40 in. Private collection.

38
 J ohn Singer Sargent (1856–1925) was the
preeminent society portrait painter of his
time. I was brought up with easy access to
the Museum of Fine Arts and the Isabella Stewart
Gardner Museum in Boston. His portraits became
favorite old friends to revisit. At the Gardner
Museum, one of the first paintings visitors encounter
is his monumental (91 5/16 x 137 in.) painting of
a flamenco dancer, El Jaleo, one of his submissions
to the Paris Salon of 1882. Mrs. Gardner created a
dramatic setting for the painting in her newly-built
Spanish cloister and lit it from below echoing the
floodlights in the painting. It was easy to imagine
there, including its celebrated dancers…. Sargent and
Spain reveals—for the first time—the depth of this
engagement and the deliberate approach the artist
adopted in depicting the rich subject matter he
discovered. Also featured from his travels are some 28
never-before published photographs, several almost
certainly taken by the artist himself.
“The exhibition is curated by Sarah Cash,
associate curator of American and British
paintings at the National Gallery of Art, with
Richard Ormond and Elaine Kilmurray,
leading authorities on the artist and authors of
the John Singer Sargent catalogue raisonné.”

Likely John Singer

Sargent, Alhambra,
Patio de los Leones
(Court of the Lions),
probably 1912
stereoscopic glass
transparency, 1¾ x 4¼
in. Private collection.

hearing the music, castanets and snapping figures
as I gazed at the impressive painting that provides
a rather large clue to another aspect of Sargent’s
interests and oeuvre.
Drawings for El Jaleo are included among
the 120 oils, watercolors and drawings, in the
exhibition, Sargent and Spain, at the National
Gallery of Art in Washington, D.C., October
2 through January 2, 2023, and at the Fine Arts
Museums of San Francisco, Legion of Honor,
February 11 through May 14, 2023.
The museums note, “His captivation with Spain,
although lesser known, resulted in a remarkable
body of work documenting his immersion in the
country’s rich culture: landscapes and marine scenes,
pictures of everyday life, and architectural studies, as
well as sympathetic portrayals of the locals he found
In their catalogue essay, Ormand and Kilmurray
explain, “Spain engaged John Singer Sargent’s
imagination in a profound and sustained way. Over
seven extended visits made from 1879 to 1912,
he responded to the country’s people, art, culture,
dance, and music, its deep reserves of spirituality,
its landscape and architecture. It inspired over 150
oil paintings and watercolors as well as a large
cache of drawings, and it left its mark on many
aspects of his art. The paintings of the 17th-century
master Velázquez exerted a lasting influence on his
portraiture, while his Triumph of Religion murals
in the Boston Public Library are indebted to the
imagery of Spanish religious art. Sargent had friends
in Spain, among them leading artists and art critics;
he promoted the work of Goya and El Greco and
was involved in the acquisition of Spanish works of

39
 John Singer Sargent (1856-1925), Majorcan Fisherman, 1908. Oil on canvas, 35¼ x 29½ in. Private collection.

40
John Singer Sargent (1856-1925), Sketch of Dancer, after El John Singer Sargent (1856-1925), Spanish Soldiers, ca. 1903. Watercolor over
Jaleo, ca. 1882. Graphite and watercolor on prepared clay-coated graphite, with gouache, on paper,
paper, 101⁄8 x 5 in. The Metropolitan Museum of Art, gift of
Mrs. Francis Ormond, 1950 (50.130.139). Image copyright © The
Metropolitan Museum of Art. Image source: Art Resource, NY

art for American collections.”
Sargent often traveled with friends,
painting them painting together or in
repose. In the exhibition is his painting of
Eliza Wedgwood, ca. 1908-1909, a friend of
his and his sister, Emily, a member of the
English porcelain manufacturing family.
In Spain, Sargent was captured by
the people as they danced, worked and,
in the case of Spanish Soldiers, ca. 1903,
convalesced in a Renaissance hospital in
Santiago de Compostela.
His fascination with and command of
light can be seen in Majorcan Fisherman,
1908. Sarah Cash describes the painting
as “his Majorcan figural tour de force.
A young fisherman, leaning to his right
as if to reveal the cool blues of sea and
sky beyond his compound, confronts
the viewer with a piercing stare. Yellows
and oranges convey the intense heat
of the sun, while intersecting shadows
coalesce with the verticals, horizontals,
and diagonals of the thatched structure
to form a nearly abstract mosaic.”
By 1912 he was very interested in
photography. Cash notes that he was
adding “commercially produced prints
to his collection but also photographing
buildings, fountains, gardens and local
people.As he wrote excitedly to his friend
William Rathbone, he ‘brought back a
lot of work but principally oils—and
photographs! Very few watercolours.’”
His ca. 1912 stereograph of the Court of
the Lions at the Alhambra, is a more distant
view of the subject he painted in 1895.
“In Majorca, the artist brought his
interest in ornament to bear not only
on the built environment, but on the
natural world,” Cash comments. She
continues, “Under the Olives with its near
blending of the girls’ and pigs’ textured
forms into the sloping olive grove—
call to mind The Hermit of the same
year. Here, as fellow artist Kenyon Cox
noted, Sargent rendered the scene ‘as
one might perceive it in the first flash of
vision if one came upon it unexpectedly.’
Cox’s description could just as readily
apply to the three landscape pictures.”

41
 Clockwise
from top:
John Singer Sargent
(1856-1925), Under
the Olives, 1908. Oil
on canvas, 22 x 28 in.
Cedarhurst Center for
the Arts, Mount Vernon,
IL. Gift of John R. and
Eleanor R. Mitchell,
1973.1.54. Photograph
by Daniel Overturf.
John Singer Sargent
(1856-1925), Eliza
Wedgwood, ca.
1908–1909.Watercolor
over graphite on paper,
21 x 14½ in. The Hevrdejs
Collection.
John Singer Sargent
(1856-1925),Alhambra,
Patio de los Arrayanes
(Court of the Myrtles),
1879, oil on canvas,
225/8 x 19¼ in. Private
Collection.

42
John Singer Sargent (1856-1924), White Ships, 1908. Watercolor over graphite, with gouache and wax resist, on paper, 137/8 x 193/8 in. Brooklyn Museum,
purchased by special subscription 09.846.

Light and shadow broaden out in Sargent’s

luminous Alhambra, Patio de los Arrayanes
(Court of the Myrtles), 1879. Cash describes the
composition and the artist’s control of light and
shadow. “…It shows a cropped asymmetrical
view, down the reflecting pool to the north
arcade. Unlike the muted tones of the synagogue
interior, here Sargent reveled in the play of the
bright sun on the richly toned building and the
water. The nearly palpable heat contributes to
the impressionist feel of the scene, as does the
blurring of the lower left quadrant and certain
architectural details.The off-center sight line and
the recession of spaces seen through the central
archway, from light to dark to light again, augur
Sargent’s use of these pictorial devices in his
Venetian interiors so influenced by Velázquez.”
Cash observes, “Sargent visited many other
locales over his long career that inspired deep
investigations of people, architecture, land and
John Singer Sargent (1856-1925), Women at Work, ca. 1912. Oil on canvas, 34½ x 40½ in.
sea. However, his enduring engagement with his
Private collection; Seattle, WA.
surroundings in Spain remains singular.”.

43
 GALLERY PREVIEW: SEATTLE, WA

Painting a Region
A survey of foundational Pacific Northwest painters reveals
an important moment in American art history.

September 15-November 15
A.J. Kollar Fine Paintings
1421 E. Aloha Street
Seattle, WA 98112
t: (206) 323-2156
www.ajkollar.com

By Meg Daly

T he Pacific Northwest has

long been an inspiration for
artists. Before grunge rock and
Jonathan Borofsky’s Hammering Man,
there were paintings by Harriet Foster
Beecher, Grafton Tyler Brown and
Sydney Laurence. While Indigenous
artists of the Pacific Northwest had
been making art for thousands of years,
non-Native American artists were drawn
to the region during the westward
expansion of settlers in the late 1880s.
Not only did these artists show the rest
of the world what it looked and felt like
in the Pacific Northwest, they excelled
in their media, garnering accolades for
their work.
The exhibition at A.J. Kollar
Fine Paintings, Defining a Region:
Contextualizing Art of the Pacific
Northwest, captures this burgeoning
artistic vocabulary of the Pacific
Northwest at the turn of the 20th
century. The exhibition features
paintings by artists visiting and living
in the western northern coastal regions
of Oregon, Washington, Canada and
Alaska. Included are works by Albert
Bierstadt, Harriet Foster Beecher, Eliza
Barcus, Grafton Tyler Brown, Paul
Gustin, Abby Williams Hill, Sydney Harriet Foster Beecher (1854-1915), Pondering, 1896. Oil on canvas, 26 x 20 in.
Laurence, William Samuel Parrott,

44
Grafton Tyler Brown (1844-1918), Mt. Hood, Oregon, 1888. Oil on canvas, 10 x 20 in.

Frederic Remington, James Everett Pacific International Expo-Advisory According to Kollar, Beecher’s
Stuart, Jules Tavernier, and Eustace Committee. Trained at the San landscape paintings included “Salish
Ziegler. Francisco Art Institute, Beecher lived tribal scenes along the Puget Sound
“The art of the 19th and early-20th in Port Townsend, Washington, and coast, as well as portraits of Clallam
century in the Pacific Northwestern Seattle as an adult. She was a charter and Makah tribal members.” Included
region is only partially researched,” says member of the Society of Seattle in the exhibit is a portrait by Beecher
gallery owner and director Allan Kollar. Artists, which was formed in 1904. It titled Pondering.
“Several of the artists’ names will be became the Seattle Fine Arts Society, One of Beecher’s female
new to collectors and academics.” which later founded the Seattle Art contemporaries was Abby Williams
Some of the artists were well known Museum. Hill, a plein air landscape painter
in their day but did not become
household names like Bierstadt and
Remington. For instance, Grafton
Tyler Brown is credited with being the
first Black artist to paint landscapes of
the Pacific Northwest. Born a freed
man in 1841, Brown first became
skilled at lithography before turning
to painting. He spent severwal years
in various Northwest locations. While
living in Victoria, Canada, a show of his
landscape paintings earned him praise
from one critic as “the pioneer of this
intellectual and refined art.”
Landscape paintings at that time
weren’t simply decorative. As Kollar
notes, “These artists recorded an
unknown perspective for those living
on the eastern and southern parts of
the continent.”
Harriett Foster Beecher exhibited
at the 1893 Columbian Exposition in Sydney Laurence (1865-1940), Cache - The Lower Sustina River, Anchorage, Alaska, 1919.
Chicago, and served on the Panama- Oil on canvas on board, 12 x 16 in.

45
 James Everett Stuart (1852-1941), Sunset Glow - Mount Hood from near Portland, Oregon, 1910. Oil on canvas, 18 x 30 in.

who lived in Tacoma, Washington, and traveled

extensively throughout the West. Her work
was commissioned by the Great Northern and
Northern Pacific railroads, and exhibited at the
1904 St. Louis World’s Fair and the 1905 Lewis and
Clark Exposition in Portland, Oregon.
The arrival of the transcontinental railroad to
the Pacific Northwest in the 1880s changed the
region dramatically. While artists like Hill helped
the railroad companies show the grandeur of the
region, other artists showed the shifts that came
with an influx of people from the Northeastern
United States. According to Kollar, painters
Sydney Laurence and Eustace Ziegler captured the
rapid changes occurring in the Alaskan territory.
“They were two of the region’s most loved
artists during the early-20th century,” Kollar says.
“Their paintings were and still are highly sought
after.”
One of the works on display by Ziegler, Shadow
of the Wing, shows an Inuit mother and child

Eustace Paul Ziegler (1881-1969), Shadow of the Wing, 1962.

Oil on canvasboard, 20 x 16 in.

46
Frederic Remington (1861-1909), An Idyll of the Coast. Gouache on paper 7¾ x 21½ in.

under the protective eagle totem pole.

Kollar says this is likely a Madonna and
child reference, a motif Ziegler used
throughout his career. “The mother
and child are away from the house,
in the presence of an iconic symbol,”
Kollar says. “There is respect for the
beauty and spiritual strength of the
natural world they—and we—live in.”
Defining a Region: Contextualizing Art
of the Pacific Northwest presents a unique
window into a particular time and
region in American history. The lands
and waters of the Pacific Northwest
appear as they were before freeways
and urban sprawl. So, too, the simpler
lives of inhabitants new and old.
Another subtler subject, is the quality
of Northwest light—a coolness and a
northerly latitude perceptible in the
way shadows fall.
In all, the exhibition promises to be a
feast for the eyes as well as the mind.

Albert Bierstadt (1830-1902), Stanley Park,

British Columbia, ca. 1889. Oil on canvas,
19¼ x 13¼ in.

GALLERY PREVIEW: SEATTLE, WA 47

 GALLERY PREVIEW: NEW YORK, NY

Going Places
Hawthorne Fine Art presents historic works by women
artist travelers of the early 20th century

September 13-November 1
Hawthorne Fine Art
135 E. 57th Street, 14th Floor
New York, NY 10022
t: (212) 731-0550
www.hawthornefineart.com

B y the turn of the 20th century,

women had become more
visible in the public sphere,
including the workforce, politics and
art. But while cultural attitudes toward
womanhood were starting to change,
it was not without strong resistance
for much of the remaining century. So,
while opportunities were beginning to
open up for women and international
travel was becoming more accessible,
it still took a strong and determined
woman to defend and exercise her right
to freedom.
More than a dozen of such women
and upward of 30 works are featured
in Going Places: Women Artist Travelers
of the Early 20th Century, an upcoming
online exhibition and sale presented
by Hawthorne Fine Art. The featured
paintings take viewers on a journey
through Europe and the far reaches
of Africa as seen through the eyes and
brushes of these historic female artists.
The collection is comprised of both
new acquisitions and rarely before seen
work by intrepid artists that include
Ohio native, Alice Lolita Muth (1887-
1952) who documented her time
living in the countryside of France and
Spain, and her eventual home in North

Helen M. Goodwin (1865-1955), Market Street

Scene. Oil on board, 10¾ x 6¼ in. Signed lower
right.

48
 Martha Wood Belcher (1844-1930), The Fountain at Amalfi, Italy,
1921. Oil on canvas mounted on board, 10 x 12 in. Signed lower
right; titled and inscribed with artist’s name and studio address
verso; original exhibition label verso.

Africa. A major work newly acquired by Hawthorne

Fine Art by American impressionist Martha Walter
(1875-1976) depicts women and children returning
from a day of labor in an Italian hill town. Historic
European landmarks are featured in several works by
Anna Mary Richards Brewster (1870-1952) and in
an Italy-inspired watercolor by Mary Lane McMillan
(1883-1976).
The impressive works in the collection go on to
include bustling street and market scenes by Jene
Peterson (1876-1965), Helen M. Goodwin (1865-
1955) and Martha Wood Belcher (1844-1930)

Edith V. Cockcroft (1881-1962), From My Window, Concarneau. Oil

on canvas, 30 x 40 in. Signed lower right.

49
 alongside pieces by Mary Cumming
Browne (1861-1939), Pauline Palmer
(1867-1938), Edith V. Cockcroft (1881-
1962), Ruth Anderson (1891-1957),
Theresa Bernstein (1890-2002) and
Florence Robinson (1874-1937).
These historic American artists
shared parallels that went beyond
their adventurous spirit. While not
concurrently, Anderson, Belcher,
Walter, Cockcroft and McMillan
were all students of William Merritt
Chase. Anderson and Walter also both
attended the Pennsylvania Academy
and were recipients of the prestigious Left: Alice Lolita Muth
Cresson Traveling Scholarship. (1887-1952), Portrait
Anderson, Bernstein, Walter and d’un Tunisien Oil on
wood, 171/₁₆ x 14¼ in.
Peterson frequented the Gloucester Signed lower right.
artist colony and also exhibited
Below: Jane Peterson
together. In 1917, Walter and (1876-1965), Street
Bernstein participated in the annual Scene in Biskra, ca.
exhibition of the National Association 1910. Oil on canvas,
unlined, 18 x 24 in.
of Women Painters and Sculptors Signed lower right:
show. The same year, Bernstein and Jane Peterson.

50
Alice Muth (1887-1952), Mountain Landscape. Oil on canvas, 45 x 47 in. Signed lower right.
Anderson exhibited at the National
Academy of Design while Walter
and Peterson exhibited together in a
traveling exhibition entitled Paintings
by Six American Women.
“These women forged successful
art careers despite the challenges faced
by women artists of the day,” says
Hawthorne Fine Art research associate,
Megan Bongiovanni. “Martha Walter
traveled extensively and supported
herself through sales of her artwork
and teaching. Martha Belcher helped
support her family through sales of
her paintings. Pauline Palmer was
the first woman president of the
Chicago Society of Artists. Maren
Froelich was one of the first women
to exhibit at the Bohemian Club. Anna
Mary Richards Brewster founded
the Scarsdale Artist Society. Edith
Cockcroft was a founding member
of the New York Society of Women
Artists. Collectively, these women
paved the way for the next generation
of women artists.”
Individually, and even more so
together, these remarkable artists and
women offer a nuanced picture of
early 20th century culture through
works that illuminate the beauty they
saw in the world around them despite
difficult circumstances, and provide a
unique opportunity to be awed by the
art itself and the intrepid women who
created it. The online exhibition and
sale, Going Places: Women Artist Travelers
of the Early 20th Century, will run from
September 13 through November
1. To access and download a digital
copy of the catalogue, visit www.
hawthornefineart.com/catalogues.
GALLERY PREVIEW: NEW YORK, NY 51
 Insights into historic American artwork newly available
from galleries and dealers around the country

Edward Lamson
Henry (1841-1919)
Apprehensive
Edward Lamson Henry’s (1841-1919)
painting Apprehensive is one in a series
of works Henry painted around 1890
showing African American children
in school settings in the vicinity of his
home in Cragsmoor (Ellenville), New
York. The most widely reproduced
example from this group is titled Kept
In at the Fennimore Museum showing
a young African-American girl inside
a similar one-room school house
while her school mates play during
recess outside. The reason for her
confinement is not made explicit in the
painting but it does not appear to be
a happy choice. A painting at the Yale
University Art Gallery shows a similar
schoolroom in the same area with all
white students. Apprehensive, acquired by
Thomas Colville Fine Art in Guilford,
Connecticut, depicts an African
American boy hesitantly entering a
school while another Black boy looks
anxiously at him from the back of the
classroom. This work was formally in
the collection of Jack Warner’s Gulf
States Paper Corporation and was
given the title Tardy as far back as 1962
when it was published in the Kennedy
Quarterly. There is no prior record
of Henry giving it or another work
this title. Because it has a pejorative
connotation, Colville has titled it
Apprehensive which seems more aligned
with the apparent situation of a black Edward Lamson Henry (1841-1919), Apprehensive, ca. 1890. Oil on panel, 13¼ x 10 in.
child entering a predominately white Signed E. L. Henry lower right.
school. Rural schools in Ulster County,
New York, were integrated at this time the obstacle of distance he had to Thomas Colville Fine Art
but black students often encountered overcome in order to get there. In either 111 Old Quarry Road
what one black parent called “frozen case, it presents a vivid picture of the Guilford, CT 06437 • (203) 453-2449
hospitality.” It is not clear whether the discrimination facing African American tlc@thomascolville.com
boy’s unease, clearly evident on his school-age children as witnessed in E. www.thomascolville.com
face, is a result of the atmosphere he L. Henry’s New York. Thomas Colville
has to face in the classroom or from Fine Art is asking $50,000 for the piece.

52
Martha Walter (1875–1976), Women and Children in Anticoli, ca. 1908-1910. Oil on canvas, 36 x 40 in. Signed lower right.
Martha Walter
(1875–1976)
Women and Children in Anticoli
The American impressionist Martha
Walter (1875-1976) was recognized
during her extensive career for colorful
beach scenes and her depiction of
women and children. Recently acquired
by Hawthorne Fine Art at auction,
Walter’s Women and Children in Anticoli
is a major work by the artist and depicts
washerwomen with their children
returning home after a day of labor.
Watercolor sketches executed by the
artist during her travels in the Italian
hilltop village of Anticoli Corrado
just north of Rome likely served as
references for the large-scale work. A
Philadelphia native, Walter attended
the Pennsylvania Academy of the Fine
Arts and studied under William Merritt
Chase. In 1908, she was awarded the
Academy’s Cresson traveling scholarship
and continued her studies in Paris at the
Grande Chaumière and the Academy
Julian before establishing a studio with
like-minded American women artists.
Her remarkable talent led to several
one-woman exhibitions including the
Cincinnati Art Museum (1914), the
Galerie Georges Petit Paris (1922) and
the Art Club of Chicago (1941). Walter’s
work continues to be sought after
and today can be found in numerous
collections including the Pennsylvania
Academy of the Fine Arts, the Detroit
Institute of Arts, the Art Institute of
Chicago, the Philadelphia Museum of
Art, the Musée d’ Orsay in Paris and
the Musée Du Luxembourg, to name a
few. Women and Children in Anticoli will
be part of Going Places:Women Artist
Travelers of the Early 20th Century, an
online exhibition and sale that begins
September 13. Hawthorne Fine Art has
set an asking price of $18,500 for the
piece.
Hawthorne Fine Art
135 E. 57th Steet • New York, NY 10022
(212) 731-0550
infohawthornefineart.com
www.hawthornefineart.com
53
 MUSEUM PREVIEW: NEW YORK, NY
Hopper’s City
The Whitney Museum of American Art highlights Edward Hopper’s New York
paintings in new exhibition
October 19-March 5, 2023
Whitney Museum
of American Art
99 Gansevoort Street
New York, NY 10014
t: (212) 570-3600
www.whitney.org
A t some point between January
and May 1930, Edward Hopper
finished a painting depicting
a row of two-story buildings along 7th
avenue near Washington Square Park in
New York City, not far from his studio.
By May 1930, the piece, titled Early
Edward Hopper (1882-1967), Early Sunday Morning 1930. Oil on canvas, 353/16 x 60 ¼ in. Whitney Museum of American Art, New York; purchase with
funds from Gertrude Vanderbilt Whitney 31.426. © 2019 Heirs of Josephine N. Hopper / Licensed by VAGA at Artists Rights Society (ARS), New York.
54
Sunday Morning, would be acquired
by Gertrude Vanderbilt Whitney and
within a year it would become a star
in the inaugural 1931 exhibition at the
Whitney Museum of American Art.
So would begin a long and prosperous
relationship between a great American
museum and one of the greatest
American painters.
“The career and work of Edward
Hopper has been a touchstone for the
Whitney since before it was founded
as a museum. In 1920, 37-year-old
Hopper had his first-ever one-
person exhibition at the Whitney
Studio Club—an association formed
by Gertrude Vanderbilt Whitney
to support independent American
artists working against the grain of
conventional academic art,” writes
Adam D. Weinberg, director of the
Whitney Museum, in Edward Hopper’s
New York. “This presentation consisting
of 16 paintings made in Massachusetts,
Maine and Paris was organized by
artist Guy Pène du Bois—his friend,
champion and fellow Studio Club
member—and it received little if
any critical attention. Two years later
Hopper showed 10 Paris watercolor
caricatures at the Studio Club and his
work was included in a number of
other exhibitions there before it closed
in 1928 to make way for the Whitney
Museum of American Art, which
would open in 1931. Hopper’s painting
Edward Hopper (1882-1967), Manhattan Bridge, 1925-26. Watercolor and Edward Hopper (1882-1967), Roofs, Washington Square, 1926. Watercolor
graphite pencil on paper, 1315/16 x 1915/16 in. Whitney Museum of American over charcoal on paper, 13؏/؏ x 19؏/؏ in. Carnegie Museum of Art,
Art, New York; Josephine N. Hopper Bequest 70.1098 © 2022 Heirs of Pittsburgh; Bequest of Mr. and Mrs. James H. Beal. © 2022 Heirs of
Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York. Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York.

Room in New York was included in the In the exhibition’s catalog, Conaty turning away from the present did not
first Whitney Biennial in 1932 and he notes that Hopper was primarily go unnoticed by his contemporaries.
participated in 29 subsequent biennials interested in the surface of the Earth In fact, it was widely lauded. Critic
and annuals through 1965 as well as and less in the verticality of Manhattan Edward Alden Jewel reflected in the
several other group exhibitions. In and its great structures. “Hopper’s New York Times: ‘The quest of those
1950 the Whitney organized the artist’s contrarian take on the contemporary fast-disappearing houses of an earlier
second career retrospective exhibition, city became a recurring subject in generation, distinguished by mansard,
which traveled to Boston and Detroit, the critical reception of his work dormer, turret, and legion gingerbread,
and 14 years later launched another around 1930,” she writes. “To some, has put us manifestly in Hopper’s debt.’
major monographic show that traveled his penchant for outdated, low-slung Guy Pène du Bois famously wrote that
to Chicago, Detroit and St. Louis. Since 19th-century buildings demonstrated the New York of his friend Hopper
the artist’s death in 1967, the Whitney a conscious act of resistance, and his ‘is one that people with their restless
has organized many monographic
exhibitions, large and small, and his
work has been included in dozens of
group exhibitions at the museum, more
than that of any artist.”
The Whitney and Hopper are once
again coming together in a stunning
new exhibition titled Edward Hopper’s
New York, which opens at the museum
on October 19. The exhibition will
feature nearly 200 objects, including
graphite sketches, preliminary studies,
illustration pieces, etchings, self-
portraits, archive material and a number
of major oil paintings that will be very
familiar to many visitors. Works include
Two Comedians, Office at Night, Automat,
Night Windows, Room in New York, New
York Movie, Morning in a City, People in
the Sun and many other classic Hopper
images that show the artist’s careful
observations of people and places
in New York City. The exhibition is
curated by Kim Conaty, the Steven and Edward Hopper (1882-1967), Automat, 1927. Oil on canvas, 28؏/؏ x 35 in. Des Moines Art Center,
Des Moines, Iowa; purchased with funds from the Edmundson Art Foundation, Inc. © 2022 Heirs
Ann Ames Curator of Drawings and of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York. Photograph by Rich
Prints at the Whitney. Sanders, Des Moines, Iowa.

55
 Edward Hopper (1882-
1967), Morning Sun, 1952.
Oil on canvas, 281/8 x 401/8
in. Columbus Museum
of Art, Ohio: Museum
Purchase, Howald Fund.
© 2022 Heirs of Josephine
N. Hopper/Licensed by
Artists Rights Society
(ARS), New York.

Edward Hopper (1882-

1967), Room in New York,
1932. Oil on canvas,
29 x 36 in. Sheldon
Museum of Art, University
of Nebraska—Lincoln;
Anna R. and Frank M.
Hall Charitable Trust. ©
2022 Heirs of Josephine
N. Hopper/Licensed by
Artists Rights Society
(ARS), New York.

56
 Edward Hopper
(1882-1967),
Queensborough
Bridge 1913. Oil on
canvas, 257/8 x 381/8
in. Whitney Museum
of American Art,
New York; Josephine
N. Hopper Bequest
70.1184. © 2022
Heirs of Josephine N.
Hopper/Licensed by
Artists Rights Society
(ARS), New York.

need for change have overlooked: it

is a part of its backwaters untouched
by the swift current of the main
tide…His realities are in the past of
his youth.’ Hopper’s embrace by the
Museum of Modern Art, New York,
with a retrospective in 1933 followed
on the heels of the young museum’s
groundbreaking exhibition the previous
year that defined International Style,
a coincidence that perhaps prompted
director Alfred H. Barr to observe of
Hopper: ‘His indifference to skyscrapers
is remarkable in a painter of New York
architecture.’ Forbes Watson added:
‘Through that hysterical period of
American art when the first rush to
be modern took place (it had not then
become a gold rush) Edward Hopper Edward Hopper (1882-1967), The Sheridan Theatre, 1937. Oil on canvas, 17 x 25 in. Newark Museum
stalked, a quiet, slightly sneering, of Art, NJ; Felix Fuld Bequest Fund. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights
silently honest figure of obstinacy.’” Society (ARS), New York. Image courtesy Art Resource.
Hopper’s New York works also
highlight his interest in interior spaces storefront-like display, eliminating urban life. The charged moments
as people live their lives. The works mullions or frames to create an Hopper captured in barbershops,
have an almost voyeuristic presence illuminated scene worthy of cinema,” restaurants and apartments take on the
to them, as if Hopper is spying into Conaty writes. “The city’s walls of quality of willful distillations, offering
open windows to observe the city’s glass offered myriad compositional and just enough information for the figure
private moments. “In defiance of narrative possibilities, allowing Hopper to justify the space and for the space to
architectural logic, Hopper transforms to tap into the discomfiting awareness accommodate the figure.”
what might have been separate street- of being alone in a crowd that had Edward Hopper’s New York will remain
level apartment windows into a single become synonymous with modern on view through March 5, 2023.

MUSEUM PREVIEW: NEW YORK, NY 57

 MUSEUM PREVIEW: PROVO, UT

The Free World of the Imagination

Brigham Young University Museum of Art hosts an exhibit
of the racially charged works of Romare Bearden

October 15-January 22, 2023

Brigham Young University
Museum of Art
O n April 8, 1968, the Rev.
Martin Luther King, Jr. gave
what is called his “I’ve Been
to the Mountaintop” speech. He said,
“Let us rise up tonight with a greater
to make America a better nation….I
just want to do God’s will. And He’s
allowed me to go up to the mountain.
And I’ve looked over. And I’ve seen the
promised land. I may not get there with
Campus Drive
Provo, UT 84602 readiness. Let us stand with a greater you. But I want you to know tonight,
t: (801) 422-8287 determination. And let us move on that we, as a people, will get to the
moa.byu.edu in these powerful days, these days of promised land.” The following day he
challenge to make America what it was assassinated.
ought to be. We have an opportunity Romare Bearden (1911-1988)

Romare Bearden (1911-1988), Quilting Time (Detroit Institute of Arts), 1986. Poster, 17 x 25¼ in. ART©Romare Bearden Foundation, NY.

58
Romare Bearden (1911-1988), Martin Luther King—Mountain Top, 1968. Screenprint, 30 x 19½ in. ART©Romare Bearden Foundation, NY.

59
 Romare Bearden (1911-1988), Factory Workers (Fortune magazine), 1942. Magazine page, 14 x 11 in. ART©Romare Bearden Foundation, NY.

60
created a collage, Martin Luther
King—Mountain Top, 1968, honoring
the fallen leader. Bearden had been
drafted in 1942 and served in the all-
Black 372nd Infantry Regiment until
1945. He recognized the malingering
prejudice that Dr. King sought to
combat. A silkscreen print of the
collage is included in the exhibition
Romare Bearden: Artist, Activist,
and Advocate of The Promised Land,
organized by The Romare Bearden
Foundation and on display at the
Brigham Young University Museum
of Art from October 15 through
January 22, 2023.
The museum notes, “This
exhibition presents examples of
Bearden’s influences as an artist of
social conscience and action. Bearden
is recognized as one of the most
important visual artists of the 20th
century, countered racial stereotypes
with images drawn from history,
literature, and the free world of his
imagination.”
Bearden (who pronounced his first
name as “ROH-mery”) was born in
Charlotte, North Carolina, where
his family lived with his paternal
grandparents. The family later moved to
Harlem, New York, and he would return
to Charlotte for visits. His mother was
an activist and their home was a magnet
for people like Langston Hughes, W.E.B.
DuBois and Duke Ellington, who
would become his first patron.
Bearden began college at Lincoln
University, transferred to Boston
University and completed his studies
at New York University, graduating
with a degree in education. From
the mid-1930s through the 1960s, Romare Bearden (1911-1988), Two Worlds, 1980. Lithograph, 17½ x 13 in. ART©Nanette Bearden
Bearden was a social worker with Estate, NY.

the New York City Department of

Social Services, working on his art at
night and on weekends. His summers
back in Mecklenberg County, North
Carolina, formed the memories that
would become expressed in art. He
transformed his experiences through
his art because, in his words, “I am
trying to explore the particulars of
the life that I know best; those things
common to all cultures.”
Quilting Time, 1986, depicts a group
of people gathered around women
making quilts. Its theme shows the
sense of community and the reverence
for tradition. In 1977, Calvin Tomkins
wrote one of his profiles in The New
Yorker magazine on Bearden. He
observed, “Bearden believed…that
the Negro was becoming something
of an abstraction in the ’60s, a sort of
caricature or protest and injustice. For
his own part, he wanted, as he said in
1964, to ‘establish a world through art
in which the validity of my Negro
experience could live and make its
own logic.’ Bearden was concerned
with art—not propaganda. ‘I have
not created protest images,’ he said.
‘The world within the collage, if it is
authentic, retains the right to speak for
itself.’”

MUSEUM PREVIEW: PROVO, UT 61

 MUSEUM PREVIEW: NEW YORK, NY
A History of Influence
The Hispanic Society Museum & Library chronicles the inspiration drawn from Spain,
Portugal and Latin America in historical and modern watercolors
Milan Petrovic (1893-1978), Santo Domingo, Salamanca,
1927. Watercolor on paper, 255/8 x 1911/16 in.
Through October 16
Hispanic Society Museum
& Library
613 W. 155th Street
New York, NY 10032
(212) 926-2234
www.hispanicsociety.org
T hrough October 16, the
Hispanic Society Museum &
Library traverses the many
American artists who were inspired
by the historic watercolors painted in
and depicting the regions of Spain,
Portugal and Latin America. The
museum features 70 paintings from
their permanent collection, including
the works of contemporary artist
62
Orville Houghton Peets (1884-1968), The Jacaranda Tree, ca. 1918-1921. Mixed media
(gouache and watercolor) on canvas grain paper, 12½ x 143/8 in.
Timothy J. Clark, in conversation with
45 decorative objects from actual places
depicted in the paintings.
The exhibition came from the
research and awareness of Marcus B.
Burke, Hispanic Society Museum &
Library senior curator, emeritus, upon
discovering the sequential influence
that artists had on another. He explains,
“This exhibition idea resulted from my
study of the works of Childe Hassam
(1859-1935) in our collection, and the
awareness of the role that Hassam’s
visit to the 1909 Joaquín Sorolla
(1863-1923) exhibition at the Hispanic
Society played in his decision to return
to Spain in 1910.”
Burke was also familiar with Max
Kuehne (1880-1968) and his series
of small oil sketches painted in 1920,
who was also inspired by the Hispanic
Society’s collections. “A decade later,
when the traveling exhibition Sorolla
and America visited San Diego in 2014,
a Southern California artist, Timothy
J. Clark, attended the show, over half
of which had come from the Hispanic
Society’s collections,” Burke says. “Like
Hassam and Kuehne before him, Clark
was inspired to return to Spain, and
subsequently, return to Mexico, with
the precedent of Sorolla in mind.”
The esteemed curator befriended
Clark, got to know more about his
large-scale watercolors, and “began
to investigate more fully this aspect
of our collection of 6,800 drawings
and watercolors,” he shares. “To my
very pleasant surprise, I found a huge
treasure of splendid works of art by
 Timothy J. Clark,
Gryphons, Azores,
2005. Watercolor on
paper, 22 x 30 in.

now little-known American artists, all of whom had visited Spain

with conscious awareness of the Hispanic Society, its Founder,
Archer Milton Huntington, and its collections.”
Burke discovered the impressive works of George Wharton
Edwards (1859-1950), Florence Vincent Robinson (1874-1937),
Orville Houghton Peets (1884-1968), Milan Petrovic (1893-1978)
and Ernest Clifford Peixotto (1869-1940), among many others.
As part of the exhibition, Clark will be including 12 of his
own watercolor pieces alongside these master artists, as a way to
illustrate the modern response to the ongoing Hispanic and Spanish
influence. One incredible highlight coming from Clark’s series is
Gryphons, Azores—from his trip to Portugal. “I really adore this
picture,” Burke remarks. “It is theatrical without being stereotypical
and the motif is presented and colored in such away—color is
important to [Clark’s] work.”
Other works of importance include Hassam’s Outer Gate (Puerta
del Sol), Toledo, 1910; Petrovic’s Santo Domingo, Salamanca, 1927; and
IMAGES COURTESY OF THE HISPANIC SOCIETY MUSEUM & LIBRARY.

Peets The Jacaranda Tree, ca. 1918-1921.

The watercolors will also be combined with decorative objects
that give context to the works. “[They] speak to the art work and to
particular regions that are depicted in the watercolors,” says Burke.
“They are in dialogue with each other and give a sense of place.”
Burke hopes that viewers of the American Travelers: A Watercolor
Journey Through Spain, Portugal and Mexico see “how rich the world
can be when seen through artist’s eyes. It’s through these eyes
that gives it energy, life and attraction and, I think, a great deal of Childe Hassam (1859-1935), Outer Gate (Puerta del Sol), Toledo,
meaning.” 1910. Watercolor on paper, 97/8 x 67/8 in.

63
 MUSEUM PREVIEW: NORFOLK, VA

Global Conversations
A traveling exhibition debuting at the Chrysler Museum of Art features Jacob Lawrence’s
Nigeria series

October 7-January 8, 2023

Chrysler Museum of Art
One Memorial Place
O pening this October at the
Chrysler Museum of Art is
Black Orpheus: Jacob Lawrence
and the Mbari Club, a traveling exhibition
that marks the 60th anniversary of
Norfolk, VA 23510
t: (757) 664-6200 celebrated social realist Jacob Lawrence’s
www.chrysler.org first exhibition and visit to Nigeria. It
also provides the first in-depth look at
members of the Mbari Artists and Writers
Clubs, an organization of Nigerian-based
artists, writers and dramatists promoting
modern African and international artistic
practice. In addition, the forthcoming
exhibition honors the 65th anniversary
of Black Orpheus, a radical arts and
culture publication featuring the work of
modernist African and African Diasporic
writers and visual artists.
“The exhibition is an investigation
[into] a little known period of Lawrence’s
life—the eight months he spent in Nigeria
with his artist wife Gwendolyn Knight
and the connections he made with an
already existing art scene happening there,”

Jacob Lawrence (1917-2000), Market Scene, 1966. Gouache on paper. Chrysler Museum of Art, Museum purchase 2018.22. © 2022 The Jacob and
Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

64
Cover of Black Orpheus Journal #5, May 1959.
Collection of Philip Peek, Sanbornton.
Photo by Sesthasak Boonchai.
Top: Jacob Lawrence
(1917-2000), Street to
curator Kimberli Gant reflects. Gant is Mbari, 1964. Tempera
curator of modern and contemporary over graphite on
wove paper.
art at the Brooklyn Museum, having National Gallery of
previously served as the Chrysler Art, Washington,
Museum’s McKinnon Curator of Modern D.C. Gift of Mr.
and Mrs. James T.
& Contemporary Art. Black Orpheus: Jacob Dyke 1993.18.1. ©
Lawrence and the Mbari Club is curated 2022 The Jacob
in partnership with the New Orleans and Gwendolyn
Knight Lawrence
Museum of Art and Ndubuisi Ezeluomba, Foundation, Seattle /
New Orleans Museum of Art’s Françoise Artists Rights Society
Billion Richardson curator of African art. (ARS), New York.
After its debut at the Chrysler Museum,
the show heads to the New Orleans Left: Alexander
Museum of Art where it will be on disply “Skunder”
from February 10, 2023 to May 7, 2023. Boghossian (1937-
2003), Untitled,
From there the exhibit will travel to the 1966. Oil on canvas.
Toledo Museum of Art where it will be Chrysler Museum
on view through September 3, 2023. of Art, Museum
“There are still so many narratives purchase 2020.32.

within the recent past that have yet to

be fully presented, known or promoted
within art history.The general public
does not know about Lawrence’s time in
Nigeria or the work he produced there,”
Gant continues. “They also do not know
about 20th-century art practices within
the continent of Africa, and hopefully this
project will give them a taste, and that
Black Orpheus helped expose and promote
literature and art across the world. It is
a journal that contributed a great deal
within its [10-year run] and needs more
attention.”
One of Gant’s many intentions is to
contribute to the education of global
art history in the United States. “To that
effect, there was–and continues to be–
strong art traditions within Africa, Asia
and Latin America, which is often not told
or really known here. I would attribute
that to major museum collections on
the continents being focused on objects
from centuries past, and which are only
now adding modern and contemporary
artists, thereby requiring a rethinking on
how artists have always been thinking and
creating,” she says. “As seen through this
project, African artists often collaborated
or were in conversation with artists from
the West, such as Lawrence, Georgina
Beier or Suzanne Wenger.They went to
schools in Europe and often merged styles
and influences together to produce a new
visual language.”
A full-color catalog published by Yale
University Press will accompany the
exhibition.

65
 EVENT PREVIEW: BOSTON, MA

Masterful Art
The 24th annual Boston International Art Show returns with an
impressive array of fine historic and contemporary art

October 20-23, 2022

Boston International Fine Art Show
The Cyclorama, Boston Center for the Arts
539 Tremont Street
Boston, MA 02116
t: (617) 363-0405
www.fineartboston.com

T he setting of the 24th annual

Boston International Fine Art
Show is a work of art in and
of itself. For this event, the Cyclorama,
Boston Center for the Arts—a
15,000-square-foot circular venue
under a domed skylight—will house 40
galleries showcasing the full spectrum
of fine art from historic masters to
contemporary artists. This year there
will be an emphasis on historic
American art from the 18th century
through mid-20th century and includes
a special new contemporary art section
titled Emerge, featuring the work of 15
juried up-and-coming and mid-career
artists.
The show kicks off with the popular
and highly anticipated gala preview
on Thursday, October 20, from 5:30
to 8:30 p.m. The catered event will
have live music and offer art lovers
the opportunity to be the first to view
and purchase the showcased works.
Collectors and afficionados will be
able to continue to enjoy the array
of masterworks in the show—many
of which are freshly on the market—
through October 23.
Some of the highlights include
pieces by Rockwell Kent (1882-1971),
Jane Peterson (1876-1965) and William
Trost Richards (1833-1905). Martha A view of the show in the stunning Cyclorama at the Boston Center for the Arts. Photo by Robert
Richardson Fine Art, a Boston gallery Four, Fusco & Four.

66
Jane Peterson (1876–1965), View at Gloucester, Early Autumn. Oil on canvas, 24 x 30 in., signed lower left: ‘Jane Peterson’. Courtesy Avery Galleries.

that has had a presence at the show since

its inception, features work by notable
African-American artist John Wilson
(1922-2015), as well as John Singleton
Copley (1738-1815) and Joseph Lindon
Smith. From a private collection, Guarisco
Galleries brings The White Lilies by George
Hitchcock (1850-1913), while newcomer
Lincoln Glenn offers pieces by Charles
Green Shaw (1892-1974), John Whorf
(1903-1959), George Inness (1925-1894),
and Henry Salem Hubbell (1870-1949).
Among the galleries bringing the best in
contemporary fine art are New York City’s
Arcadia Contemporary, Massachusetts-
based Jane Eckert Gallery and Bowersock
Gallery, and Maine galleries Gleason Fine

Mark Baum (1903-1997), Bailey’s Island, 1946. Oil on

canvas, 20 x 24 in. © The Mark Baum Estate (ME).

67
 EVENT PREVIEW: BOSTON, MA

Henry Salem Hubbell (1870 - 1949), The Pied Mannequin, 1917. Oil on canvas, 26¼ x 18½ in., signed lower right: ‘HenrySalem Hubbell’.
Courtesy Lincoln Glenn

68
Collectors, scholars and gallery owners come
together at the Boston International Fine Art
show for an immersive weekend of fine art.

Art and Susanna Fichera Fine Art.

This represents a small sampling of
the many galleries and range of artwork
that will be on view at the Boston
International Fine Art Show. All visitors
are sure to find styles, subject matter
and eras suited to their personal taste.
“Each year we see more and more
collectors traveling to the show,”
comments event co-producer Tony
Fusco. “Not just to buy works of
art, but also to immerse themselves
in the weekend programs, and in
conversations with scholars and gallery
owners.”
This year, as part of the special
programming, the publishers of
American Fine Art Magazine and
American Art Collector, Adolfo Castillo
and Wendie Martin, will host a lively
Q&A on “The State of Fine Art” on
Friday, October 21 from 5 to 6 p.m.
Together with panel members who are
passionate veterans in their professions
of contemporary and historical fine art,
attendees will be privy to an insider
conversation on trends in the art
market and the latest highlights in the
world of collecting. Leading historic art
experts and afficionados will provide
insight as to what is selling, what artists
to watch for investment purposes, and
how trends are evolving.
“As the only art show of its kind
in New England, fall foliage season
provides a perfect excuse to soak up the
seasonal and cultural richness of Boston
along with the show,” adds Fusco.

Joseph Lindon Smith (1863-1950), Self Portrait

in his Paris Studio, 1884. Oil on canvas, 31 x
25¼ in., signed ‘Joe L. Smith’; inscribed ‘PARIS’
and dated ‘1884’ (lower left). Courtesy Martha
Richardson Fine Art (MA).

69
 EVENT PREVIEW: BALTIMORE, MD

Only the Finest

The Baltimore Art, Antique & Jewelry Show celebrates 40 years

October 20-23
Baltimore Art, Antique
& Jewelry Show
Baltimore Convention Center
One West Pratt Street
Baltimore, MD 21201
t: (561) 822-5440
www.baltimorefallshow.com

T he producers of The Baltimore

Art, Antique & Jewelry Show are
thrilled about the long-awaited
return to the Baltimore Convention
Center this October after a two-year
hiatus while the location was used as a
field hospital to treat overflow Covid
cases. On this milestone year, one of
the most-anticipated collectors’ events
will celebrate its 40th anniversary
with longtime and new domestic and
international exhibitors. Together,
they will offer an extensive array of
art, antiques and jewelry that span
thousands of years and the world over.
With a long-standing reputation as
one of the premiere art shows in the
Mid-Atlantic Region, The Baltimore
Show offers a variety of collections
including furniture, American and
European silver, major works of historic
fine art, Asian antiquities, porcelain,
Americana, antique and estate jewelry,
Enoch Wood Perry Jr. (1831-1915), Portrait of Prescott and Mary Scott, 1881. Oil on canvas, 36½ x 28½ in.
glass, textiles, contemporary fine crafts
and more. Produced by the Palm
Beach Show Group, The Baltimore Show mingle with antique experts, museum leaf and swirl pattern, inlaid copper
continues to be a one-stop destination curators and other industry specialists design and applied stylized swan
event for savvy collectors and art that the event attracts. handles, Tiffany’s sterling two-handle
enthusiasts eager to indulge in booth A few highlights in the American vase is hallmarked with the 1893
after booth of surprising treasures. antique genre are 19th century works Chicago Columbian Exposition stamp.
Over the four-day event, visitors by Tiffany & Co. brought to Baltimore Another Tiffany offering from Antique
will have the opportunity to wander by Antique Cupboard of Big Bend, Cupboard was inspired by the purchase
through more than 300 exhibitors and Wisconsin. With an Art Nouveau of the Alaskan territory and features

70
Over the four-day event, visitors will have the opportunity to wander through more than 300 exhibitors displaying a diverse range of collectibles.

designs of Alaskan exploration circa the

1870s.
Atlanta, Georgia’s Provenance
Antiques will showcase historic fine art
including the 1881 painting A Portrait
of Prescott and Mary Scott in a Garden by
Boston-born Enoch Wood Perry (1831-
1915). Perry was a notable painter of
genre, landscapes and portraits who
enjoyed prestige in Europe and the
U.S. During his time in San Francisco,
he was patronized by society which
included Mrs. George Hearst, Collis P.
Huntington, Leland Stamford and of
course, Henry Tiffany Scott.
Robert M. Quilter Fine Arts of
Baltimore will also have major historic
artworks on hand, including a piece
by Clark Summers Marshall (1860-
1944), a highly regarded Maryland
landscape artist of the 19th and early
20th centuries.
Clark Summers Marshall (1860-1944), Maryland Spring Landscape, ca. 1910. Oil on Canvas, 16 x 20 in.

71
 EVENT PREVIEW: CLEVELAND, OH

Discovery through Design

Initiatives in Art and Culture’s 24th annual conference explores
Cleveland, Ohio, as a hub of the Arts & Crafts Movement

September 15-18
24th Annual Arts & Crafts
Conference
Multiple venues in Cleveland, OH
www.artinitiatives.com

E ach year, the Initiatives in Art

and Culture’s Arts & Crafts
Conference travels to a different
American city to get the distinct flavor
of a region through their unique style
of decorative arts and architecture. IAC
has crisscrossed the nation since 2005
to explore—and revel in—the diverse
geographic manifestations of the arts
and crafts movement. Cass Gilbert, 1917, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio.
If one had to summarize the
underpinnings of the American arts
and craft movement, an extension of
a style that emerged out of Victorian-
era England, it could be said that
proponents of the trend believed that
the connection between artists and
their handicraft and the beautiful,
functional items they created were
essential to human fulfillment. These
values are what sets this form of
craftsmanship apart from traditional art
like painting and sculpture. While at its
roots utilitarian, style and design also
provide a fascinating window into the
society in which it was created.
IAC’s definition of what constitutes
arts and crafts makes room for a broad
spectrum of styles with the ethos that
it is less about particularities of style

Viktor Schreckengost (1906-2008), design

made at and by Cowan Pottery Studio, The New
Yorker (Jazz) Bowl, ca. 1930. Glazed ceramic
with sgraffito design. Overall: 11 ¼ x 16 ¼ in.
Cleveland Museum of Art, John L. Severence
Fund 2000.65.

72
than the principles and ideals behind
its creation. However, IAC’s focus is
decorative arts and architecture.
There is no better way to experience
the diversity of the movement
than to move IAC’s conference to
different locales as, historically, styles
of craftsmanship are very much
influenced, if not dictated by the
regions where they were made.
This year, IAC explores Cleveland
and its environs as a hub for the arts
and craft movement and its influence
on subsequent expressions elsewhere.
The conference will look at Cleveland’s
cultural connections to Chicago and
other cities, its important metal-
working and ceramic traditions, as well
as its architecture and cultural markers
and institutions that helped shape many
aspects of the region.
The opening sessions will be
held September 15 at the Cleveland
Museum of Arts but for the remainder
of the event, attendees will have
the opportunity to tour close to
30 historically significant locations
throughout the city and feature
dozens of presenters and participants
including collectors, preservationists,
art and architectural historians, artisans
and academics. Paul Fehèr (1898-1990) for Rose Iron Works, Muse with Violin Screen, 1930. Wrought iron, brass, silver
“Each year Initiatives in Art and and gold plating, cotton velveteen. Overall: 61½ x 61½ in. The Cleveland Museum of Art. Leonard C.
Culture’s Arts & Crafts Conference Hanna, Jr. Fund 2020.216. Photo: © Rose Iron Works Collections, LLC.

offers a fresh perspective on the

Movement…To do so, IAC explores
sources of influence, the roles of
relationships in defining artistic
product, materials and methods of
fabrication, and the use of art as a
lever for social change,” says IAC
president Lisa Koenigsberg. “We are
excited to explore the architecture and
cultural environment…of Cleveland
and benefit from leading authorities
who bring their dynamic perspectives
to bear throughout all of the four-day
event.”

Tichnor Bros. Inc. / George Klein News Co. Postcard featuring Terminal Tower with the strobe that
helped guide aircraft and ships in its early years, 1930. Image: J. Mark Souther Postcard Collection.

73
 EVENT PREVIEW: NEW YORK, NY

Cultural Landscape
The Armory Show returns this September for three
days of robust arts and cultural programs

September 9-11
The Armory Show
Javits Center
Main Entrance Crystal Palace
429 11th Avenue
New York, NY 10001
t: (212) 645-6440
www.thearmoryshow.com

A major facet of New York’s art

scene since its founding in 1994,
The Armory Show’s influence and
reach is massive. From September 9 to
11, the fair returns to the Javits Center
for three days of thought-provoking
programming, top curatorial leadership
and engaging art presentations. This year,
the show will include more than 240
galleries across over 30 countries.
The major New York art fair initiates
conversations in multiple avenues
across the art world, from its Curatorial
Leadership Summit, to Armory Live (a
year-round program of conversations
highlighting influential members of the
An overview shot of last year’s The Armory Show. Photo by Casey Kelbaugh.
international art community—hosted
at the fair, online and throughout New
York City).
Among the historic arts programming
at the 2022 show is a solo presentation
of 20th-century painter Grace Hartigan’s
genre-defining abstract expressionist
art, held by ACA Galleries in New
York. Additionally, Larkin Erdmann
will present historic works by abstract
powerhouse Josef Albers and mixed
media works by Man Ray.
“We look forward to burnishing our
reputation as a cornerstone of New
York’s cultural landscape,” says Nicole
Berry, executive director of The Armory
Show.
A VIP opening preview will be held
September 8.

Attendees view and discuss artwork during The Armory Show in 2021. An exterior view of the Javits Center in New York City.
Photo by Casey Kelbaugh.

74
 9-12
FEBRUARY
2023
Intersect Palm Springs is an art and design fair that brings together a dynamic PALM SPRINGS
mix of emerging and established contemporary and modern art galleries. CONVENTION CENTER

Michael Gregory
Winter Park, 2020
Oil on canvas
60 x 50 in
152 x 127 cm
Nancy Hoffman Gallery
 AUCTION PREVIEW: JACKSON HOLE, WY

Into the Wild

Major works in Western, wildlife and landscapes will be
offered at the Jackson Hole Art Auction.

September 16-17, noon

Center for the Arts
265 S. Cache Street
Jackson, WY 83001
t: (866) 549-9278
www.jacksonholeartauction.com

T he Jackson Hole Art Auction

returns to Wyoming on
September 16 and 17, promising
to bring top Western, wildlife, sporting
and landscapes works to bidders of all
kinds. The 300-lot sale will take place
practically in the shadow of the Grand
Teton Range, which adds a unique
dynamic to the nature-focused sale.
Kevin Doyle, a partner and the
managing director at the Jackson Hole
Art Auction, says that top-quality
artwork by the best artists is always key
with a successful sale, including this
year’s sale. “When the work is great
the demand is always there,” he says.
“Whether it’s in Scottsdale or in major
sales in New York City, the quality of
the work is always key. And that’s what’s
exciting about our sale, and what makes
us optimistic, is the material we’re
getting is really, really strong.”
Highlights in this year’s sale include
Alfred Jacob Miller’s Indian Shooting a
Cougar, an action scene from one of William Gollings (1878-1932), Summer Camp, 1931. Oil on canvas, 29 x 22 in.
the earliest Western painters. Miller’s Estimate: $200/300,000
paintings are in major collections around
the world, and works of this magnitude again offer this to collectors,” Doyle says. paintings have had a hot streak at
are rare to the market. The auction will Another important piece available auction, and it looks to continue
offer it with estimates of $500,000 to to bidders is William Gollings’ 1931 with this marvelous example with its
$700,000. The last time the piece was oil Summer Camp, a work estimated incredible light and subject matter.
on the market was at the 2014 Jackson at $200,000 to $300,000. Gollings’ Wildlife always plays a strong role
Hole Art Auction, “so we’re happy to once cowboy and Native American in the sale, and this year will be no

76
Alfred Jacob Miller (1810-1874), Indian Shooting a Cougar. Oil on canvas, 24 x 19¾ in. Estimate: $500/700,000

77
 Eanger Irving Couse (1866-1936), The Eagle Dance. Oil on canvas, 24 x 29 in. Estimate: $150/250,000

exception with major works by a

number of important wildlife artists.
Several Bob Kuhn highlights include
African subject matter in Screening the
Big Bull (est. $25/35,000), bighorn
sheep in Settlin’ In (est. $35/55,000) and
A Walk on the Tundra – Grizzly Bears
(est. $100/150,000). Kuhn is more of
a contemporary wildlife painter, but
his works are more frequently entering
historic collections due to his superb
paint quality and lively compositions
that present exceptional poses of his
subjects. Other wildlife works include
Wilhelm Kuhnert’s A Stern Glance (est.
$20/30,000) and Carl Rungius’ moose
John Clymer (1907-1989), When Evening Comes, 1980. Oil on canvas, 24 x 48 in.
Estimate: $150/250,000 painting Challenge (est. $70/100,000).
Kuhn, Kuhnert and Rungius are a
trifecta of wildlife heavy hitters that can

78
Frederic Remington (1861-1909), Register Rock, Idaho, 1891. Oil on canvas, 17 x 27¾ in. Estimate: $200/300,000

Clark Hulings (1922-2011), Sicilian Light in Giulia, 1996. Oil on canvas, Bob Kuhn (1920-2007), A Walk On The Tundra – Grizzly Bears and
20 x 30 in. Estimate: $20/30,000 Ptarmigans. Acrylic on board, 20 x 30 in. Estimate: $100/150,000

be found in many collections all around
the West. “As with previous years of the
sale, we are certainly strong in wildlife,”
Doyle says. “Surrounded by all this great
wildlife in Wyoming, this is an amazing
place to buy these kinds of works.”
James Bama will have three
great examples in the sale: the
portrait Descendent of Black Elk (est.
$30/50,000), the still life work Old
Army Colt (est. $15/25,000) and
the Western scene Ox Team Driver
(est. $20/30,000). Bama, a longtime
Wyoming resident, passed way in
April. His career took him from pulp
magazines in the 1960s to Western
illustration and then eventually Western
fine art. Another Wyoming painter
featured in the sale is illustrator John
Clymer, whose 1980 easel work When
Evening Comes will be offered with
estimates of $150,000 to $250,000.
Another illustrator-turned-artist in the
sale is Dean Cornwell, who will be
represented in the sale by Confrontation
(est. $15/25,000), showing a group of
men an instant before violence erupts.
Elsewhere in the sale is Frederic
Remington’s Register Rock, Idaho
(est. $200/300,000), an untitled Tom
Lovell work showing a mountain man
and Native American dancers (est.
$40/60,000) and Eanger Irving Couse’s
The Eagle Dance (est. $150/250,000).
In addition to artwork, the
auction will also be offering decorative
objects and furniture, including an
impressive collection of Thomas C.
Molesworth furniture.

AUCTION PREVIEW: JACKSON HOLE, WY 79

 AUCTION PREVIEW: CHICAGO, IL

Casting Spells
Hindman Auctions presents a selection of the enigmatic paintings of Gertrude Abercrombie
in a single-owner show with value estimates cresting six-figures

September 28
Hindman Auctions
1338 W. Lake Street
Chicago, IL 60607
t: (312) 280-1212
www.hindmanauctions.com

G ertrude Abercrombie (1909-

1977) was an important
figure among the Midwestern
surrealist artists of the mid-20th century.
She was renowned for her stark self-
portraits, eerie still lifes and moonlit
landscapes—paintings suffused with
mystery and fantasy. Like the European
surrealist artists that influenced her,
Abercrombie was interested in the
contents of the unconscious and
dreams, symbols of which reappear in
many of her paintings.
Casting Spells: The Gertrude
Gertrude Abercrombie (1909-1977), Landscape with Church (Church with Small Figure), ca. 1939-40.
Abercrombie Collection of Laura and Oil on canvas, 19¼ x 26¼ in. Estimate: $50/70,000
Gary Maurer will come onto the
market in a single-owner auction on
September 28. As the preeminent some of the physically largest paintings upcoming auction, have been featured
collectors of Abercrombie’s work, the by the woman nicknamed “Queen of in major solo exhibitions at Karma
Maurers’ collection of 21 pieces span the Bohemians.” Gallery in New York, Illinois State
the career of the enchanting, eccentric Many of Abercrombie’s paintings, Museum in Springfield, and the
artist and comprise the broadest and including a number in Hindman’s Elmhurst Art Museum. Until recently,

Gertrude Abercrombie (1909-1977), Solitude, 1942. Oil on Masonite, 20½ x 40¼ in. Gertrude Abercrombie (1909-1977), Shell and Drapery, 1952.
Estimate: $120/180,000 Oil on canvas, 24 x 36 in. Estimate: $70/90,000
80
 Abercrombie’s work eluded widespread
acclaim, but with the growing interest
in surrealism over the past decade, she
is now among the most sought-after
female artists.
“The Maurer Collection stands
out because of how comprehensive it
is, both in terms of the timeline and
subjects it so beautifully captures,”
shares Abercrombie scholar, Susan
Weininger. “Significant examples of
the artist’s most important themes are
all represented, from self-portraits to
mysterious landscapes through which
the artist wanders, to meticulously
painted and evocative still lifes and
interiors and more.”
Highlights in the selection include
a 1953 self-portrait, Self and Cat
(Possims) (est: $300/500,000), the 1942
piece Solitude (est. $120/180,000) and
miniatures that she often gave as gifts.
“As the door opened into the
Maurers’ home, I was immediately
thrown into the dizzying Abercrombie
sanctuary they created,” says Hindman
vice president of fine art, Joseph
Stanfield. “Upon seeing Abercrombie’s
unique storytelling and iconography so
fully presented in the selection, I was
completely under Abercrombie’s spell.”
The Maurer Collection will travel to
New York City for a preview in early
September. In August, Hindman will
announce additional details about the
previews in New York and Chicago and
more collection highlights. Registration
for the auction will be available on
www.hindmanauctions.com.
Gertrude Abercrombie (1909-1977), Self and Cat (Possims), 1953. Oil on canvas, 34 x 24 in.
Estimate: $300/500,000

Gertrude Abercrombie (1909-1977), Dinah Enters the Landscape, 1943. Oil on Masonite, 12 x 33¾ in. Estimate: $120/180,000

81
 AUCTION PREVIEW: MARLBOROUGH, MA

Old-Fashioned
Paintings by Grandma Moses,Thomas Moran and Andy Warhol
headline the American Art auction at Bonhams Skinner

September 21
Bonhams Skinner
274 Cedar Hill Street
Marlborough, MA 01752
t: (508) 970-3206
www.skinnerinc.com

B onhams Skinner’s American

Art sale on September 21
kicks off the auction house’s
line-up of fine art auctions this fall.
Highlighting the sale are two folk
paintings by Grandma Moses (Mary
Robertson Moses) (1860-1961) from
the mid-1940s. These works have
been in private hands since that time,
passing from the original purchasers

Andy Warhol (1928-1987), Ingrid Bergman with Hat from the series Three portraits of Ingrid Bergman.
Image courtesy Skinner, Inc. www.skinnerinc.com. Estimate: $40/60,000

to Miss Porter’s School in Farmington, A major work in the sale is Thomas

Worthington Whittredge (1820-1910), Brook
in the Woods, oil on canvas. Image courtesy
Skinner, Inc. www.skinnerinc.com. Estimate:
$3/5,000
Connecticut.
Grandma Moses was known for her
charming, old-fashioned depictions of
rural life, set in the rolling landscapes
of farm country. Her painting May,
Making Soap, Washing Sheep, 1870 has
been featured in multiple exhibitions,
the most recent being Grandma Moses:
A Retrospective Exhibition Celebrating the
160th Anniversary of Her Birth. The piece
is estimated to sell between $70,000
and $90,000. Another highlight by
Moses is Beyond the Lake, which has a
presale estimate of $50,000 to $70,000.
Moran’s Long Island painting Three
Mile Harbor, expected to fetch $40,000
to $60,000. His paintings of the East
Hampton area are generally smaller in
scale and more pastoral in spirit, as seen
in Three Mile Harbor.
“We [also] have as ‘Attributed to
N.C. Wyeth’ a very dynamic and bright,
unsigned oil of two square rigged
ships under sail on the open sea,” says
Elizabeth Haff, specialist of American
and European works of art at Bonhams
Skinner. “In the traditional vein, there is
a Worthington Whittredge (1820-1910)

82
Grandma Moses (1860-1961), May, Making Soap, Washing Sheep, 1870. Image courtesy Skinner, Inc. www.skinnerinc.com. Estimate: $70/90,000

oil of a woodland brook, two small Blakelocks

and several works by Otto Anton Fischer
(1882-1962). We have at least one, and hopefully
two, lovely still lifes by Levi Wells Prentice
(1851-1935), and a sweet [Frederick William]
MacMonnies (1863-1937) bronze Bacchante and
Infant Faun (16 inches high), which is always a
favorite.”
Additional lots to be on the lookout for
include two works by Andy Warhol (1928-1987),
Ingrid Bergman with Hat from the series Three
portraits of Ingrid Bergman and General Custer from
the series Cowboys and Indians, both with estimates
of $40,000 to $60,000; as well as a more modern
take on fishing presented in two paintings by
Joseph Francis Kernan(1878-1958), estimated to
sell between $30,000 and $50,000 each.
The American Art sale begins 10 a.m.,
accompanied by the Prints, Multiples, &
Photographs online auction running September
12 to 22.
Andy Warhol (1928-1987), General Custer from the series
Cowboys and Indians, 1986. Image courtesy Skinner, Inc.
www.skinnerinc.com. Estimate: $40/60,000

83
 AUCTION PREVIEW: ASHEVILLE, CHICAGO, MILFORD, MONROVIA

Andy Warhol (1928-1987), John Wayne from Cowboys and Indians, 1986. Screenprint in colors on Lenox Museum Board under Plexiglas, 36 x 36”. Courtesy John
Moran Auctioneers. Estimate: $70/90,000

MONROVIA, CA series of sales occurring
JOHN MORAN throughout the fall auction
AUCTIONEERS season featuring property
AUGUST 30, 12 P.M. from an important New
Summer Modern & York corporate collection.
Contemporary Art Among the highlights of this
eclectic collection, which
The Summer Modern &
was assembled beginning
Contemporary Art auction
in the 1960s, are a series of
will be the first in a
important works by abstract
expressionist artists that will
be sold during the Summer
Modern & Contemporary
Art, taking place August 30.
Among the highlights is Swirl
of Sounds – The Ghost in the
Banyan Tree, 1976, by Alice
Baber (1928-1982). The piece,
which has a presale estimate
of $3,000 to $5,000, is a
monumental example of the
artist’s work.
Another major highlight in
the sale is a 1986 screenprint of
John Wayne by Andy Warhol, a
unique version from the estate
of John Wayne’s daughter,
Melinda Wayne Munoz. The
portrait is expected to sell for
$70,000 to $90,000.

84
William Lester Stevens (1888-1969), Point Pleasant, Delaware River, ca. 1927-29. Oil on canvas, 42 x 48 in., signed. Courtesy Shannon’s Fine Art Auctioneers.
Estimate $20/30,000

MILFORD, CT to-the-market American landscapes offered in recent $100/150,000), and a rare

SHANNON’S FINE ART art. Leading American
AUCTIONEERS impressionist works in the
OCTOBER 27, 6 P.M. sale is an exceedingly rare
Fine Art Auction New Hope school painting
by William Lester Stevens,
Shannon’s Fine Art
Point Pleasant, Delaware River
Auctioneers hosts their next
painted around 1927 to 1929.
fine art auction on October
The piece is expected to
27, featuring numerous
fetch $20,000 to $30,000 and
examples of blue-chip, fresh-
is one of the nicest Stevens
times.
Three works by members
of the prominent Ashcan
group known as “The Eight”
will be in the sale as well:
Maurice Prendergast’s oil
Beach Scene in Boston (est.
$175/275,000), Robert
Henri’s portrait of an
Irish child titled Faith (est.
John Sloan oil titled Croquet
(est. $25/35,000).
Shannon’s will promote
the auction with a full-color
printed auction catalog and
offer preview opportunities
at the gallery. Bidding will
be available live on www.
shannons.com, by telephone
or by absentee.

85
 ASHEVILLE, NC
BRUNK AUCTIONS
SEPTEMBER 15-17, 9 A.M.
Premier & Emporium
Auction
Opening the fall season
at Brunk Auctions is the
Premier & Emporium Auction,
taking place September 15
to 17. Among lots in the sale
are works by some of the
most important names in
19th and early-20th century
American and Western fine
art. The auction also includes
important selections of
Native American beadwork,
textiles and pottery, fine and
decorative arts, and other
treasures.
American fine art to be
on the lookout for include a
rare bound volume of “John
Abbot’s Watercolors” (est.
$200/$300,000) and a stunning
autumn landscape by Albert
Bierstadt (est. $80/120,000).
Additionally, there will be Albert Bierstadt (1830-1902), Landscape With Trees Autumn. Oil. Courtesy Brunk Auctions in the Premier & Emporium Auction.
Estimate: $80/120,000

a Frank Tenney Johnson

nocturne, estimated at $75,000
to $100,000 and two important
impressionist works by Childe
Hassam, New Hampshire Farm,
painted in 1906, and Boy with
Flower Pots, from 1888.
Bidding for the September
Premier & Emporium
Auction begins at 9 a.m.

CHICAGO, IL
HINDMAN
SEPTEMBER 27, 10 A.M.
American & European Art
Hindman’s upcoming
American & European Art
auction will feature an
outstanding selection of fine
paintings and sculptures.
The American portion of
the auction is highlighted
by Autumn Furrows (est.
$60/80,000) by acclaimed
American artist Dale Nichols,
best known for his rural
John George Brown (1831-1913), You’re
a Nice Pup, 1886. Oil on canvas, 44 x 32
in., signed: ‘J.G. Brown, N.A.’ and dated
lower right. Property from a Private
Collection, Chicago, Illinois. Courtesy
Hindman. Estimate: $30/50,000
landscapes. Created by Nichols
in 1938, the oil on canvas is
done in the artist’s graphic,
highly stylized technique. It is
a prime example of the artist’s
ability to transcend traditional
regionalism with its depiction
of a farmer guiding his horse-
drawn plow in the fields, set

Dale Nichols (1904-1995), Autumn Furrows, 1938. Oil on canvas, 30 x 34 in., signed:
‘Dale Nichols’ and dated lower left. Courtesy Hindman. Estimate: $60/80,000

86
 Joseph Stock (1815-1855), Jane Tyler With Cat. Oil. Courtesy Brunk Auctions in The Estate of Peter H. Tillou sale. Estimate: $8/12,000
against an imposing mountain
range.
Other standout works from
the American portion include
John George Brown’s You’re a
Nice Pup from 1886, which is
expected to bring in between
$30,000 and $50,000.
ASHEVILLE, NC
BRUNK AUCTIONS
SEPTEMBER 29-30, 9 A.M.
The Estate of Peter H. Tillou
Brunk Auctions will hold
The Estate of Peter H. Tillou
sale on September 29 and 30
beginning at 9 a.m. The sale
includes important works
across multiple categories
and periods. One of the top
historic American paintings
in the auction includes
19th-century painter Joseph
Stock’s portrait Jane Tyler with
Cat estimated at $8,000 to
$12,000, among others. Also
included in the upcoming
sale are extensive offerings of
contemporary trompe l’oeil
paintings, one of which is
Michael Theise’s The Boys are
Safe, with a presale estimate of
$3,000 to $5,000.
AUCTION PREVIEWS: 87
 AUCTION REPORT: PHILADELPHIA, PA

Overdue Acclaim
Freeman’s sets soaring records for sales of 19th century works by women
artists in its annual American Art & Pennsylvania Impressionists sale

W orks by women artists

once again yielded
strong results in
Freeman’s June 6 American Art and
Pennsylvania Impressionists auction.
Garnering a total of $2.64 million,
the auction’s top sale was Winter
Decoration—a large-scale view
of Lambertville, New Jersey, by
Pennsylvania Impressionist Fern
Isabel Coppedge (1883-1951)—
which went for $252,800, more
than double its estimated value of
$100,000.
New world auction records
were set for Philadelphia
illustrators Sarah S. Stilwell Weber
(1878-1939) and Emma Fordyce
MacRae (1887-1974).Weber’s
Three of Us (Saturday Evening Post
Cover) saw lively competitive
bidding to reach $119,700 with
an opening estimate of $30,000
to $50,000. MacRae’s portrait Edward Willis Redfield (1869-1965), Road to the River, ca. 1920. Oil on canvas, 32 x 40 in.
Estimate: $200/300,000 SOLD: $226,800

Fern Isabel Coppedge (1883-1951), Winter Decoration, ca. 1935. Oil George William Sotter (1879-1953), The Artist’s Studio, 1946. Oil on Masonite,
on canvas, 38¼ x 40 in. Estimate: $100/150,000 SOLD: $252,000 22 x 26 in. Estimate: $100/150,000 SOLD: $126,000

88
Willard LeRoy Metcalf (1858-1925), Garden of Dreams, 1908. Oil on Sarah S. Stilwell Weber (1878-1939), Three of Us (Saturday Evening
canvas, 24 x 23 in. Estimate: $150/250,000 SOLD: $163,800 Post Cover). Oil on canvas, 32 x 27 in. Estimate: $30/50,000
SOLD: $119,700

Melina in Green engendered
a lengthy bidding war that
culminated in a $63,000
sale, far above its $8,000 to
$12,000 estimate.
Other auction highlights
from the Pennsylvania
Impressionist category
include Still Life with New
York Tribune, Beer Stein,
Pipe and Tobacco by William
Michael Harnett (1848-
1892) and Hermann
Herzog’s (1832-1932) Near
the Outlet of the Waccasassa
River, Florida, which sold
for $53,235 and $40,950,
respectively.
Freeman’s June 7 Collect:
American Art Sale saw
another world auction
record for William Formby
Halsall (1841-1919), whose
piece Gay Head in Winter
surpassed its $2,000 to
$3,000 estimate, climbing
up to sale price of $37,800.
Manuel Azadigian (1901-
1924) saw similar results for
Spring in the Valley which
sold for $15,120—over five
times its presale low estimate.
“These back-to-back
sales once again proved our
long-held belief that works
most often sell best where
they were made, and we
are proud to extend the list
of Philadelphia artists for
whom we hold the auction
record,” remarks chairman
Alasdair Nichol. “Collectors’
tastes are diversifying, and
we are excited by the
continuing opportunity to
usher formerly overlooked
artists into the spotlight.”

TOP 10 LOTS
FREEMAN’S AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS, JUNE 6, 2022
(INCLUDING BUYER’S PREMIUM)
ARTIST TITLE LOW/HIGH EST. SOLD
FERN ISABEL COPPEDGE WINTER DECORATION $100/150,000 $252,000
EDWARD WILLIS REDFIELD ROAD TO THE RIVER $200/300,000 $226,800
WILLARD LEROY METCALF GARDEN OF DREAMS $150/250,000 $163,800
GEORGE WILLIAM SOTTER THE ARTIST’S STUDIO $100/150,000 $126,000
SARAH S. STILWELL WEBER THREE OF US (SATURDAY EVENING POST COVER) $30/50,000 $119,700
GUY WIGGINS WINTER FROM THE PLAZA $80/120,000 $113,400
FERN ISABEL COPPEDGE CARVERSVILLE BROOK $40/60,000 $88,200
GEORGE WILLIAM SOTTER FISHING VILLAGE AT MOONLIGHT $25/40,000 $78,750
EMMA FORDYCE MACRAE MELINA IN GREEN $8/12,000 $63,000
WILLIAM MICHAEL HARNETT STILL LIFE WITH NEW YORK TRIBUNE, BEER STEIN, PIPE AND TOBACCO $40/60,000 $53,235

89
 AUCTION REPORT: SANTA FE, NM

Paint and Stone

A diverse selection of artwork performs strong at Santa Fe
Art Auction’s Signature Summer Sale

F eaturing materials
as diverse as pueblo
carvings, turquoise
jewelry, woodblock prints
and oil paintings, Santa Fe Art
Auction’s Signature Summer
Sale saw exceptional sales
results amid high bidding in
the June 24 and 25 sale.
The sale featured a
number of quintessential
examples by modernist
painter Emil Bisttram, whose
1961 oil piece Man the
Unknown (est. $100/200,000)
sold for $91,500. The work is
a fascinating example of the
artist’s work as a member of
the Transcendental Painting
Group, which valued pure
abstracted form above all else.
The Santa Fe Art Auction
has had a number of stunning
Gustave Baumann works
available at auctions from
throughout the last year, and
the June sale was no different
with several really strong
Baumann woodblock prints.
The top Baumann was the
1930 print Bound for Taos,
which had a high estimate
of $12,000, and yet closed
at more than double that at
$24,400.
Susan Hertel was
represented in the sale with
Horses in the Garden, showing
two women sitting on a
bench near a cat and two
horses. The oil piece has a
high estimate of $35,000, but
shot right past that before
closing at $61,000.

Susan Hertel (1930-1992), Horses in the Garden. Oil on canvas, 45 x 62 in.

Estimate: $25/35,000 SOLD: $61,000

Charles
Loloma
(1921-1991),
Inlaid
Mosaic Cuff
Bracelet, ca.
1980-1985.
14k gold,
turquoise,
coral and
lapis, 2 x 2
7/8 x 1¼ in.
Estimate:
$20/30,000
SOLD: Emil Bisttram (1895-1976), Man the Unknown, 1961. Oil on canvas, 48 x 32
$97,600 in. Estimate: $100/200,000 SOLD: $91,500

90
Louis Ribak (1902-1979), Night on White Mountain, 1954. Oil on panel, 30 x 48 in. Estimate: $3/5,000 SOLD: $6,710

Other top-selling works

include pieces by T.C. Cannon,
Carl Redin, Olive Rush, Luis
Jimenez, Edward S. Curtis, David
Bradley, Louis Ribak, Fritz
Scholder, Freemont Ellis and
Raymond Jonson.
The two top lots of the sale
were not paintings at all, but
Native American jewelry from
Hopi designer Charles Loloma.
An inlaid mosaic cuff bracelet
with gold, turquoise, coral and
lapis and an ironwood cuff
bracelet sold separately at $97,600
each. Loloma, who died in 1991
and was known for his stone
inlay and modern interpretations
of Native American jewelry, had
much of his personal collection of
artwork in the sale after his wife
passed away. Although he worked
in numerous mediums, including
drawing and painting, Loloma
was collected at the highest level
because of his exquisite jewelry
design.
Gustave Baumann (1881-1971), Bound for Taos, 1930. Color woodcut, ed. 57 of 125, 9½ x 111/8 in. Estimate:
$8/12,000 SOLD: $24,400

91
 AUCTION REPORT: RENO, NV

Strength in Numbers
Achieving $16.4 million in sales, the Coeur d’Alene Art Auction
returns with major records from many artists

Edgar Payne (1883-1947), Canyon de Chelly, ca. 1916-19. Oil on

canvas, 26 x 32 in. Estimate: $150/250,000 SOLD: $484,000

William Herbert “Buck” Dunton (1878-1936), Treed, ca. 1915. Oil on canvas, 40 x Charles M. Russell (1864-1926), Shooting the Buffalo, ca. 1892. Oil
30 in. Estimate: $400/600,000 SOLD: $1,434,000 on canvas, 27 x 33 in. Estimate: $400/600,000 SOLD: $847,000

T here were fireworks

in the room at the
Couer d’Alene Art
Auction’s July 23 sale in
Reno, Nevada. They were
in the shape of cowboys,
hunters, ropers, riders and all
manner of creatures. When
it was all said and done, the
sale had achieved a number
of major artist records, a 94
percent sell-through rate and
$16.4 million in sales.
“It was one of the most
fun sales I’ve had the pleasure
of being in within the last
five or six years,” says Mike
Overby, one of the partners
of the sale. “We had lots of
old friends back with us, and
many new friends there too.
The energy in the room was
unsurpassed with more than
300 people in the room and
more than 400 registered
bidders online. We also
had bidders in Taiwan and
Australia, as well as many of
our bidders in Europe.You
can’t ask for better sales.”
The top lot in the sale
was William Herbert “Buck”
Dunton’s Treed, estimated
at $400,000 to $600,000.
Overby says they were
expecting strong bidding
for the piece because it was
a larger, museum-quality
work from the artist, which
are rare on the market. “It

92
 ranks up there as one of my
favorite works of all the 35
years of the sale,” Overby
says. “It’s just a stunning
piece, so expectations
were high.” By the end of
bidding, expectations had
been surpassed completely:
the work sold for $1.4
million, shattering a 2008
record of $881,000.
Two other Dunton
works, Crest of the Ridge,
Grizzly (est. $200/300,000)
and The Hunter’s Return
(est. $200/300,000), also
performed well when they
sold above estimates at
Philip R. Goodwin (1881-1935), Between the Devil and the Deep Blue Sea. $453,000 and $363,000.
Oil on canvas, 30 x 39 in. Estimate: $150/250,000 SOLD: $968,000 Another artist who had
magnificent sales was Philip
R. Goodwin, whose work
Between the Devil and the Deep
Blue Sea (est. $150/250,000)
sold for $968,000, crushing
a record set by Coeur d’Alene
Art Auction in 2021 for
$453,000. Another Goodwin,
the 24-by-14-inch Quenching
Two Thirsts (est. $60/90,000),
sold for $363,000, breaking
a per-square-inch record of
$1,058 per square inch.
Other tops lots were
Harvey Dunn (1884-1952), The Homesteaders, 1942. Oil on canvas, 40 x 60 Edgar Payne’s Canyon de
in. Estimate: $150/250,000 SOLD: $393,250
Chelly (est. $150/250,000)
that sold for $484,000,
Alfred Jacob Miller’s
The Lost Greenhorn (est.
$300/500,000) that sold for
$484,000 and two works
by Charles M. Russell,
Shooting the Buffalo (est.
$400/600,000) that sold
for $847,000 and Mexican
Vaqueros Roping a Steer (est.
$400/600,000) that sold for
$544,500. A Harvey Dunn
work, The Homesteaders (est.
$150/250,000) sold for
$393,250, tripling a previous
world record for the artist.
Another noteworthy
record includes Kathryn
Leighton’s The Firemaker,
Two Guns White Calf,
estimated at $30,000 to
$50,000. The work sold
for $96,800, tripling the
previous record from 2006.
Other artists that had
high sales are Edgar Payne,
Gerard Curtis Delano, Joseph
Henry Sharp and Peter Hurd,
who has had several major
works at the Reno sale in
recent years.

TOP 10 LOTS
COEUR D’ALENE ART AUCTION, JULY 23, 2022 (INCLUDING BUYER’S PREMIUM)
ARTIST TITLE LOW/HIGH EST. SOLD
W. HERBERT “BUCK” DUNTON TREED $400/600,000 $1,434,000
PHILIP R. GOODWIN BETWEEN THE DEVIL AND THE DEEP BLUE SEA $150/250,000 $968,000
CHARLES M. RUSSELL SHOOTING THE BUFFALO $400/600,000 $847,000
CHARLES M. RUSSELL MEXICAN VAQUEROS ROPING A STEER $400/600,000 $544,500
EDGAR PAYNE CANYON DE CHELLY $150/250,000 $484,000
ALFRED JACOB MILLER THE LOST GREENHORN $300/500,000 $484,000
W. HERBERT “BUCK” DUNTON CREST OF THE RIDGE, GRIZZLY $200/300,000 $453,750
HARVEY DUNN THE HOMESTEADERS $150/250,000 $393,250
PHILIP R. GOODWIN QUENCHING TWO THIRTS $60/90,000 $363,000
EDGAR PAYNE LAND OF THE NAVAJO $300/500,000 $363,000
W. HERBERT “BUCK” DUNTON THE HUNTER’S RETURN $200/300,000 $363,000

93
 AUCTION REPORTS: PLYMOUTH, MA
PLYMOUTH, MA
COPLEY FINE ART
AUCTIONS
JULY 14-15
Sporting Sale 2022
$3.05 million
The 17th annual Sporting Sale
at Copley Fine Art Auctions
brought in more $3 million
in total sales, including buyer’s
premium. The 675-lot sale was
one of the company’s largest
to date and had a 95 percent
sell-through rate. It also set
several new world records,
with every category from
antique and contemporary
decoys to paintings, prints,
folk art and Americana seeing
lively bidding.
The top lot of the 2022
Sporting Sale was the Harmon
Hollow Nantucket Curlew
(est. $150/250,000), which
sold for $228,000, nearly
doubling the previous world
record for a Nantucket decoy.
Exceptional canine art led the
paintings category. Both major
Edmund Henry Osthaus dog
paintings broke well past
their high estimates, with the
artist’s oil of setter puppies
(est. $60/90,000) selling for
$102,000; and a late addition
work bringing $78,000 against
a presale estimate of $55,000
to $75,000. Another popular
dog painting in the sale was
Arthur Fitzwilliam Tait’s oil
Steady, depicting two setters
pointing at quail. The piece
achieved $73,800 against a
presale estimate of $50,000 to
$80,000.
94
Arthur Fitzwilliam Tait (1819-1905), Steady. Oil on canvas, 14½ x 21 in. Courtesy Copley Fine Art Auctions. Estimate: $50/80,000
SOLD: $73,800
John Singer
THOMASTON, ME
Sargent (1856-
THOMASTON PLACE 1925), Sir William
AUCTION GALLERIES Headworth
Williamson,
JULY 8-10 10th Baronet.
Charcoal on
American Art
paper. Courtesy
$2 million+ Thomaston Place
Auction Galleries.
Thomaston Place Auction
Estimate:
Galleries’ summer American $50/75,000
Art sale saw energetic bidding, SOLD: $72,000
bringing in a total of more
than $2 million. The auction
featured items from the estate
of the late collector and dealer
Gary R. Haynes, as well as
pieces from other important
collections.
Andy Warhol’s iconic
image of Marilyn Monroe—one
of a series of ten serigraphs
from a portfolio published in
1967—was one of the major
highlights of the sale, bringing Baronet by John Singer Sargent Rockwell sold for $25,000, and
in $93,750. Additionally, a that achieved $72,000, as well his graphite on paper portrait
number of works from the as Sargent’s graphite on paper Alice reached $21,875. Winslow
Haynes estate achieved strong study of a reclining nude that Homer’s Spring:The Shepherdess
results, including a charcoal on brought in $19,200. A profile of Houghton Farm (plus a framed
paper portrait titled Sir William bust portrait oil painting of handwritten letter by Homer)
Headworth Williamson, 10th a young woman by Norman sold for a total of $15,600.
CHECK OUT OUR
OTHER ART
PUBLICATIONS! African Art
SONGYE
KIFWEBE
MEN’S MASK
7.5 x 13"
hand carved
painted wood

A monthly magazine specially written

for collectors, galleries and painters of
traditional fine art.
www.AmericanArtCollector.com/subscribe
Subscriptions: (877) 947-0792

Specially designed to preview contemporary

and historic western art coming up for sale.
www.WesternArtCollector.com/subscribe
Subscriptions: (877) 947-0792

BAMANA
CHIWARA
Designed to provide collectors of historic HEAD CREST
American paintings, sculpture and drawings 54" tall x 12"
with all the necessary information they need natural wood
to aquire new works of art.
www.AmericanFineArtMagazine.com/subscribe
Subscriptions: (877) 947-0792 sales@gmdantiques.com
gmdantiques.com
 I
Artists in this issue—Sept/Oct 2022
Abercrombie, Gertrude 80 Dunn, Harvey 93 Loloma, Charles 90 Sargent, John Singer 38, 94
Ahn, Seongmin 37 Dunton, William Herbert “Buck”92 Marshall, Clark Summers 71 Schreckengost,Viktor 72
Alexander, John White 35 Eickemeyer, Rudolf Jr. 33 Metcalf, Willard LeRoy 89 Smillie, Tuesday 34
Baum, Marc 22, 67 Fehr, Paul 73 Miller, Alfred Jacob 77 Smith, Joseph Lindon 69
Baumann, Gustave 91 Fitzgerald, James 26 Moses, Mary Robertson 83 Sotter, George William 88
Bearden, Romare 58 Frey, Mary 36 Muth, Alice Lolita 50 Stevens, William Lester 85
Beecher, Harriet Foster 44 Gollings, William 76 Nichols, Dale 86 Stock, Joseph 87
Belcher, Martha Wood 49 Goodwin, Helen M. 48 Palmer, Frances Flora Bond 32 Stuart, James Everett 46
Bierstadt, Albert 45, 86 Goodwin, Philip R. 93 Payne, Edgar 92 Tait, Arthur Fitzwilliam 94
Bistramm, Emil 90 Hassam, Childe 63 Peets, Orville Peets 62 Walinska, Anna 35
Boghossian, Alexander “Skunder”65 Henry, Edward Lamson 52 Perry Jr., Enoch Wood 70 Walter, Martha 53
Brown, Grafton Tyler 45 Hertel, Susan 90 Peterson, Jane 67 Warhol, Andy 82, 84
Brown, John George 86 Hopper, Edward 54 Petrovic, Milan 50, 62 Weber, Sarah S. Stilwell 89
Clark, Timothy J. 63 Hubbell, Henry Salem 68 Redfield, Edward Willis 88 Whistler, James McNeill 26
Clymer, John 78 Hulings, Clark 79 Rembert, Winfred 37 White, Chartles 27
Cockroft, Edith 49 Kuhn, Bob 79 Remington, Frederic 47, 79 Whittredge, Worthington 82
Coppedge, Fern Isabel 88 Lane, Fritz Henry 31 Ribak, Louis 91 Wyeth, Andrew 26
Couse, Eanger Iriving 88 Laurence, Sydney 45 Robinson, Florence V. 20 Ziegler, Eustace Paul 46
Drexler, Lynne Mapp 27 Lawrence, Jacob 14, 64 Russell, Charles M. 33, 92

Advertisers in this issue

A.J. Kollar Fine Paintings, LLC (Seattle, WA)
Art Expo Dallas (Dallas, TX)
Art on Paper New York (New York, NY)
Art San Diego (San Diego, CA)
Baltimore Antique Show (Baltimore, MD)
Boston International Fine Art Show
(Boston, MA)
Brunk Auctions (Asheville, NC)
D. Wigmore Fine Art, Inc. (New York, NY)
9 David Dike Fine Art, L.L.C. (Dallas, TX) Cover 3 John Moran Auctioneers (Monrovia, CA) 11, 13
29 Debra Force Fine Art, Inc. (New York, NY) 5 Santa Fe Art Auction (Santa Fe, NM) 2-3
16 Florence Griswold Museum (Old Lyme, CT) 6 Scottsdale Art Auction (Scottsdale, AZ) Cover 4
24 Freeman’s (Philadelphia, PA) 8 Shannon’s Fine Art Auctioneers (Milford, CT) 21
23 GMD Antiques Extraordinaire (Houston, TX) 95 Swann Auction Galleries (New York, NY) 17
Hawthorne Fine Art (Irvington, NY) 25 The Mint Museum (Charlotte, NC) 10
12 Hindman (Denver, CO) 1 Vose Galleries (Boston, MA) Cover 2
19 Initiatives in Art and Culture (New York, NY) 18
7 Intersect Palm Springs (Palm Springs, CA) 75

96
 DAVID DIKE FISE ART

26th Annual Texas Art Auction

David Dike Fine Art is excited to announce the gallery has moved! The gallery was established in
1986 in the Arts District of Uptown Dallas and has moved to a NEW location in Alpha Plaza.
AUCTIOS ASD PREVIEW:

David Dike Fine Art

4887 Alpha Rd., Suite 210
Farmers Branch, Texas 75244
(near Alpha and Inwood Road)

David Dike Fine Art will host the 26th Annual Texas Art Auction on
Saturday, October 15 at our NEW location in Alpha Plaza. The sale will
be a live auction and will showcase over 370 lots of Texas Art ranging
from early and traditional to contemporary works. Highlights include
works by Julian Onderdonk, Dawson Dawson-Watson, Tom Lea, Everett
Spruce, and Fred Darge. Also, featured are important mid-century modern
paintings by Dorothy Hood and Ben Culwell. This exciting sale will be
hosted live by auctioneer, Louis Murad TXS 13362. There will be Live
In-Person Bidding, Live On-line Bidding, Phone and Absentee Bidding.
Visit daviddike.com for details or call us.
Auction Date: Saturday, Octo2er 15, 2022
Bidding to 2egin at 10:30 am, CST
Preview: Septem2er 26 – Octo2er 14, 2022
214.720-4044 • info@ daviddike.com • daviddike.com

TOP: DAWSON DAWSON-WATSON

Tea in the Grass, 1915, oil on canvas 40 x 50,
signed lower right: Dawson-Watson 1915,
estimate: $40,000 - $60,000
RIGHT: EVERETT SPRUCE
Man with Small Net, oil on masonite 24 x 16,
signed lower right: E Spruce,
estimate: $25,000 - $40,000
BOTTOM: XAVIER GONZALEZ
Cello Player, c. 1950, oil on canvas 36 x 24,
signed lower left: Xavier Gonzalez, LIVE IN-PERSON BIDDING, LIVE ON-LINE BIDDING, PHONE AND ABSENTEE.
estimate: $8,000 - $12,000 DAVIDDIKE.COM | AUCTIONEER : LOUIS MURAD–TXS 13362
 Scottsdale Art Auction
April 14 th & 15 th, 2023

Arizona Indians 25" x 30" Oil

Edgar Payne
Sold for: $438,750

N ow A cceptiNg i mportANt c oNsigNmeNts

s pecializing in a merican w estern , w ildlife and s porting a rt
upcoming auction April 14th - 15th, 2023

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

SA AS CRTOTAUT SCDT IAOLNE

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