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

ISSUE 59 Sept/Oct 2021

 ALFRED THOMPSON BRICHER (1837-1908)
Lifting Fog, circa 1885, oil on canvas, 18 1/8 x 39 1/8 inches, signed lower left: AT BRICHER

Alfred Bricher was one of the best known and

most collected marine painters of his day. Lifting
Fog was included in the artist’s major exhibition
at the Indianapolis Museum of Art in 1973 and
at the George Walter Vincent Smith Art Muse-
um in 1974. The corresponding exhibition cata-
log featured Lifting Fog, stating, “At its peak in this
example, Bricher’s sensitivity to his environment
responds to the changing seasons and times of
LIaI[_MTTI[\PMLMV[Q\aIVLZMÆMK\QWV[WN \PM
atmosphere.”

Alvan Fisher was one of the earliest American

ALVAN FISHER (1792-1863)
Figures and Horses, circa 1857, oil on canvas,
26 1/8 x 36 inches, signed lower left: AFisher
pioneers of both landscape and genre painting.
Figures and Horses possibly depicts a scene in Ver-
mont, with Camel’s Hump in the distance, and
showcases his real love for animal paintings and
narrative landscapes. These themes were rarely
represented in American art before Fisher.

VOSE Fine American Art for Six Generations 238 Newbury Street . Boston . MA . 02116
617.536.6176 . info@vosegalleries.com
EST 1841 G A L L E R I E S LLC w w w. v o s e g a l l e r i e s . c o m
 GUY PÈNE DU BOIS
(1884–1958)

Girl at an Exhibition, oil on canvas, 40¼ x 30 in.

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

13 EAST 69TH STREETSUITE 4FNEW YORK 10021TEL 212.734.3636WWW.DEBRAFORCE.COM

 2 5 T H A N N I V E R S A R Y

David Dike Fine Art

FALL TEXAS
ART AUCTION
DAVID DIKE FINE ART WILL HOST THE 25TH ANNIVERSARY

Texas Art Auction on Saturday, October 30. The sale will be

Ben L. Culwell, (Am. 1918-1992), Job II, No. 62-2, oil and mixed media on masonite 34 x 48 ¼, signed on all four
corners: BLC, estimate: $30,000 - $40,000
a live auction and will feature over 400 lots of early Texas Art
ranging from traditional to contemporary works. Highlights
include works by Ben Culwell, Everett Spruce, Dorothy Hood,
Frank Reaugh and Jose Arpa.

You may preview anytime between October 11 through

October 29, Monday – Friday, at Wildman Art Framing
located in the Design District at 1715 Market Center Blvd.,
Dallas, TX 75207.

This exciting sale will be hosted live by auctioneer, Louis

Murad TXS 13362. There will be In-Person Bidding, Live
Edmund Daniel Kinzinger, (Am. 1888-1963), Beach Ball, 1934, oil on canvas 26 x 39, signed lower right: EDK 34,
estimate: $15,000 - $20,000
On-line Bidding, Phone and Absentee Bidding. Visit our
website for details or call us.

AUCTION DATE: Saturday, October 30th

Bidding to begin at 10:30 AM, CST
PREVIEW: October 11 – October 29
AUCTION AND PREVIEW LOCATION:
Wildman Art Framing, 1715 Market Center Blvd,
Dallas, TX 75207

Live In-Person Bidding, Live On-Line Bidding,

Phone and Absentee
www.daviddike.com
AUCTIONEER: Louis Murad – TXS 13362
Everett Spruce, (Am. 1908-2002), The Lost Boat, 1943, oil on masonite 29 1/2 x 35 1/2, signed lower left:
E. Spruce, estimate: $40,000 - $60,000

DAVID DIKE FINE ART • 2613 FAIRMOUNT ST, DALLAS, TX 75201 • 214-720-4044 • WWW.DAVIDDIKE.COM • INFO@DAVIDDIKE.COM
 HindmanAuctions.com

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CONTACT
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VP, Senior Specialist, Fine Art Troubled Waves (Silence)
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 LETTER FROM
THE PUBLISHERS
SEPTEMBER/OCTOBER 2021 Bimonthly

PUBLISHER: Adolfo Castillo

EDITORIAL/CREATIVE acastillo@AmericanFineArtMagazine.com

What a Story PUBLISHER: ADVERTISING/ Wendie Martin

ART COMMUNITY DEVELOPMENT wmartin@AmericanFineArtMagazine.com
FOUNDER Vincent W. Miller
Like the rebirth of spring each year and the buds opening to set the stage
for a beautiful blooming summer, so too has the American art world opened EDITORIAL
EXECUTIVE EDITOR Rochelle Belsito
for collectors. Record sales are happening across the United States with no rbelsito@AmericanFineArtMagazine.com
end in sight. EDITOR Michael Clawson
Rochelle Belsito, executive editor, just returned from LA Art Show— mclawson@AmericanFineArtMagazine.com
where every single copy of American Fine Art Magazine that we had at the ASSISTANT EDITOR Alyssa M. Tidwell
show was taken like it was a historical guide. While in Los Angeles, she EDITORIAL ASSISTANT Chelsea Koressel
also made a stop at Bonhams’ showroom on Sunset Boulevard and had the SANTA FE EDITOR John O’Hern

chance to preview the artwork that was in the California Art, Western Art and CONTRIBUTING PHOTOGRAPHER Francis Smith

Portrait of the West: The Diane and Sam Stewart Collection sales. ADVERTISING (866) 619-0841
Meanwhile Michael Clawson, executive editor of our sister magazine SENIOR ACCOUNT EXECUTIVE Lisa Redwine
lredwine@AmericanFineArtMagazine.com
Western Art Collector, just returned from the Coeur d’Alene Art Auction in
SENIOR ACCOUNT EXECUTIVE Anita Weldon
Reno, Nevada, and witnessed as historic and contemporary works sold aweldon@AmericanFineArtMagazine.com
rapidly throughout the day yielding $17.5 million. Close to 50 percent of SENIOR ACCOUNT EXECUTIVE Heather K. Raskin
hraskin@AmericanFineArtMagazine.com
the paintings sold had historic significance and provenance.
SENIOR ACCOUNT EXECUTIVE Constance Warriner
What is this trend? Well, first, people seek beauty around them. Historic cwarriner@AmericanFineArtMagazine.com
art is a wonderful way to surround yourself with beauty, depth, history and SENIOR ACCOUNT EXECUTIVE Camille Beaugureau
cbeaugureau@AmericanFineArtMagazine.com
purpose. Collecting is a big investment and responsibility as you well know.
TRAFFIC MANAGER Jennifer Satterlee
We are lucky enough to have you, our serious collectors, doing this for many traffic@AmericanFineArtMagazine.com
years. We see you continuing to collect at a rapid rate looking for the very MARKETING
best pieces. Second, it is another month in the books for 2021, and the sixth SOCIAL MEDIA Robin M. Castillo
month of gains for the S&P 500. In fact, the index is up roughly 17 percent ENGAGEMENT MANAGER social@americanartcollector.com

this year alone. There are still concerns over inflation and potential supply
chain disruption as we head into the third quarter of the year.
What do these two things add up to? We know that historic art is a solid,
long-term investment and collectors are looking to build their collections.
As you peruse through the pages, please note that we are bringing to you
the best galleries in the industry via print, digital, podcast and social media.
In this issue, we have many masterpieces and their history to feast your eyes
on. We have our auction results to see the trend for yourself and an event
calendar so you know what is ahead.
Sincerely,
Wendie Martin & Adolfo Castillo
Publishers
YOUR ALL-ACCESS PASS!
Scan this QR code to start listening to
The American Art Collective podcast!
PRODUCTION
ART DIRECTOR Tony Nolan
PRODUCTION ARTIST Dana Long
SUBSCRIPTIONS (877) 947-0792
SUBSCRIPTIONS MANAGER Emily Yee
service@AmericanFineArtMagazine.com
ACCOUNTS RECEIVABLES SPECIALIST April Stewart
astewart@AmericanFineArtMagazine.com
Copyright © 2021. All material appearing in American Fine Art
Magazine is copyright. Reproduction in whole or part is not permitted
without permission in writing from the editor. Editorial contributions
are welcome and should be accompanied by a stamped self-addressed
envelope. All care will be taken with material supplied, but no
responsibility will be accepted for loss or damage. The views expressed
are not necessarily those of the editor or the publisher. The publisher
bears no responsibility and accepts no liability for the claims made, nor
for information provided by advertisers. Printed in the USA.
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AMERICAN FINE ART MAGAZINE

On the Cover
Nicolai Fechin (1881-1955), Portrait of a Young Lady
(possibly Marina Flamant Makovsky), ca. 1908. Oil on canvas,
41½ x 28 in., signed upper right: ‘N. Fechin’.
Estimate: $600/800,000
Available at Hindman’s American and Europe
Art auction, September 28.
(ISSN 2162-7827) is published 6 times a year
by International Artist Publishing Inc.
CANADA
American Fine Art Magazine
Publications Mail Agreement No. 40064408
Return Undeliverable Canadian Addresses to
Express Messenger International
P.O. Box 25058, London BRC, Ontario, Canada N6C 6A8
www.AmericanFineArtMagazine.com

4
 AMERICAN ART
Signature® Auction | November 5, 2021

Norman Rockwell (American, 1894-1978)

Home for Thanksgiving, Saturday Evening Post cover View All Lots & Bid at HA.com/8058
(detail), November 24, 1945
Oil on canvas | 35 x 33 inches Inquiries: 877-HERITAGE (437-4824)
Estimate: $4,000,000 - $6,000,000 Aviva Lehmann | ext. 1519 | AvivaL@HA.com
 EDITOR’S LETTER

Something for Everyone

O ne of the things I enjoy about historic American art is the
range in styles, subjects and mediums represented. And there
always seems to be something new to discover—a work of art
that’s been hidden away in a private collection for years or pieces
by lesser-known but highly skilled artists that are just hitting the
market. There’s also history and context to be discovered as art is
contextualized through exhibitions and exploration.
Our September/October issue brings to light many new ideas
and fresh finds. Women in the arts are explored in three distinct
articles. First is Lisa Koenigsberg’s essay on women artists as
related to the November Initiatives in Art and Culture Conference on American Art. Next
is a preview on the Yale University Art Gallery’s new exhibition On the Basis of Art: 150
Years of Women at Yale. We wrap things up with the inaugural Women in the Arts Auction from
Eldred’s that spotlights work from historic through contemporary women artists.
The issue also has coverage on the Mint Museum’s exhibition of the often-overlooked
impressionist John Leslie Breck, while we also spotlight Romare Bearden’s abstract works
in an article on the upcoming show at Gibbes Museum of Art. Menconi + Schoelkopf
presents Marin in the White Mountains, a look at the artwork John Marin created as he
traveled through the White Mountains on his sojourns. James D. Balestrieri discusses artists
who painted and explored the Arctic and Antarctica, as well as the impact that time and
human presence has had on the earth.
Other highlights include a preview of the Jackson Hole Art Auction, taking place during
the Wyoming city’s famed Fall Arts Festival; the fall African American Art sale at Swann
Auction Galleries; and coverage of museum exhibitions for Marsden Hartley and the
Elie and Sarah Hirschfield Collection. No matter what you’re looking to discover, there’s
something that will spark your interest in the pages of the magazine.

Happy collecting! Find us on:

American Fine CollectArt @artmags AmericanFine

Rochelle Belsito Art Magazine ArtMagazine

Executive Editor
rbelsito@americanfineartmagazine.com

6
 Doris Lee (1904-1983) Ribbon Dance 49 1⁄2 x 45 1⁄2 inches oil on canvas

Simple Pleasures: The Art of Doris Lee

The Westmoreland Museum of American Art
September 26, 2021 – January 9, 2022

77 works drawn from museums and private collections celebrate Doris Lee’s
painted expressions of joy in daily life, accompanied by a 240 page catalogue
with essays by Barbara Jones, Melissa Wolfe, John Fagg, and Tom Wolf.

Further venues include: The Figge Art Museum, Davenport, IA; Vero Beach
Museum of Art, FL; and The Dixon Gallery and Gardens, Memphis, TN.

D. WIGMORE FINE ART, INC.

152 W 57 ST, 3 FLOOR, NEW YORK, NY 10019
TH RD
DWIGMORE.COM 212-581-1657
 Fine Art and Photography at Auction
Friday, October 22 at 1pm

Dale Chuhuly Seaform Group approximately 16 x 20 inches

Wayne Thiebaud (Born 1920)
Drypoint and Aquatint

Jean Monneret (Born 1922) Oil on Canvas Sadayuki Uno (1901-1989)

Oil on Canvas dated 1945

Robert Rauschenberg
(1925-2008)

David Kroll (Born 1956) Oil on Canvas Rod Goebel (1946-1993)

California View Oil on Canvas

A U C T I O N S
Lo n e Ja c k - K a n s a s C i t y, M i s s o u r i
w w w. S o u l i s A u c t i o n s . c o m | 8 1 6 . 6 9 7. 3 8 3 0
American Art and Pennsylvania Impressionists
Featuring the Collection of Virginia and Stuart Peltz

AUCTION DECEMBER 5 FREEMANSAUCTION.COM

TO CONSIGN: americanart@freemansauction.com PHILADELPHIA PA
 
    
  
 

 



 









   

       
     
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 HENRY WARD RANGER
(American 1858-1916)

The Woods at Fort Lee 1897 EXHIBITED

Oil on canvas William Macbeth Gallery; New York
28 x 36 inches Worcester Art Museum; Massachusetts
Signed and dated lower left NOTE
Likely acquired from Horace Henry, founder
of the Henry Gallery-Museum at the University
of Washington. The first recorded owner and
Horace Henry were friends. (circa 1920)

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

Specializing in American paintings from 1840-1940

A.J. KOLLAR FINE PAINTINGS, LLC

1421 East Aloha Street Q Seattle, WA 98112 Q (206) 323-2156 Q www.ajkollar.com

Contact us to receive our upcoming catalogue of American paintings

By Appointment Q Private Art Dealers Association Q Independent Appraiser of American Art
 Rehs
G A L L E R I E S, I N C .

Adolphe Alexandre
Lesrel
(18 39 - 1 9 2 9)
A N e w S wo r d
Oi l o n p a nel
21 3 / 4 x 18 i nc hes
S ig ne d & d at ed 188 8

“A t s o m e p o i n t i n t h e 1 8 8 0 s ,
Lesrel began to focus his attention
more specifically on historic genre
paintings dealing primarily with
scenes from the time of king
Louis XIII (1601-1643). Unlike
his earlier medievalizing canvases,
Lesrel was now showcasing
scenes of sophisticated gentlemen
engaged in activities related to
intellectual pursuits such as art
c o l l e c t i n g, a r c h i t e c t u r a l d e s i g n ,
chess games, musical parties and
the consumption of fine wines.
There are very few women in these
paintings, and the setting is almost
always a domestic interior of some
sort. Although these paintings
might trace their lineage back to
the troubadour paintings of the
f i r s t h a l f o f t h e n i n e t e e n t h c e n t u r y,
they are less about romanticizing
the gothic and renaissance past,
and more about evoking the 17th
c e n t u r y w h e n Fr a n c e w a s e m e r g i n g
a s a n i m p o r t a n t E u r o p e a n p o w e r.”
R E A D M O R E AT R E H S. C O M

5 East 57th Street

8th floor
N e w Yo r k , N Y 1 0 0 2 2
1 (212) 355-5710
w w w. r e h s . c o m
info@rehs.com
 In This Issue
Features Gallery
Fine Art Insights 
Shows
For Your (Re)consideration: An exploration of Previews of upcoming shows of historic
American women artists American art at galleries across the country.
By Lisa Koenigsberg
56 Travelogue
Marin in the White Mountains at
Menconi + Schoelkopf
58 Midcentury
Abstraction
Modernism at Rubine Red Gallery
60 In Plain Sight
Ken Nevadomi at WOLFS Gallery

William Bradford (1823–1892), An Arctic Summer: Boring Through the Pack

in Melville Bay, 1871. Oil, 51¾ x 78 in. Metropolitan Museum of Art. Gift of
Erving and Joyce Wolf, in memory of Diane R. Wolf, 1982. 1982.443.1.

To the Ends  At WOLFS Gallery:

of the Earth Ken Nevadomi (b. 1939), Dancing on the Moon (Day), 1991.
Acrylic on canvas, 55 x 72 in.
A brief survey of American artists who were
explorers and painters of the Arctic and Antarctic
By James D. Balestrieri
Departments
Art Stories  Art Show Calendar 22
John and Susan Hainsworth’s collection features
standout American portraits, landscapes and more Art Market Updates 26
that are rich with history and provenance
Market Report 28
By John O’Hern
Curator Chat 30
New Acquisition 32

14
 SEPTEMBER/OCTOBER 2021

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

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

62 Reviving Research 78 The Frontier Spirit

Jackson Hole Art Auction
John Leslie Breck: American Impressionist at
Mint Museum Uptown Carl Rungius
(1869-1959),
66 Coming Home Above the
Marsden Hartley: Adventurer in the Arts at Treeline. Oil
The Bates College Museum of Art on canvas,
30 x 40 in.
70 Hidden Treasures Estimate:
Romare Bearden: Abstraction at $300/500,000

Gibbes Museum of Art

72 Elevating their Voices

On the Basis of Art: 150 Years of Women at Yale
at Yale University Art Gallery
74 City Views
Scenes of New York City:The Elie
and Sarah Hirschfeld Collection at
New-York Historical Society
82 Rare Examples
African American Art at Swann Auction Galleries
84 Progress and Power
Women in the Arts Auction at Eldred’s
86 Fresh Variety
American and European Art at Hindman

88 Auction Previews
Brunk Auctions, Cottone Auctions, David Dike

Events Fine Art, Doyle, Heritage Auctions, Shannon’s

Fine Art Auctioneers, Skinner Inc. and Sotheby’s

& Fairs Reports

92 Summertime Success
Coverage of all the major art fairs and events
American Art & Pennsylvania Impressionists
taking place across the country.
at Freeman’s

76 Chicago 94 Auction Reports

Environments Copley Fine Art Auctions, Santa Fe Art Auction,
Conference on the Arts & Crafts Movement Sotheby’s,Thomaston Place Auction Galleries

15
 Fall
Into
Special Fall Season
Art &
Sept. 27 - Oct. 16
Three-Week Celebration Design
Fine Art & Design Events
Open to All - Most Free

Nationally-recognized
guest speakers,
international partner events,
demonstrations, tours, openings
and so much more!

BostonDesignWeek.com

Produced by:
Fusco & Four/Ventures, LLC

Sponsored by:

Visit an 1870’s design time capsule:

Trinity Church, Copley Square
in Boston’s Back Bay
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Cleveland, Ohio
216-721-6945 wolfsgallery.com
6HHNLQJILQHSDLQWLQJVDQGVFXOSWXUHLQFOXGLQJZRUNVE\DUWLVWVRI WKH&OHYHODQG6FKRRO
 Photo: Constantin Mirbach
Art Market
San Francisco
Sep 30 — Oct 3, 2021
Fort Mason Center – Festival Pavilion
2 Marina Blvd.
San Francisco, CA 94123
artmarketsf.com
Currently Seeking Consignments
Nan Zander, American Fine Art
828.254.6846, nan@brunkauctions.com

Highlights from our Premier Auction | September 10-11, 2021

Levi Wells Prentice Everett Shinn Jasper Francis Cropsey

Estimate: $6,000-$8,000 Estimate: $30,000-$50,000 Estimate: $80,000-$120,000

Asheville, North Carolina | brunkauctions.com | 828-254-6846

NCAL 3095 VAAL 2908001063
 the Best Fairs, exhibitions and Events Coast to Coast

AUGUST 28DECEMBER 12
Thomas Moran's Mount Superior SEPTEMBER 26JANUARY 9, 2022
Amon Carter Museum of
American Art • Forth Worth, TX Simple Pleasures: The Art of Doris Lee
The Amon Carter Museum celebrates its Westmoreland Museum of American Art • Greensburg, PA
recent acquisition of Thomas Moran’s Westmoreland presents 77 works by Doris Lee, including paintings, drawings, prints and commissioned
Mount Superior with an exhibition for commercial designs in fabric and pottery, spanning from the 1930s through the 1960s.
the artist that includes this painting www.thewestmoreland.org
and other landscapes.
www.cartermuseum.org

THROUGH SEPTEMBER 6
Three Centuries of American
Art: Antiquities, European, and
American Masterpieces—The
Fayez S. Sarofim Collection
Museum of Fine Arts • Houston, TX
The Museum of Fine Arts, Houston,
presents an exclusive look at the collection
of philanthropist Fayez S. Sarofim, which Doris Lee (1905-1983), The View, Woodstock, 1946. Oil on
canvas, 27½ x 44 in. The John and Susan Horseman Collection
includes world-class paintings that reflect of American Art
key periods in American art.
www.mfah.org

SEPTEMBER 912 THROUGH SEPTEMBER 12 SEPTEMBER 2326 SEPTEMBER 27OCTOBER 16

Art on Paper NY
Pier 36 • New York, NY
The seventh edition of this art fair
presents booths from galleries that will
feature top modern and contemporary
paper-based art.
www.thepaperfair.com
THROUGH SEPTEMBER 11
Off-Site | Visions of American Life:
Selections from the Nancy and Sean
Cotton Collection of American Art
Detroit Institute of Arts • Detroit, MI
Forty paintings, from 1850 to 1940, depict
the people, landscapes and cultures that
have inspired American artists.
www.dia.org
THROUGH SEPTEMBER 12
David Driskell:
Icons of Nature and History
Portland Museum • Portland, ME
The first survey of artist David Driskell’s
artwork since his death in April 2020
includes approximately 60 works
throughout his illustrious career.
www.portlandmuseum.org
Louis Comfort Tiffany: Treasures Conference on the Arts & Crafts
from the Driehaus Collection Movement: Chicago and Environs
Crocker Art Museum • Sacramento, CA Various Locations • Chicago, IL
This celebration of beauty features Initiatives of Art and Culture explores
more than 60 objects in glass, ceramic, how Chicago’s architects, artists and
metalwork, jewelry and painting, artisans developed a design vocabulary
spanning over 30 years of Tiffany’s career. specific to the region.
www.crockerartmuseum.org www.artinitiatives.com
THROUGH SEPTEMBER 19 THROUGH SEPTEMBER 26
Social & Solitary: Reflections on Collection Spotlight:
Art, Isolation and Renewal Etchings by Daniel Garber
Florence Griswold Museum • Michener Art Museum •
Old Lyme, CT Doylestown, PA
An exhibition reflecting on the While more known for his impressionistic
implications of a social world forced into landscape paintings, this exhibition
solitary confinement and the role art has features the etchings of Daniel Garber that
on the healing process. illustrate the artist’s attention to texture
www.florencegriswoldmuseum.org and expressive line.
www.michenerartmuseum.org
THROUGH SEPTEMBER 19
Ralston Crawford: THROUGH SEPTEMBER 27
Air & Space & War Crystal Bridges at 10
Crystal Bridges Museum of
Brandywine River Museum •
American Art • Bentonville, AR
Chadds Ford, PA
This immersive exhibition, with 10 art
An exploration into U.S. aviation and
experiences, celebrates the museum’s
military history through the art and
opening a decade ago. More than 130
experiences of American modernist,
Ralston Crawford. artworks will be on view including a
www.brandwine.org/museum living picture of Maxfield Parrish’s The
Lantern Bearers.
www.crystalbridges.org
Boston Design Week
Multiple Venues and Online •
Boston, MA
Fall into art and design for this year’s
Boston Design Week, a citywide event that
showcases top designers from architecture
and landscaping, to furniture and
handcrafted jewelry.
www.bostondesignweek.com
SEPTEMBER 30OCTOBER 3
Art Market San Francisco
Fort Mason Center - Festival Pavilion •
San Francisco, CA
This premier art fair is now in its 10th
year and will feature contemporary and
modern artwork by 85 art galleries from
around the world.
www.artmarketsf.com
THROUGH OCTOBER 3
The Prismatic Palette: Frank
Vincent DuMond and His Students
Lyman Allyn Art Museum • London, CT
The legacy of Frank Vincent DuMond
is explored in an exhibition with
approximately 60 objects, with an
emphasis on the artist’s teaching.
www.lymanallyn.org

22
 Norman Lewis, Untitled (Gate Composition), oil on masonite board, 1947. $60,000 to $90,000. At auction October 7.

Upcoming Auctions

SEPT 21 The Virginia Zabriskie Collection NOV 2 & 3 Old Master Through Modern Prints
Featuring Old Master Drawings from a Private Collection

OCT 7 African American Art NOV 9 Contemporary Artists’ Books

The Property of a Texas Collector

OCT 21 Fine Photographs NOV 16 Contemporary Art

Catalogues & Schedule

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

 ART SHOW CALENDAR

Auctions
at a Glance
AUGUST 2729 SEPTEMBER 29OCTOBER 7
Summer Sale of Fine Art & Antiques Two Centuries: American Art
Thomaston Place Auction Galleries • Sotheby’s • New York, NY
Thomaston, ME www.sothebys.com
www.thomastonauction.com
OCTOBER 4
SEPTEMBER 2OCTOBER 1 Illustration Art
Fine American Paintings & Sculpture Heritage Auctions • New York, NY
Skinner • Online www.ha.com
www.skinnerinc.com
OCTOBER 7
SEPTEMBER 911 African American Art
Premier and Emporium Auctions Swann Auction Galleries • New York, NY
Brunk Auctions • Asheville, NC www.swanngalleries.com
www.brunkauctions.com
OCTOBER 28
SEPTEMBER 1718 Women in the Arts Auction
Jackson Hole Art Auction Eldred’s • East Dennis, MA
Center for the Arts • Jackson, WY www.eldreds.com
www.jacksonholeartauction.com
OCTOBER 28
SEPTEMBER 18 Fine Art Auction
Fine Art, Antiques & Clocks Shannon’s Fine Art Auctioneers •
THROUGH OCTOBER 3 Cottone Auctions • Geneseo, NY Milford, CT
www.cottoneauctions.com www.shannons.com
Americans in Spain:
Painting and Travel SEPTEMBER 27 OCTOBER 30
(1820-1920) American and European Art Texas Art Auction
Milwaukee Art Museum • Milwaukee, WI Hindman • Chicago, IL David Dike Fine Art • Dallas, TX
The first major exhibition to center on the influence www.hindmanauctions.com www.daviddike.com
of Spanish art and culture on American painting.
www.mam.org
SEPTEMBER 28
Fine Art Auction
Doyle’s Auction • New York, NY
www.doyle.com
Robert Henri (1865-1929), El Matador, 1906. Oil on canvas, 78 x 38 in. Milwaukee Art Museum,
Purchase, the Mr. and Mrs. Donald B. Abert and Barbara Abert Tooman Fund with funds in memory
of Betty Croasdaile and John E. Julien, M2019.1. Photo, John R. Glembin.

OCTOBER 8MAY 8, 2022 OCTOBER 17JANUARY 2, 2022

THROUGH OCTOBER 3 THROUGH OCTOBER 3
In American Waters For America: Paintings from the
Peabody Essex Museum • Salem, MA National Academy of Design
This major marigime exhibition extends Crocker Art Museum • Sacramento, CA
beyond the ship portrait to how the sea This is the first exhibition to highlight the
reflects American culture, its symbols and uniqueness of the National Academy’s
what it means to be “in American waters.” collection. It explores the ways artists have
www.pem.org represented themselves and their country.
www.crockerartmuseum.org
Sargent, Whistler, and Venetian
Glass: American Artists and the
Magic of Murano
Smithsonian American Art Museum •
Washington, D.C.
Glass art will be displayed alongside
paintings, watercolros and more in this
compreshensive exhibition focusing on
the “American Grand Tour” to Venice in
the late 19th century.
www.americanart.si.edu
Black Artists in America: From the
Great Depression to Civil Rights
Dixon Gallery & Gardens • Memphis, TN
An exploration of art showing how Black
artists responded to the United States’
political, social and economicl climate
beginning with the Great Depression.
www.dixon.org

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

24
MA Lic. #155

Women
omen in the Arts Auction
uction
OCTOBER 28, 2021

Featuring listed American women artists, from 19th Century examples to important contemporary works.
A portion of the proceeds to ċeneǶt Ø/ CAs, a womenɑs empowerment organiǕation on Cape Cod.

Fidelia Bridges (1834-1923) Birds in a Marsh,

est. $20,000/30,000

1483 ROUTE 6A, E. DENNIS I 508-385-3116 I CONSIGN OR BID AT WWW.ELDREDS.COM


Jasper Francis Cropsey (1823-1900), Mounts Adam and Eve, 1872. Oil on canvas. Reynolda House Museum of American
Art, Gift of Barbara B. Millhouse. On view in The Voyage of Life at Reynolda House Museum of American Art.
The Voyage of Life
The Voyage of Life: Art, Allegory, and
Community Response represents three
centuries of American art with works
by artists like Andy Warhol, Romare
Bearden, Alice Neel, Fairfield Porter, Lee
Krasner and more, featured “alongside
community-sourced stories that reveal
critical moments in the ‘voyage of life.’”
Held at the Reynolda House Museum
of American Art in Winston-Salem,
North Carolina, several promised gifts
will also be featured in the exhibition,
demonstrating the museum’s goal of
increasing representation by artists of
color. The show will be held through
December 12.
LA Arts Endowment Fund
A $20 million gift from author and
philanthropist MacKenzie Scott
established the LA Arts Endowment
Fund, which will support small to mid-
sized community arts organizations.
The monumental and transformative
gift will bolster the Los Angeles area’s
arts scene by supporting the longevity
of nonprofit arts organizations and
strengthening the infrastructure of the arts
26
in the long term. “We applaud and are
grateful to MacKenzie Scott for investing
in our community’s cultural and arts
organizations,” says Antonia Hernandez,
president and CEO of the California
Community Foundation. “This gift
recognizes CCF for being a longstanding
supporter of the arts in Los Angeles
County. The LA Arts Endowment Fund
emphasizes our commitment to the long-
term well-being of the arts not just for
today, but beyond.”
John Singer Sargent (1856-1925), Thomas McKeller
(detail), 1917-21. Museum of Fine Arts, Boston. On view in
The Isabella Stewart Gardner Museum's catalog Boston's
Apollo: Thomas McKeller and John Singer Sargent.
Excellence in Art
Publishing
Art Libraries Society of North America
has recognized The Isabella Stewart
Gardner Museum’s 2020 exhibition
catalog Boston’s Apollo:Thomas McKeller
and John Singer Sargent for excellence
in art publishing. Featuring drawings
given to Isabella Stewart Gardner by
Sargent himself, the important catalog is a
groundbreaking moment in the museum’s
history, providing its first focus on images
of a Black man, as well as the first to
address the history of African American
experience in Boston. The catalog is
accompanied by a diversity of perspectives
from artists, curators and scholars.
John Marin (1870-1953), Movement, Nassau Street, ca. 1932.
Graphite. Gift of D. Frederick Baker from the Baker/Pisano Collection,
2018.27.12. On view in Picturing a Nation at Chazen Museum of Art.
Picturing a Nation
Beginning August 31, the Chazen
Museum of Art in Madison, Wisconsin,
hosts an exhibition that highlights
American drawings and watercolors from
the 18th to early 20th century. Featured
in the exhibition are fantastic works by
George Catlin, William Merritt Chase,
Thomas Cole, John Singleton Copley,
John Steuart Curry, Lilian Westcott Hale,
Eastman Johnson and John Marin among
many others. Picturing a Nation: American
Drawings and Watercolors will be on view
through November 28.
Saint-Gaudens Medal
Wanda M. Corn, Robert and Ruth Halperin Professor Emerita at
Stanford University, has been awarded the Saint-Gaudens Medal for her
years of support in preserving historic artists’ properties across the United
States. The Saint-Gaudens Memorial plays a pivotal role as a partner of the
Saint-Gaudens National Historic Park, sponsoring programs and activities
that promote public awareness of the work of Augustus Saint-Gaudens
and sculpture as a whole. Corn’s recent exhibition Georgia O’Keeffe: Living
Modern was organized through the Brooklyn Museum of Art and has
traveled to museums throughout the country.

Thomas Cole Masterpiece

The Philadelphia Museum of Art will display in its American galleries
a masterpiece by esteemed Hudson River School painter Thomas Cole
titled The Arch of Nero. Created at the pinnacle of his career in 1846,
the piece goes to the PMA as a long-term loan from the Thomas H.
and Diane DeMell Jacobsen PhD Foundation. It was purchased by the
Foundation—in an effort to keep this important painting in the public
domain—at Sotheby’s American Art sale in New York this past May.

Thomas Cole (1801-1848), The Arch of Nero, 1846. Courtesy

Sotheby’s. On view at Philadelphia Museum of Art.

People & Places

» The Saint Louis
Art Museum
has named Min
Jung Kim its new
Barbara B. Taylor
Director. Bringing
nearly 30 years of
experience to her
new role, including
more than a decade at the Solomon R.
Guggenheim Museum, Kim will succeed
retiring director Brent R. Benjamin.
» Renovations will take place at the Polk
Museum of Art in Lakeland, Florida, in
its largest gallery, the Dorothy Jenkins
Gallery this summer and Gallery II in
early November. The renovations are
meant to create a more versatile space
for exhibitions as well as imbue a
contemporary atmosphere.
» Horace D. Ballard will be the new fresh installation of the museum’s
Theodore E. Stebbins Jr. Associate permanent collection. Part of this
Curator of American Art at the Harvard installation includes the Preston
Art Museums, beginning September Morton Gallery, which will feature
1. In his previous highlights of American art through
role, Ballard a selection of 26 paintings and
was curator of sculptures.
American art
at the Williams
» Crawford Alexander Mann III is the
College Museum
new chief curator and director of
of Art, in
curatorial affairs at Telfair Museums
Williamstown,
in Savannah, Georgia, beginning this
Massachusetts,
November. Mann comes to the Telfair
and was assistant curator before that
Museums after an approximately
from 2017 to 2019.
four-year-long role as curator of prints
and drawings at the Smithsonian
» After a six-year renovation project, American Art Museum.
the Santa Barbara Museum of
Art celebrated a grand reopening
on August 15, unveiling new
gallery spaces, public areas and a

27
 MARKET REPORT
WHAT WE’RE HEARING FROM GALLERIES AND
AUCTION HOUSES ACROSS THE COUNTRY.
HOWARD L. REHS
President & Director
Rehs Galleries, Inc.
Our client base is national
and international. I can say
that there is a great deal
of interest about the area
of the market we deal in.
While we handle some American art—
Daniel Ridgway Knight, William Glackens,
Antonio Jacobsen, G. Harvey, Jane
Petersen, Guy Carleton Wiggins, Johann
Berthelsen, Orville Bulman, etc.—our
primary focus is [still] 19 th- and 20 th-
century French art.
28
Rehs Galleries, Inc. in New York City specializes in artwork of the 19th and 20th century.
Over the past 18 to 24 this time; there are so many talented
months, we started and underappreciated artists. In 2008,
seeing younger collectors, works by most artists from these
30 to 35 years of age, periods dropped in value and remained
entering our area of the extremely low for more than a decade.
market and acquiring Over the past two years, prices have
high-quality academic begun to rise, but there are so many
and post-impressionist works by both whose works are still very affordable—
American and European artists. The among them are Daniel Ridgway Knight,
most interesting part is that they have all Louis Aston Knight, Antonio Jacobsen
stated that they see a great deal of value and Jane Peterson.
in these works. REHS GALLERIES, INC.
The 19 th- and early 20 th-century parts 5 E. 57th Street • New York, NY 10022
of the art market are undervalued at (212) 355-5710 • www.rehs.com
FALL AUCTION - UPCOMING HIGHLIGHTS
Preview the sale on shannons.com Consignments accepted year-round

October 28, 2021 | 6:00 pm ET

Important Paintings, Drawings, Prints & Sculpture
Catalog will be available October 1st.

THOMAS HART BENTON

American (1889-1975)
Sugar Cane, 1943
oil on board
8 3⁄4 x 12 inches

CHARLES BURCHFIELD
American (1893-1967)
January Sun, 1948/57
watercolor on paper
39 x 33 1⁄2 inches

MILTON AVERY
American (1885-1965)
Red Bergere, 1963
oil on canvasboard
18 x 14 inches

Contact
Sandra Germain
info@shannons.com
+1 203 877 1711
shannons.com Personalized Service • Competitive Rates • Proven Results
 CURATOR CHAT
WE ASK LEADING MUSEUM CURATORS ABOUT
WHAT’S GOING ON IN THEIR WORLD
STEPHANIE HEYDT
Margaret and Terry Stent Curator of American Art
HIGH MUSEUM OF ART, ATLANTA, GA
(404) 733-4400, www.high.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 Sargent, Whistler
and Venetian Glass: American Artists and the
Magic of Murano, which will be opening
this fall at the Smithsonian American Art
Museum. The show promises to be not only
gorgeous, but a thoughtful consideration
of how American artists engaged with the
revival of the craft industry in Venice. I am
also excited by a show that recently opened
on the 20th-century painter Alma Thomas,
organized by the Columbus Museum, titled
Alma W. Thomas: Everything is Beautiful.
What are you reading?
I’m reading Nathaniel Hawthorne’s
The Blithedale Romance, 1852, a sharp
30
commentary about Hawthorne’s own
experience in a failed utopian community.
I chose it because I am researching 19th-
century gender dynamics for an exhibition
I am working on.
Interesting exhibit, gallery opening
or work of art you’ve seen recently.
I have seen a virtual tour of the Philadelphia
Museum of Art’s new American galleries
installation and am intrigued! I cannot wait
to see it in person. The new galleries take
a refreshingly broad and inclusive view of
American art. I especially appreciate the
new interpretations that shed light on
issues and communities often relegated to
the margins, making space for Indigenous
people and people of color in the story of
American art.
CATMAX PHOTOGRAPHY, LLC
What are you researching
at the moment?
I am currently working on the American
modernist painter, Joseph Stella. Our
show is reviving his fascinating nature-
based work, which has been often
overlooked. I am also starting work on
a show that I will be co-curating on late
19th-century representations of women
and the breach of gender norms. We are
focusing mainly on the work of Winslow
Homer and Eastman Johnson, two artists
who embrace the subject of the modern
woman in the post-Civil War years.
What is your dream exhibit to curate?
Or see someone else curate?
I have a handful of shows that I am excited
to pull out of their current holding pattern.
One is a late 19th-century subject and
another a post-World War II topic. But I will
not spill the beans quite yet!
American Works of Art at auction
September 30, 2021, 10AM | Marlborough, MA | Previews September 28 & 29, 10AM–5PM

Contact: 508.970.3206 paintings@skinnerinc.com MA LIC. 2304

Marguerite Thompson Zorach (American, 1887-1968), Factory at Night, oil on canvas, 16 x 20 in.

For buyers, consignors, and the passionately curious

F I N D W O R T H AT S K I N N E R I N C .C O M
 NEW ACQUISITION

Theodore Roszak
MINNEAPOLIS INSTITUTE OF ART

Theodore Roszak
(1907-1981), Sammy,
1933. Ink on paper,
12¼ x 9½ in. Gift of the
estate of Theodore
Roszak. Minneapolis
Institute of Art 2020.80.66.
© Estate of Theodore
Roszak/Licensed by
VAGA at Artists Rights
Society (ARS), NY.

N early 800 works on paper by Polish-American

artist Theodore Roszak were recently gifted to the
Minneapolis Institute of Art (Mia) by the artist’s
daughter, Sara Roszak, from the artist’s estate. “This generous
gift will help Mia to tell a more dynamic story of modernist
drawing and sculpture in the United States, especially because
Roszak was a tireless innovator, open to new forms and
techniques,” says Robert Cozzolino, Mia’s Patrick and Aimee
Butler Curator of Paintings. Cozzolino, who specializes in
American modernism, worked closely with Sara Roszak
on the selection of materials for the museum and has long
admired Roszak’s work. “Even though his approach and
philosophy overlapped with styles ranging from constructivism
and abstract expressionism to surrealism and realism, he always
remained an independent.”
Among the items in this massive gift are a total of 727
drawings, 63 prints and three photographs by the abstract
expressionist, who also produced many modernist sculptures
throughout his career.
Cozzolino continues, “We are very excited to study
and display Roszak’s works in dialogue with those by his
contemporaries in our collection, including Alberto Giacometti,
Henry Moore, George Rickey and Louise Nevelson. I am
particularly interested in showing his late political and satirical
drawings with works by a much younger generation. It is an
important part of his career that is not well known.”

32
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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art

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Artist
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Master painter and sculptor John
Coleman joins us on the podcast
to discuss his fascinating path to
becoming an artist, his philosophy
on art and the mythology of the
West. John originally started his art
career as a sculptor, but has been
painting for the last 6 years. He
made history in Western art when
he had huge solo shows in 2016
and 2020 that showed the depth of
his talent and skill. This episode is
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Painter Frank Gonzales joins us
in the studio to discuss his art
background, inspirations and what
he has planned for the coming year.
Artist
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One of the top landscape painters
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us during his showing at the Prix
de West exhibition at the National
Cowboy & Western Heritage Museum
in Oklahoma City.
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One of the great Western painters
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joins us for today’s show. George
lives and paints in Texas Hill
Country, but he also ventures down
to Mexico to paint small villages and
their residents. We explore George’s
interests and his long career in
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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
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W
hile impressive auction results of historic American
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collector may garner a newspaper headline now and
then, there is no magazine, until now, that has offered SUBSCRIPTION
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previewing important
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When you subscribe to American Fine shows and auctions coast to coast.
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major works are coming to market because, JAMES ABBOTT MCNEILL WHISTLER (1834-1903) BLUE AND OPAL – THE PHOTOGRAPHER $150/250,000 $469,000
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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
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FRANZ XAVER PETTER (1791-1866)

JOSEPH HENRY SHARP (1859-1953)

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

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 FINE ART INSIGHTS

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

FOR YOUR
(RE)CONSIDERATION
An exploration of American women artists
By Lisa Koenigsberg

G iven that 2021 has seen the first female vice Sarah Miriam
Peale (1800-
president take office, it constitutes a real if 1885), Mother
unofficial “year of the woman.” This year and Child,
also marks the 50th anniversary of the publication ca. 1848.
Oil on canvas,
of Linda Nochlin’s seminal essay, “Why Have There 49 x 39 in.
Been No Great Women Artists?” Hence, it is the The Bennett
ideal time to consider women in American art. This Collection of
article contextualizes highlights of Initiatives in Art Women Realists.

and Culture’s upcoming 26th annual Conference on

American Art, this November in NewYork City, within
the framework proposed by Diana Greenwald in her
important work Painting by Numbers: Data-Driven
Histories of Nineteenth-Century Art. To consider art
by women involves challenging prevailing cognitive
approaches to art history to bring into the discussion
those whose work merits (re)consideration.
In her book, Greenwald details structural factors
faced by American women striving to become artists
and employs theories from labor economics to
underscore potential commonalities faced by women
across class and racial lines.Women were active in genres
and media that allowed them to create the most work in
the least amount of time, across short working sessions. that have traditionally been neglected in museum
The artist Cecilia Beaux (1855-1942), who was collections.” Greenwald’s analysis can spur discovery
the first full-time female professor of painting at of the work of American women artists, representing
Pennsylvania Academy of the Fine Arts, expressed a boon to those interested in reassessing American
the hope that the hour was near “when the term culture and identifying areas of opportunity for both
‘Women in Art’ will be as strange sounding a topic individual and institutional collectors.
as Men in Art….” While this hope has been met, it is But to find women’s work, we must go beyond the
also true that, as Greenwald notes,“those same genres standard catalog search because, as Greenwald notes,
and media that are quicker to work [as noted above, “a genre in which women are disproportionately
those in which women worked] are also the ones active is one that is also disproportionately under

36

Doris Lee
(1905-1983),
Sunset in the
Florida Keyes,
ca. 1960s.
Oil on canvas,
48 x 42 in.
The Dicke
Collection.
Courtesy The
Westmoreland
Museum of
American Art.
collected relative to its 19th-century display and
production.” Here, and in the IAC conference, we
seek to do just that, looking beyond the confines of
the canon, a body of work dominated by large-scale
landscapes largely produced by men.
American women artists were drawn to miniature
painting during the Colonial period. Indeed, Mary
Roberts (1769-1833) was America’s first miniaturist.
In the upcoming conference, scholar and dealer Elle
Shushan will explore the life and work of Mary Way
who, on the Eastern Shore of Connecticut, taught
drawing, needlework and made unique cut and dressed
profile portraits. In 1810, she traveled from the Eastern
Shore of Connecticut to New York City to study
miniature painting with John Wesley Jarvis and Anson
Dickinson, two of America’s foremost practitioners.
One of the earliest female artists in the city, she
extensively documented her experiences in lengthy
letters home, and constitutes the finest record extant
of miniature painting in Federal NewYork. Her works,
and works by her sister and niece, will be shown for the
first time at an exhibition to be mounted at the Lyman
Allyn Art Museum in New London, Connecticut.
Works on paper were a major form of expression
for American women artists. Shannon Vittoria, of the
Metropolitan Museum of Art, will discuss American
painter-etcher Mary Nimmo Moran (1842-1899),
who began her career in 1863, studying drawing
and painting with her husband, artist Thomas Moran
(1837-1926). Nimmo Moran was most celebrated for
her etchings, in particular a series of expressive tonal
landscapes executed between 1879 and 1899, the year
of her death.The first woman elected to both the New
York Etching Club and London’s Society of Painter-
Etchers, with her monochromatic harmonious tones,
Nimmo Moran illustrated the importance of etching
and women’s contributions to the development of the
late 19th-century tonalist aesthetic.
Author of a seminal work, Forever Seeing New
Beauties: The Forgotten Impressionist Mary Rogers
Williams (1857–1907), Eve Kahn will explore this
artist’s contributions to the American tonalist and
impressionist movements. Williams worked in pastel,
watercolor, and pen and ink (as well as oil), again
suggesting a focus on works in categories often
deemed as lesser in the classical hierarchy of media.
A baker’s daughter from Hartford, Connecticut, she
biked and hiked from the Arctic Circle to Naples,
exhibited from Paris to Indianapolis, and taught at
Smith College for nearly two decades. Her work was
featured in posthumous shows at the Philadelphia
Water Color Club (at PAFA), New York Water Color
Club and the Wadsworth Atheneum Museum of Art.
Greenwald notes that in her frequent trips to
Paris, Williams employed a strategy common to
women artists in America: leaving the country to join
communities of foreign artists or expatriate American
artists, thereby circumventing sociocultural constraints
at home. In her 2015 book A Sisterhood of Sculptors:
American Artists in Nineteenth-Century Rome, Melissa
Dabakis makes a similar observation, describing a
community of talented women including Harriet
Hosmer, Edmonia Lewis, Anne Whitney and Vinnie
Ream, who between 1850 and 1876, achieved success
as working sculptors in Rome.
Focusing further on sculptors, who pursued
study and creative freedom abroad, Clarisse Fava-Piz
Alma Thomas (1891-1978), Red Azaleas Singing and
Dancing Rock and Roll Music, 1976. Acrylic on three canvases.
Smithsonian American Art Museum, Washington, D.C.
37
 FINE ART INSIGHTS
considers Harriet Whitney Frishmuth (1880-1980) and
Gertrude Vanderbilt Whitney (1875-1942). Frishmuth
studied sculpture in Paris under Rodin in the early
1900s, a period when sculptors were particularly
inspired by new forms of choreography. Frishmuth’s
most highly movemented work, The Vine, 1923, was
awarded the Julia A. Shaw Memorial Prize by the NAD.
Whitney, a daughter of New York City’s uppermost
class, discovered the art world of Montmartre and
Montparnasse while visiting Europe in the early
1900s. She studied at the Art Students League of New
York and then in Paris. Her first public commission
Aspiration, a life-size male nude, was shown at the Pan-
American Exposition in Buffalo, New York, in 1901 and
her first solo show took place in New York City in
1916. During the 1920s, her increasingly realistic and
often monumental sculpture was critically acclaimed in
Europe and the United States.Whitney’s last pieces of
public arts were the Spirit of Flight, created for the New
York World’s Fair of 1939, and the Peter Stuyvesant
monument in New York City.
It is useful to consider the schools and academies that
shaped American women artists. PAFA is an important
example. Anna Marley explores the artistic networks
of women artists exhibiting, studying and teaching at
this institution from its founding in 1805 to the end
of the Second World War. PAFA has actively promoted
women artists since its first annual exhibition in 1811,
and has led in collecting art by women, including works
by the first African American women to study there,
Laura Wheeler Waring (1887-1948) and May Howard
Jackson (1877-1931).
Another school important in the history of
women American artists was Atelier 17, which taught
traditional and experimental printmaking. Founded
in Paris in 1927, it would move to New York City
before the outbreak of the Second World War, before
returning to Paris in 1950. Cristina Weyl, author
of The Women of Atelier 17: Modernist Printmaking in
Midcentury New York, 2019, discusses how Atelier 17
fostered an environment in which nearly 100 women
artists would realize extraordinary work in different
modernist styles and create a sisterhood decades
before the women’s art movement of the 1970s.
Doris Lee, a leading figure in the Woodstock Artists’
Colony in the decades after the Second World War,
deftly absorbed and incorporated the innovations of
abstract expressionism into her paintings, merging
38
Mary Elizabeth
Way (1769-1833),
Dress Profile
Portrait of a Lady,
ca. 1795. Folded,
painted paper,
pencil. Private
colletion.
the reductionism of abstraction with the appeal of
the everyday. The new exhibition Simple Pleasures:
The Art of Doris Lee was co-curated by Melissa Wolfe
of the St. Louis Museum of Art and Barbara Jones
of the Westmoreland Museum of American Art.This
exhibition constitutes the first critical assessment of
the artist’s works, which includes drawings, prints,
commissioned commercial designs in fabric and
pottery, and images for advertisements.
In Alma W. Thomas: Everything is Beautiful,
Columbus Museum of Art curator Jonathan Frederick
Walz explores the life and work of an artist whose
pursuit of beauty extended to every facet of her life,
from her exuberant abstractions to the conscientious
construction of her own persona. The first Black
woman to receive a solo show at the Whitney
Museum of American Art (1972), Thomas (1891-
1978) is known for her large abstract paintings filled
with irregular patterns of bright colors; her innovative
palette and loose application of paint grew out of
her long study of color theory. The first graduate of
Howard University’s Fine Arts program,Thomas was
a member of the Washington Color School.
Artist Faith Ringgold, born in 1930 in Harlem,
New York, joins the conference in conversation from
ACA Galleries. Having grown up in the creative and
intellectual ferment of the Harlem Renaissance,
Ringgold is widely recognized for her painted story
quilts combining personal narratives, history and
politics that, in her words, “tell my story, or, more to
the point, my side of the story” as an African American
woman. Embracing media often associated with
feminine pursuits and her cultural heritage, in the
1970s Ringgold created her first unstretched works
bordered with pieced fabric, inspired by Tibetan tanka
paintings. This led in the 1980s to Ringgold’s first
story quilts, where she was able to weave image and
text in a tradition of quilting passed down through the
female line of her family beginning with her great-
great-grandmother, who was born into slavery.
Museum of Fine Arts, Boston curator Nonie
Gadsden discusses overlooked and underrepresented
women artists who challenge the dominant history
of the 20th-century, discussing her exhibition Women
Take the Floor, the reinstallation—or “takeover”—of
Level 3 of the Art of the Americas Wing at the MFA.
With their use of female metaphors and their work
in varied media, these artists expand the concept of
what constitutes American art.
Joan Mitchell, Grace Hartigan, Helen Frankenthaler
and Elaine de Kooning, among others, challenged
the notion that abstract expressionism was a
movement of men and central to mid-20th-century
action painting. Textile artists such as Sonya Clark,
Gina Adams, Carla Fernandez and Erin Robertson
use a medium associated with womanhood to
confront notions of identity, gender and politics.The
exhibition also considers women’s growing pursuit
of photography from 1965 to 1985, both by (now)
well-known American photographers such as Diane
Arbus, Judy Dater, Annie Leibovitz, Sally Mann and
Cindy Sherman, and underrecognized photographers
working in Argentina, Mexico, Chile and Canada,
including Adriana Lestido, Yolanda Andrade, Paz
Errázuriz and Lynne Cohen. These latter artists
expand our notion of what constitutes “America.”
Dispersed across collections devoted to science,
history and anthropology, Native American art has
been severed from the artists and communities who
created it. Rejecting an entrenched view of artists of
individual genius creating masterpieces, a perspective
that led to Native American women’s art disappearing
from consideration, Denver Art Museum curator
of Native American Arts Dakota Hoska views the
objects as living, relational beings: sacred creations,
connected to living people and communities. She
bases her discussion on a recategorization of Native
American art and attributes the work, for the first
time, to the right gender, thus revealing a previously
unexplored universe of work by women.
Collectors can redress the balance, drawing attention
to women artists’ past and present. In 2009, Steven Alan
Bennett and Dr. Elaine Melotti Schmidt established
The Bennett Collection of Women Realists, which
includes only figurative realist paintings of women by
women artists such as Julie Bell, Margaret Bowland,
Aleah Chapin, Aneka Ingold, Andrea Kowch, Alyssa
Monks, Katie O’Hagan. In addition, the Collection
includes works by historic women painters, including
Sarah Miriam Peale, Gertrude Abercrombie,Artemisia
Gentileschi, Elaine de Kooning, Elisabetta Sirani and
many others. The Bennett Prize, established in 2018,
awards $50,000 to a woman artist to create her own
solo exhibition of figurative realist paintings, which
then travels the country. The Prize provides women
artists with the opportunity to undertake an ambitious
project while expanding opportunities for the public
to learn more about talented women painters and
figurative realist painting.

Lisa Koenigsberg, president and founder of Initiatives in Art and Culture, is an internationally
recognized thought-leader in visual culture. Her work is characterized by commitment to
authenticity, artisanry, materials, sustainability and responsible practice. Over 20 years ago, she
established IAC’s multidisciplinary conference series on visual culture, notably those that focus
on American Art and on the Arts and Crafts Movement. She has held positions at NYU where
she also served on the faculty, at several major museums, and at the New York City Landmarks
Preservation Commission. Her writings have appeared in books, journals and magazines. She
has organized symposia and special sessions, and given talks at universities, museums and
professional organizations throughout the U.S. and abroad. A member of the Advisory Board of Ethical Metalsmiths
and board member of the Morris-Jumel Mansion (of which she is president) and Glessner House, she holds graduate
degrees from The Johns Hopkins University and from Yale University from which she received her PhD.

39
 Thomas Hill (1829-1908), Muir Glacier, 1889. Oil on canvas, 68½ x 1023⁄8 x 4 in.
Anchorage Museum Collection; 1976.050.1.

40
 TO THE ENDS OF
THE EARTH
A brief survey of American artists who were
explorers and painters of the Arctic and Antarctic
By James D. Balestrieri
A ntipodes. Ends of the Earth. Ultima
Thule. Glaciers, icebergs, shelves of
ice, shards of ice. Crystals. Ice in all
its mind-bending, element-bending shapes.
Magnetic North. Magnetic South. North Pole.
South Pole. The poles. Magnetic. And, like all
magnets, repelling and attracting—attracting
human wonder, resisting human presence. At
the North Pole, an ocean of ice. At the South
Pole, a continent of ice. For now.
The artists I chose to glance at for this essay
are only a few of those who actually went to
the poles. Artist-adventurers, they took in the
new science of the day, science that said the
Earth was ever-changing, ever-shifting, that
even mountains and glaciers rose and fell, and
decided to see for themselves. They sketched
and painted in the cold, on location, then
returned to their studios to expand and enlarge
their works for other eyes to take in. To us,
these paintings touch on the fantastic, on scales
of size and time, deep time, that are all but
impossible for humans to embrace.
In our Anthropocene era, their paintings
go beyond the beautiful and sublime, offering
truths and insights into human impact on polar
ecosystems and catastrophic changes in the
Earth’s climate.
Whaling, fishing and exploring the polar sea
of the north was William Bradford’s (1823-
1892) principal subject. His paintings, executed
in a Hudson River School tone—one derived
from German Romantic painter Caspar David
Friedrich—seem to suggest the puniness of
human endeavor in the face of the vast hostility
of the environment. Drifting icebergs dwarf the
largest ships.Yet as fishermen from a large fleet
haul in nets in Whaler and Fishing Vessels near the
Coast of Labrador, circa 1880, and a skinny polar
bear flees for its life in An Arctic Summer: Boring
41
 Through the Pack in Melville Bay, 1871,
Bradford records the impact of human
presence and commerce, even at an end
of the Earth.
Frederic E. Church (1826-1900)
is not best known for painting the
Arctic, but because he, like so many, was
influenced by the writings of naturalist-
explorer Alexander Von Humboldt.
In 1859, Church chartered a boat to
take him on an iceberg-sketching
voyage in the North Atlantic between
Labrador and Greenland. The result
was the magnificent 64-by-112-inch
painting The Icebergs, first exhibited
in 1861. Originally titled Icebergs:The
North, the advent of Civil War made it
seem as though the work must have
some allegorical meaning. This proved
elusive—and was probably not Church’s
intent—so he dropped The North from
the title and added, perhaps for purely
pictorial reasons, or some question of
scale, the wrecked ship’s mast in the
foreground. A work of grand beauty,
perhaps the most intriguing area of the
canvas is the green ice grotto at the
lower right with a portal that appears
manmade but is, in fact, the product of
Frederic Edwin Church (1826-1900), The Icebergs, 1861. Oil on canvas, Dallas Museum of Art, gift of Norma and Lamar Hunt, 1979.28.
Image courtesy of Dallas Museum of Art.
42
the action of waves and wind.
Muir Glacier is the subject of a
painting by California painter Thomas
Hill (1829-1908). Muir—an early
American ecologist and one of the
fathers of the national parks—had
first visited Alaska in 1879. By 1889,
when Hill—one of Muir’s close
friends—painted Muir Glacier,
steamers like the ones at center left
were making regular tours of the
towering castle of ice. Since Muir’s
day, the glacier has retreated some
60 miles. Tourists who come to
see calving icebergs are now taken
elsewhere. The value of Hill’s painting
to posterity may lie elsewhere as well.
When New York City artist and
muralist David Abbey Paige (1901-
1978) received a commission to create
a Coney Island cyclorama depicting
Admiral Byrd’s first Antarctic expedition,
he contacted members of Byrd’s team
to ask their opinion of his accuracy.
Paige accepted their criticisms but
kept at it until they were satisfied, and
when Byrd announced he was heading
back to the South Pole in 1934, Paige
applied to be the expedition artist. Byrd
refused at first, but Paige persisted and
Byrd eventually relented. Halo;Wing
of the Fokker Airplane Crashed on March
12, 1934 depicts a double sun halo
caused by ice crystals in high cirrus or
cirrostratus clouds reflecting the sun’s
light. Against this symmetrical wonder
of nature, the Fokker, icebound and with
its wing tilted crazily in the air, takes us
back to the blasted ship’s masts in
19th-century polar renderings.
Rockwell Kent (1882-1971)
completed a circumpolar circuit of
sorts, traveling to and painting in
Alaska, Greenland and Tierra del Fuego,
Argentina, the southernmost point of
land before you reach Antarctica. His
journeys dovetailed with his interests
in Norse Mythology, transcendentalist,
nature-centered philosophy and
the lure of “Ultima Thule.” Kent’s
paintings reduce humanity to an
essence—endurance and survival—and
to a necessary superhumanity, that
is, a humanity transcending pettiness
and greed that must live with and
subject to nature’s laws—if it is to live
at all. Looking at the masses of rock
and ice in Kent’s paintings, a world
William Bradford (1823–1892), An Arctic Summer: Boring Through the Pack in Melville Bay, 1871. Oil, 51¾ x 78 in. Metropolitan Museum of Art. Gift of Erving
and Joyce Wolf, in memory of Diane R. Wolf, 1982. 1982.443.1.

before and after the excesses of human

civilization is made visible and tangible
in the imagination and the ice itself is
spare, simplified, reduced to essential,
indelible form.
Those of us who love art often
say, “Art is life.” Most of the Earth’s
fresh water is held in ice. I am not
the first to say this but, “No water,
no life” quite quickly becomes “Ice
is life,” which is true despite the
uninhabitability—for the present—of
the poles. Just ask NASA what they
look for first in the solar system and
beyond when they are hunting for
signs of extraterrestrial life. Ice.
The impulse to write this essay
stemmed from my interest in art
and climate, as well as from my own
private “Terra Incognita,” a glacier of
more, shall we say, artistic proportions.
Here’s the story: I was given part
of the legacy of Jerome Milkman, a
Frank Wilbert Stokes (1858-1955), Emperor Penguin, Admiralty Inlet Snow Hill, Antarctic...
New Yorker who—from the 1930s to Oil on canvas, Smithsonian American Art Museum, Arthur Curtis James and Robert Curtis Ogden
the 1960s—collected autographs of Memorial Collection, 1950.8.14
hundreds, perhaps thousands, of artists

43
 and kept them in homemade scrapbook
folders. He wrote the artists letters and
hoped they would write back. And
they did. In droves. The autographs
are accompanied by letters, invoices,
exhibition announcements and reviews,
news clippings, and obituaries. Perhaps
1,000 of the folders are in libraries.
A collection of 200 came to auction
in 2020. Others have been sold over
the years in groups of fives and tens.
My two boxes contain perhaps 150.
The overall collection, when I think
about it, is very much akin to a glacier
ablating—calving, reforming, melting
and freezing, retreating, disappearing.
I wonder how many have been
destroyed, how many are crumbling
to damp dust, how many have been
separated—the autographs sold, the
clippings tossed.
Somewhere on these pages you will
see an image of one of these folders,
taken apart by me to offer a visual idea
of the time it must have taken Milkman
to put them together. What motivated
him? What pleasure did he derive from
the letters he wrote and the letters he
received in return? What satisfaction did
he find in the hours he spent cutting
and pasting clippings, poking holes
through the pages, skewering them with
two brass brads, cataloging the folders,
Rockwell Kent (1882-1971), Frozen Falls, Alaska, 1919. Oil on canvas. Rights courtesy of Plattsburgh
and then, at his leisure, leafing through State Art Museum, State University of New York, USA. Rockwell Kent Collection. Bequest of Sally
them? What did he think would happen Kent Gorton. All Rights reserved.
to them after his passing?
Homo sapiens. A race of exploiters
and shapers. Also a race of wanderers,
comparers, recorders, appreciators and
collectors. Some of us—a few—collect
glaciers and icebergs in the paintings
we make of them; at least one of us
collected the autographs of artists.
The artist in the folder pictured on
these pages is Frank Wilbert Stokes
(1858-1955), an American painter
few today have heard of, though the
clippings in this scrapbook tell a tale of
a widely celebrated artist-adventurer.
Stokes accompanied Admiral Peary
to the Arctic in 1892 and 1893, and
the Nordenskjöld Expedition to the
Antarctic in 1901-02. In 1926, when
he was 68, he found himself by Roald
Amundsen’s side, exploring the North William Bradford (1823–1892), Whaler and Fishing Vessels near the Coast of Labrador, ca. 1880. Oil,
Pole by dirigible. 18 x 30 in. Indianapolis Museum of Art at Newfields. Gift of Delavan Smith.

44

In Stokes’ obituaries in the scrapbook,
Amundsen reflects on Stokes’s Arctic
paintings, saying they contained
“dazzling and beautiful effects” while his
Antarctic scenes depicted the “gloomy,
sinister, and tragic.” Amundsen’s words
remind me that science needs art—it
needs language and images to add
David Abbey Paige (1901-1979), Halo; wing of the Fokker airplane crashed on March 12, 1934. Oil
on board, 40.3 x 50.3 in. Admiral Richard E. Byrd Papers, SPEC.PA.56.0001, Byrd Polar and Climate
Research Center Archival Program, Ohio State University.
metaphor and soul to description.
Amundsen saw the Poles with his
own eyes; he also saw them through
Stokes’ art. Look. The ice and sky are
alive in The Eighth of March—Island Ice,
Greenland, 1894 and in Emperor Penguin,
Admiralty Inlet, Snow Hill, Antarctic. They
swirl and heave, forbidding yet beautiful.
Frank Wilbert Stokes.
Autograph and
clipping scrapbook
compiled by Jerome
Milkman. Author’s
collection.
The men and dogs are puny traces
against a limitless horizon; the penguin
lords over lethal terrain.
Is the scrapbook an artform of its
own? Is collecting an artform? I want
to explore these folders, hear more
from the artists waiting in their pages,
artists who are no longer canonical
names or, perhaps, never were. Not
that this matters. The more I look at
art—especially the kind of scientific yet
visionary art that Stokes made, tirelessly,
until his death at the age of 96—the
more I know that fame has nothing at
all to do with art. Whether it’s glaciers or
painting or scrapbooking, we’ll go to the
ends of the Earth—to the antipodes—
for our passions. Will we venture as far
to save the Earth?
James D. Balestrieri is the proprietor of
Balestrieri Fine Arts, specializing in arts
consulting, sales, research and writing. He
is currently the writer-in-residence for the
Clark Hulings Foundation, as well as
estate and collections consultant for The
Couse Foundation and communications
manager for Western Spirit: Scottsdale’s
Museum of the West. He was director
of J.N. Bartfield Galleries for 20 years,
worked with the Scottsdale Art Auction for
15 years and has written over 150 essays
for various art publications.
45
 ART STORIES
John and Susan Hainsworth’s collection features standout American portraits,
landscapes and more that are rich with history and provenance
By John O’Hern Photography by Francis Smith
 Along the staircase, beginning at left are Harbor at Sitka, Alaska, circa 1915, oil on canvas, by Augustus Dunbier
(1888-1977); Old Lyme Landscape, oil on canvas, by Wilson Irvine (1869-1936); and Irvine’s Moonlight on the Lake, oil on
canvas. Above the mantle is Stream in Winter, 1928, oil on canvas, by Carl Peters (1897-1980). On a shelf to the right of
the mantle is Snowy School Day, Gaylorsville, CT, circa 1910, oil on board, by F. Luis Mora (1874-1940). Hume Fogg High
School, Nashville, TN, 1914, oil on board, by Ella Sophonisba Hergeshimer (1873-1943), is on the picture stand.
 Above the mantle is Girl in a Garden, 1926, oil on canvas, by Edouard Vysekal (1890-1939). Over the sideboard is Along the Pacific Coast, 1922, oil on canvas,
by Jack Wilkinson Smith (1873-1949). On the far wall is The Raft, 1895, oil on canvas, by Adam Emory Albright (1862-1957). Visible through the doorway is
At the Millinery Shoppe, Paris, 1912, oil on canvas, by George Lawlor (1878-1932).

W hen I first saw John

and Susan Hainsworth’s
collection I recognized
an old friend. I remembered William
McGregor Paxton’s The Golden Veil
from a 2015 exhibition at Vose Galleries
in Boston. I had stood in front of her
uncharacteristically dumbstruck by the
beauty of the painting.
The Hainsworths discovered her
the following year at an auction. “We
often buy online,” John explains, “but
we went to this auction. We didn’t have
a lot of available money at the time
and probably weren’t going to buy
anything. We were sitting there, and
the Paxton came up. The auctioneer
asked for a bid. When there wasn’t
one, he went down a bit, so I bid.”
What followed was what Susan recalls
as “the longest moment of our lives.” On the left is Lamplight, Study in Black, Red, and Gold, 1893, oil on canvas, by Frank Benson
(1862-1951). Next to it is New York Winter Scene, circa 1920, oil on board, by Colin Campbell
“Someone else bid,” John continues, Cooper (1856-1937). Leaning against the wall is Nude by the Stream, circa 1920, oil on canvas,
“and I was going to stop. Susan is by Lillian Genth (1876-1953). On the near wall is Girl Playing the Harpsichord, 1899, oil on
usually hesitant, but she urged me to canvas by Mary Louise Fairchild (1858-1946).
make one more bid.” And the painting
was theirs.

48
 Hanging behind the
piano is Anna at the
Piano, circa 1890, oil on
canvas, by Julian Alden
Weir (1852-1919).
 The portrait on the left is Elinor Getz, 1925, oil on canvas, by Robert Henri (1865-1929). Over the mantle is The Waterfall at Shore Mill, TN, oil on canvas, by
Ernest Lawson (1873-1939). On the right is Study, Woman in Black and Green, circa 1900, oil on canvas, by John White Alexander (1856-1915). The nude
figure is The Golden Veil, circa 1920s, oil on canvas, by William McGregor Paxton (1869-1941).

Valley of the Ticino, 1863, oil on canvas, by Russell Smith (1812-1896) is on the left. On the adjoining wall are, from left, Regatta Day, Seville, circa 1860, oil
on canvas, by Samuel Colman (1832-1920) and Moonlight Sonata, circa 1890s, oil on canvas, by Edward Moran (1829-1901).

50
Above the sideboard is Young Woman in Profile (probably the artist’s wife), Lord, Heal the Child, circa 1934, oil on board, by Thomas Hart Benton (1889-
circa 1880s, oil on canvas, by Eastman Johnson (1824-1906). Beneath it is Girl 1975), hangs next to a bronze, Hector and Patroclus, 2002, by Alton Falcone.
Dancing, modeled 1897, cast 1906, bronze, by Bessie Vonnoh (1872-1955).

Neither of their parents were collectors,
although John had the boyhood coin
and stamp collections. “When we
met,” John says, “Susan knew more
about art and, by then, I enjoyed
going to see it. The first things we
bought were original prints which
were within our budget. We began
going to Albuquerque and Santa Fe
every summer and bought work by the
contemporary artists we saw there.”
When they saw the historical work
from members of Taos Society of
Artists, they began thinking about
a more focused area to collect in.
“I knew more about European art
and wasn’t aware of the incredible
American art of the early 20th century,”
Susan explains. “John does a deep dive.
He’s an avid reader and we’ve put
together a large library of books.”
“It’s interesting reading about the
artists and their ties to American
history,” John says. “You learn about the
artists you want to have. Starting out
we had help from a couple of gallery
owners who directed us and found
things they knew we would like. For
the last 10 years, we’ve bought the
majority of pieces at auctions.”
Susan adds, “We make it our business
to go to every possible museum when
we’re on trips. We see examples of
artists’ work and know what to expect.
We have the same sort of inclinations,
although John can get more carried
away than I. Our Thomas Hart Benton,
Lord, Heal the Child, was a Christmas
present from John.” John adds, “We
both like Benton and a big one is out
of our budget range. This is a study for
a larger painting and there’s no doubt
who painted it.”
The collectors aren’t timid
about buying paintings that need
conservation. “The Henri needed
conservation,” John explains. “It had
been badly restored previously so
we took it to Simon Parkes in New
York. Elinor Getz was a commissioned
portrait of the daughter of a wealthy
Beverly Hills family. She was 12 when
he painted it. Her family home later
became the set for movies including
The Godfather.”
They were attracted to a large
painting of a mountain scene that had
been held by an educational institution.
“When we got it,” John says, “there was
no signature and a plaque that said it
was a Colorado scene by an unknown
artist. The painting had been lined.
We had it taken off and cleaned up
and on the back was the artist’s name
and the title of a scene in Switzerland.
It was common for American artists
at the time to do the Grand Tour of
Europe and to paint European scenes.
Later, American scenes became more
important.” Russell Smith’s Valley of the
Ticino, now hangs in their home in its
original frame.
When John wanted a wine cellar,
they decided to expand the project
into redesigning the entire basement

51
Above the chest
is La Seine, Paris,
circa 1890, oil on
canvas, by Frank
Boggs (1855-1926).
On the chest is
Spanish Gypsy Girl,
modeled 1921,
bronze, by Elsie
Palmer Payne
(1884-1971).
On the left is The Communicants, oil on canvas, by Gari Melchers (1860-1932). On the table is The Breeze, circa 1890s, oil on canvas, by John Henry
Twachtman (1853-1902). On the far wall from left are two oil on canvas paintings by F. Luis Mora (1874-1940): Two Fishermen and his 1910 work In the
Orchard. On the right is Laguna Coast, oil on canvas, by Edgar Payne (1883-1947).

to accommodate their growing
collection. Susan isn’t a fan of hanging
paintings in the Salon style covering
the whole wall. “I want them all to get
John and Susan Hainsworth sit in front of Rocky Coast, circa 1930s, oil on canvas,
by Helen Hamilton (1889-1970).
their due,” she comments.
They often loan works to museum
exhibitions, like the F. Luis Mora and
the Expression of Beauty exhibition at
the Mattatuck Museum in Waterbury,
Connecticut. The prestigious
Butler Institute of American Art in
Youngstown, Ohio, has shown part
of their collection. Susan recalls that
when the art movers drove away “it
was as if the soul was ripped out of
our home. All that was left was just
stuff. We missed them. They’re like old
friends. We never get tired of them.”
The “stuff ” of the Hainsworth’s
home is a wonderfully eclectic
collection of furniture. The house
was built in 1926, and they have lived
there for 30 years. “When we were
first married,” John says, “we went to
auctions, antique shops and second-
hand places. We’d find something we
like, bring it home and clean it up.”
There are a few things stored in
closets, but the couple continue to
collect. “It’s something we can do
together,” John comments. “We just
bought a small Bierstadt. We can’t
help ourselves.”

53
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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art

Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
Previewing Upcoming Events, Sales and Auctions of Historic Fine Art

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Previewing Upcoming Events, Sales and Auctions of Historic Fine Art
ISSUE 14 March/April 2014 ISSUE 15 May/June 2014
Previewing Upcoming Events, Sales and Auctions of Historic Fine Art

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 Photo: Constantin Mirbach
Art on Paper
New York
Sep 9 — 12, 2021
Pier 36, Downtown Manhattan
299 South Street
New York, NY 10002
thepaperfair.com
 GALLERY PREVIEW: NEW YORK, NY

Travelogue
More than a dozen watercolors from John Marin’s trips to the White Mountains
will be on view at Menconi + Schoelkopf beginning September 7

September 7-October 15
Menconi + Schoelkopf
22 E. 80th Street
New York, NY 10075
t: (212) 879-8815
www.msfineart.com

J ohn Marin (1870-1953) is known

primarily for his paintings of New
York City and his summer home
on the coast of Maine. The
roughly 500-mile road trip between
the two destinations could be
arduous. But the trip took him and
his family through the rustic beauty
of Connecticut, Massachusetts, New
Hampshire and, sometimes,Vermont.
He reveled in the landscape, exclaiming
simply, “What a life, seeing!”
Writing to his friend and art
John Marin (1870-1953), Mount Washington, New Hampshire, 1924. Watercolor on paper,
dealer Alfred Stieglitz in 1926, he 17½ x 22 in., signed and dated lower right: ‘Marin 24’. © 2021 Estate of John Marin /
commented, “Some of the scenery, lakes Artists Rights Society (ARS), New York.
and mountains in Vermont and New
Hampshire, I took to like a duck to John Marin
(1870-1953),
water. I made one or two watercolors. Chocorua,
Couldn’t do a thing with it. Have White Mountain
to work up to things…. Well, maybe Series, 1926.
Watercolor
I’ll go back the same way and do
on paper,
something.” 17 x 21½ in.,
He eventually did something, signed and
producing several watercolors of dated lower
right: ‘Marin
the mountains and valleys, most of 26’; inscribed
which have remained in his family for and signed on
generations. label affixed
to backing:
Menconi + Schoelkopf in New York ‘Chocorua
City, will host the exhibition Marin White Mts NH
in the White Mountains, September 7 / Series 1926 /
John Marin’.
through October 15. It will include
© 2021 Estate
more than a dozen watercolors. of John Marin
Andrew Schoelkopf explains, “Marin / Artists Rights
in the White Mountains is the story of Society (ARS),
New York.
a less well-known passage from John

56
 John Marin (1870-
1953), Mt. Chocorua
and a-Couple-a
Neighbors, 1926.
Watercolor on paper,
17 x 22/ in., signed
and dated lower left:
‘Marin 26’. © 2021
Estate of John Marin /
Artists Rights Society
(ARS), New York.

Marin’s long and storied career. Many of the works have not
been seen previously and we expect they will surprise many
viewers. Marin is one of America’s most consequential and
influential artists of the 20th century, and many know John
Marin’s Maine and New York subjects—this exhibition shares
the watercolors and drawings that were the product of the
Marin family’s many road trips between their summer home
in Maine and their winter home in New York in the 1920s.”
The gallery notes, “John Marin is a pioneer in American
modernism and abstraction. Marin’s contributions to the
canon are becoming more widely recognized amongst an
international audience, some 70 years after he became the
first American to exhibit at the Venice Biennale in 1950.”
He was born in New Jersey and first studied architecture
before enrolling in the Pennsylvania Academy of the Fine
Arts and later, the Art Students League in New York. He
lived for a while in Paris where he met the photographer
John Marin (1870-1953), White Mountains, ca. 1924. Watercolor
Edward Steichen who introduced him to Stieglitz who had on paper, 14½ x 19½ in. © 2021 Estate of John Marin / Artists Rights
opened his gallery “291” in New York in 1905. Stieglitz gave Society (ARS), New York.
Marin his first American exhibition in 1909. The gallery
was a mecca for European and American modernism. Marin Marin’s New Hampshire watercolors in 1928. Phillips loaned
remained committed to modernism throughout his career 12 paintings to the Biennale and wrote, “In his 80th year John
grounding his images in the architecture of the city and the Marin still paints with power, ecstasy and the most original
ruggedness of the mountains and the sea. brush work and design of any American artist. He is one of the
Duncan Phillips founded the Phillips Memorial Art Gallery most gifted and important painters since Cézanne and perhaps
(now The Phillips Collection) in 1921. He acquired several of the best of all masters of watercolor.”

57
 GALLERY PREVIEW: PALM SPRINGS, CA

Midcentury Abstraction
Rubine Red Gallery in Palm Springs, California, hosts an exhibition
of works on paper during the city’s fall Modernism Week

October 1-25
Rubine Red Gallery
668 N. Palm Canyon Drive
Palm Springs, CA 92262
t: (760) 537-7665
www.rubineredgallery.com

E very fall the city of Palm Springs,

California, hosts its four-day mini
Modernism Week—its full week
happens in February over Presidents’ Day
weekend—with more than 50 events
happening around the city. This year’s
festivities will take place October 14
to 17. In celebration of modernism in
the city, Rubine Red Gallery will host
the exhibition Abstraction: Mid-Century
Works on Paper with artwork by Malcolm
Myers, Reginald Murray Pollack, Lynne
Mapp Drexler and Jacob Semiatin from
October 1 through 25.
Throughout Myers’ career he
created paintings and watercolors, but
is considered one of the American
masters of intaglio printmaking. He
created many series, including one
dedicated to the rhythms of jazz music.
His 1951 woodcut and color stencil
Abstraction Jazz is one such instance. On
the influence of jazz, Myers once said,
“I change the lines and shapes—usually
many times—until I feel some image
that I like is emerging. I have been a
devotee of progressive jazz for a long
time and like to think that my attitude
about executing a print has something
in common with the improvisational
aspects of good jazz music.”
Born in 1928, Drexler studied
Malcolm Myers (1917-2002), View of a City I (NYC), 1958. Intaglio, color stencil, silver spray paint,
art as a child as well as music, which ed. of 11, 36 x 23½ in.
would influence her mature work.
It was in 1956 though, after moving

58
Malcolm Myers (1917-2002), Abstraction Jazz, 1951. Woodcut and color stencil, ed. of 20, 11 x 21 in. (image size), 13¼ x 24¾ in. (paper size).

Lynne Mapp Drexler (1928-1999), Untitled (Orange), 1959. Mixed media on Reginald Murray Pollack (1924-2001), Woman & Still Life, ca. 1947. Mixed
paper, 9 x 12 in. media on paper, 11 x 14 in.

to New York, that she immersed
herself in abstract expressionism. She
studied with Hans Hofmann in both
Provincetown, Massachusetts, and New
York. She was significantly influenced
by his color theories. Later studying
with Robert Motherwell, Drexler
only added to her style, which was
primarily “swatch-like patterns and
painterly blossoms of color.”
Finding inspiration in nature, she
made the transition to abstract landscape
paintings, and after 1972 her works “are
clearly inspired by the landscape with
the concepts of musical elements helping
to guide the pictorial arrangements.
Drexler’s affinity with nature and music
became deeply intertwined in her
work.” Drexler was a rare woman in the
field and often found it difficult to gain
gallery representation compared to her
male counterparts. She eventually moved
away from New York to Monhegan
Island in 1983 where she remained for
the rest of her life.
During his career, Pollack established
many important art associations, and
became a founding member of Galerie
Huit in Paris. The gallery was the first
in the French city to be operated by
Americans, and the membership was
12 artists who were all World War II
Veterans. Pollack lived for 14 years
in Paris and “said the tutelage of the
Parisian artists he came in contact with
(Giacometti, Fernand Léger, Man Ray,
Francis Poulenc, Jacques Lipchitz, and
Constantin Brâncusi) made him realize
‘my responsibility to civilization.’” In
this show is a mixed media on paper by
Pollack titled Woman & Still Life, from
around 1947.

59
 GALLERY PREVIEW: CLEVELAND, OH
In Plain Sight
WOLFS Gallery mounts its first exhibition for Ken Nevadomi,
whose paintings reflect on the human condition
October 14-December 30
WOLFS Gallery
23645 Mercantile Road, Suite A
Cleveland, OH 44122
t: (216) 721-6945
www.wolfsgallery.com
I n Naugahyde Romance (remember
Naugahyde?), a Doberman looks
out the window at a catastrophic
vehicle crash with fire, smoke and tires
60
flying through the air. It sits on a faux
cow hide Naugahyde sofa to get a
better view. Two nude woman flank the
Doberman, one having enjoyed time in
the sun, the other not. Oblivious to it
all, another Doberman peers over the
back of the sofa only having eyes for its
companion.
In Caravaggio was Here, nude, female
Matissian dancers cavort atop a bar
while nude male Francis Bacon-like
patrons sway to the music—although
one man ponders a nude woman
escaping through a rear door. In Dancing
on the Moon (Day), a nude male plays a
grand piano on the surface of the moon
while another dances by. The piano is
filled with detritus—a radio, a toaster,
perhaps a portrait bust and crying baby.
Perhaps the pianist is hoping to ring
something beautiful out of the chaos.
The artist is Ken Nevadomi, professor
emeritus at Cleveland State University
and recipient of the prestigious
Cleveland Arts Prize in 1988. In a
biography, at the time of his winning
the prize, the committee wrote, “Critics
suggest that his work reflects social
Ken
Nevadomi
(b. 1939),
Naugahyde
Romance,
1980. Acrylic
on canvas,
36 x 60 in.
Ken Nevadomi (b. 1939), Woman with Kimono, 1995. Acrylic on Ken Nevadomi (b. 1939), Caravaggio was Here, 2007. Acrylic on canvas, 72 x 76 in.
canvas, 43 x 35¾ in.

commentary, but Nevadomi refers to storyteller.” normal discourse, subjects not rigidly
it instead as ‘social expressionism.’ The Art historical references, exuberant, defined or easily explained by rational
audience often sees in his enigmatic colorful painting and mystery, analysis.”
subject matter a sometimes frightening, combine in works that are worthy of Nevadomi says, “I’d like to think that
sometimes humorous reflection on this reintroduction and exploration these works have something to do with
the human condition that conveys of what Cleveland Museum of our lives but damned if I can figure out
man’s fragile place in a turbulent and Art curator William H. Robinson what that might be. I think the world
inexplicable society.” describes as “a painful probing of is more bizarre than my paintings will
Nevadomi is loath to comment on hidden realities, topics avoided in ever be.”
his paintings, but in a 30-year-old artist
statement he wrote, “My painting has
a lot to do with what I am thinking
about—views that I may not even be
aware of. I am going in a number of
directions, and one thing I am doing is
not consciously thinking about it. My
feeling is that you don’t choose your
ideas, your ideas choose you…The
viewer has to figure it out. As a figurative
artist, I focus on the figure, and the rest
develops in ways I can’t predict.”
WOLFS Gallery in Cleveland now
represents the artist and has mounted
its first exhibition of his work,
opening October 14 and running
through December 30. Gallery
director, Michael Wolf, notes, “Hiding
in plain sight, Ken Nevadomi (b.
1939) is a blue-collar artist from
the gritty side of Cleveland with
remarkable ability as a painter, and
the bubbling, fertile mind of a gifted Ken Nevadomi (b. 1939), Dancing on the Moon (Day), 1991. Acrylic on canvas, 55 x 72 in.

61
 MUSEUM PREVIEW: CHARLOTTE, NC

Reviving Research
The first-ever retrospective for impressionist John Leslie Breck
opens September 18 at the Mint Museum

That acquisition was the catalyst organization from Jonathan Stuhlman,

September 18- for a new exhibition on the artist’s
January 2, 2022 work. The show, John Breck: American
Impressionist, spotlights Breck’s role as
Mint Museum Uptown
one of the earliest artsits to introduce
500 S. Tryon Street
French Impressionism to America.
Charlotte, NC 28202
Largely falling under the radar, Breck
t: (704) 337-2000
www.mintmuseum.org will reenter into the conversation of
American art history with this new
presentation.
On view September 18 through
senior curator of American art at the
Mint, other staff members, and Breck
scholars Royal Leith and Jeffrey Brown.
A 208-page fully illustrated catalog for
the exhibition will be available with
contributions from Erica Hirschler and
Katherine Bourguignon.
More than 70 paintings by Breck will
be in the show, as well as 10 works of
art by contemporaries to give historical

I n 2016 the Mint Museum in

Charlotte, North Carolina, had
the opportunity to acquire John
Leslie Breck’s Suzanne Hoschedé Sewing.
January 2, 2022, this is the first
museum retrospective for Breck since
his untimely death in 1899 at age 38.
It is a collaboration of research and
context. “The artwork comes from a
range of places,” says Stuhlman. “There
are a number that come from descendants
of the artist that are still in family; some

Left: John Leslie

Breck (1860-1899),
View of Ipswich Bay,
1898. Oil on canvas,
18 x 22 in. Private
collection.
Opposite page top:
John Leslie Breck
(1860-1899), Chez
M. Monet, 1888. Oil
on canvas, 18 x 22 in.
Private collection.
Opposite page
bottom: John Leslie
Breck (1860-1899),
Asters, ca. 1893. Oil
on canvas, 18 x 22 in.
The Middleton Family
Collection.

62
from private collections; and 10 or 12 from
different museums that hold his work. Terra
Foundation holds more Breck work than
anyone else outside of the family, and they are
lending a number of pieces as well.”
Arranged mostly in chronological
order, the show tells the stories from the
earliest days of his career to the end, with a
particular spotlight on his time in Giverny
painting with Monet. “The show spans most
of his career. We have one or two of his pre-
impressionist paintings on view, and there
are not many of them out there,” explains
Stuhlman. “The real bulk of the show is a
span of a decade. It starts with his sojourn
in 1887-88 to Giverny and goes to the end
of his life.You have this moment when
he arrives in Giverny to his conversion
to impressionism.” There are a number of
works depicting places around America
such as Boston and California, and there are

63
 John Leslie Breck (1860-1899), The Bay at Venice, 1897. Oil on canvas, 32 x 45 in. Private collection.

around 10 paintings from a trip he did
to Venice right at the end of his life.
Works in the show include the
beautiful painting In the Valley of the
Seine, which is on loan from the
Museum of Fine Arts, Boston. It is
one of his largest and most ambitious
paintings, which depicts the panorama
of the Seine river valley with rooftops
and trees in his adept impressionist
style. There will be several pieces
on view representing his time in
New England including the close-
up look of Asters, which was painted
around 1893. Among the works from

64
James Carroll Beckwith (1852-1917), Portrait
of John Leslie Breck, 1891. Oil on canvas,
13¼ x 17¼ in. Collection of Max N. Berry.

his contemporaries is James Carroll

Beckwith’s Portrait of John Leslie Breck,
from 1891. It shows the artist in a
relaxed position outdoors.
“On one end, the main point
of the exhibition is to really see all
these paintings gathered together
and to appreciate what a great artist
Breck was,” says Stuhlman. “He’s not
well known, but [it’d be great if] he
gets folded into the future studies of
American impressionism.” Stuhlman
adds that the show mainly being
“beautiful mediations on the landscape,”
he also hopes viewers will remember to
enjoy and think of the natural world.
Following the exhibitions’s close at
the Mint, it will travel to Dixon Gallery
and Gardens in Memphis, Tennessee,
and then to Figge Art Museum in John Leslie Breck (1860-1899), Indian Summer, 1892. Oil on canvas, 27 x 32 in.
Collection of Tom and Bonnie Rosse.
Davenport, Iowa.

MUSEUM PREVIEW: CHARLOTTE, NC 65

 MUSEUM PREVIEW: LEWISTON, ME

Coming Home
On September 20, an exhibition for Marsden Hartley opens in his birth town of
Lewiston, Maine, at the Bates College Museum of Art

September 20-November 19
Bates College Museum of Art
Olin Arts Center
75 Russell Street
Lewiston, ME 04204
t: (207) 786-6158
www.bates.edu/museum

M arsden Hartley (1870-1953)

was born in Lewiston,
Maine, and referred to
himself as “the painter from Maine.”
A loner and peripatetic by nature, he
was constantly on the move, but always
returned to Maine.
The Bates College Museum of
Art in Lewiston has partnered with
the Vilcek Foundation in New York
to mount the exhibition Marsden
Hartley: Adventurer in the Arts. It will
be shown at Bates September 20
through November 19 and at the Vilcek
Foundation from September 19, 2022,
through January 20, 2023.
The 35 works in the exhibition
include all 22 of the artist’s works in
the Vilcek Collection. Personal items
from the Marsden Hartley Memorial
Collection at Bates will be shown along
with his paintings and drawings, and
include mementos of his travels from
pressed edelweiss to postcards.
Rick Kinsel, president of the Vilcek
Foundation, notes, “The importance
of travel on Marsden Hartley’s artistic
development is the ideal subject for the
Marsden Hartley (1877-1943), Garmisch, October 13, 1933. Graphite on paper, 10/ x 7/ in. Bates
second exhibition in our gallery, which College Museum of Art, Marsden Hartley Memorial Collection, gift of Norma Berger, 1955.1.28.
examines one of the most prominent
American modernist artists in the idea that diverse perspectives catalyze his growth as a person and artist;
collection using an unconventional lens innovation. The unique cultures and his ability to integrate these varied
to reveal new facets of his work. At the individuals that Hartley encountered influences is precisely what makes his
heart of the foundation’s mission is the during his trips profoundly impacted works so striking.”

66
 Marsden Hartley (1877-1943), Canoe (Shiff), 1915. Oil on canvas with painted frame, 39¾ x 31/ in. (artwork), 52 x 43/ x 3” (framed).
Vilcek Collection, 2015. 05.01.

Paris, Berlin, New York and New
Mexico all played a role in his artistic
growth. While in Germany, he was
associated with Wassily Kandinsky
(1866-1944) and Franz Marc (1880-
1916). Hartley had been influenced
early in his life by the New England
transcendentalists, Emerson and
Thoreau as well as the poet Walt
Whitman. Hartley was also a poet.
He wrote to Alfred Stieglitz,
“I have learned that what I came for
is not to find art but to find myself
and this I have done...I could never
be French. I could never become a
German—I shall always remain the
American—the essence which is in
me is American mysticism...and it is

67
 Marsden Hartley (1877-1943), Portrait Arrangement No. 2, 1912-13. Oil on canvas, 39½ x 31¾ in. (artwork), 54½ x 46½ x 2½ in. (framed).
Vilcek Collection, 2005.09.01.

the same element that I am returning
to now with a tremendous increase of
power through experience.”
Influenced by German expressionism
and celebrating his American roots,
he produced a series of paintings
in Berlin called Amerika, using the
German spelling. Among the series is
Canoe (Schiff), 1915, which incorporates
Native American motifs and will be
exhibited for the first time in America.
The painting and three others
were purchased by a young German
couple in 1915. Again, writing to
Stieglitz, Hartley commented, “They
have been bought by a young couple
who have recently been married and
are to be the only decorations in the

68
Marsden Hartley (1877-1943), Mont Sainte-Victorie,
ca. 1927. Oil on canvas, 20 x 24 in. (artwork),
27½ x 31¾ x 2½ in. (framed). Vilcek Collection,
2007.06.01.

music room which I hear is very beautiful.”

Sometime before 1929, the painting was
purchased by Hans Hasso Baron von
Veltheim. It was confiscated during World
War II and restituted to von Veltheim’s
grandson in 2014. It entered the Vilcek
Collection the following year.
In his preface to the catalog to the
exhibition, Bates Museum director, Dan
Mills, writes, “This selection of artworks
and personal objects, coupled with the
insightful essays by Bates College Museum
curator William Low, Vilcek Foundation
curator Emily Schuchardt Navratil, and
Vilcek Foundation director Rick Kinsel,
further an understanding of this important
Marsden Hartley (1877-1943), [Landscape with Trees in a Courtyard], 1927. Graphite on paper,
aspect of Hartley’s life.” 9 x 12 in. Bates College Museum of Art, Marsden Hartley Memorial Collection, gift of Norma
Berger, 1955.1.18.

MUSEUM PREVIEW: LEWISTON, ME 69

 MUSEUM PREVIEW: CHARLESTON, SC
Hidden Treasures
Rarely exhibited abstract works by Romare Bearden are featured during
a traveling exhibition beginning at the Gibbes Museum of Art
October 15-January 9, 2022
Gibbes Museum of Art
135 Meeting Street
T he concept was originally
Charleston, SC 29401
t: (843) 722-2706
www.gibbesmuseum.org
70
conceived with an exhibition
at the Neuberger Museum of
Art back in 2017 (with discussions
about the show going back as far
as 2009), and now it resurfaces as a
major national exhibition—Romare
Bearden: Abstraction. The show will
include incredible abstract works by
influential artist Romare Bearden,
many of which haven’t been seen since
they first exhibited in the 1960s. will
begin at the Gibbes Museum of Art
this October 15 and remain on view
through January 9, 2022.
“The project doesn’t give an
overview of Bearden, but rather covers
that body of work which was absent,
chronologizes it and reinserts it back
into his [oeuvre],” explains exhibition
curator, Dr. Tracy Fitzpatrick, director
of the Neuberger Museum of Art and
Associate Professor of Art History at
Purchase College, SUNY. Works in
the exhibition demonstrate Bearden’s
explorations with abstraction, and in
their day, they were visible and well-
received, Fitzpatrick adds. She theorizes
that with the Civil Rights Movement
growing in the 1960s, Bearden started
to shift the way he thought about
art, perhaps realizing that abstraction
did not wholly serve his purposes of
creating art as a means to examine
and discuss civil rights. “I hope other
scholars will come look at the work
and theorize about why it was left
behind,” she says.
Many pieces highlighted in the
show come from the Romare Bearden
Foundation, the estate of Bearden’s
wife, and various public and private
collections. “Bearden is really best
known for describing the condition and
experience of Black Americans during
the period of time that he made art.
And that is really the work people are
most familiar with. This is an entirely
Romare Bearden (1911-1988), Melon Season,
1967. Mixed media on canvas, 56½ x 44½ in.
Collection Neuberger Museum of Art, Purchase
College, SUNY, Gift of Roy R. Neuberger,
1976.26.45. © VAGA at Artists Rights Society
(ARS), NY. Courtesy American Federation of Arts.
Romare Bearden (1911-1988), River Mist,
ca. 1962. Oil on unprimed linen, and oil,
casein and colored pencil on canvas, cut,
torn and mounted on painted board,
54¼ x 407/8 in. © Romare Bearden
Foundation / VAGA at Artists Rights Society
(ARS), NY. Courtesy of DC Moore Gallery, NY
and American Federation of Arts.

unfamiliar body of work that really

disappeared from the literature of
Bearden...It’s a rare and exciting
opportunity,” says Fitzpatrick. 
The show surveys pieces Bearden
created between 1952 and 1963 that
includes abstract watercolors, oil
paintings and collages. “I think what’s
so interesting about these abstractions
is that they’ll be very unexpected...
Most people have never seen a pure
abstraction by the artist...[They] really
inform all that came afterward...the
work people know best.”
One of her favorite pieces is
the striking blue River Mist, which
“shows the multiple ways in which
he was using paint on canvas, cutting
them and pasting them to create
collages.” These paintings, Fitzpatrick
says, all demonstrate the many ways
that Bearden experimented with
pigment and collage. 
After its time at the Gibbes
Museum of Art, Romare Bearden:
Abstraction will journey to the
University of Michigan Museum of
Art in Ann Arbor, Michigan, from
February to May 2022 and then
to the Frye Art Museum in Seattle,
Washington, from June to September
2022. This exhibition is organized by
the American Federation of Arts and
the Neuberger Museum of Art of
Purchase College, SUNY. The national
tour of Romare Bearden: Abstraction is
sponsored by Morgan Stanley.

Right: Romare Bearden (1911-1988), Strange

Land, ca. 1959. Oil and casein on canvas,
58 x 421/8 in. Nanette Bearden Trust.
© Romare Bearden Foundation / VAGA at
Artists Rights Society (ARS), NY. Courtesy DC
Moore Gallery, NY and American Federation
of Arts.
Far right: Romare Bearden (1911-1988),
Eastern Gate, ca. 1961. Oil on canvas,
557/8 x 44 in. © Romare Bearden Foundation
/ VAGA at Artists Rights Society (ARS),
NY. Courtesy DC Moore Gallery, NY and
American Federation of Arts.

71
 MUSEUM PREVIEW: NEW HAVEN, CT
Elevating their Voices
Yale University Art Gallery holds a major exhibition
honoring women in art over a 150-year period
September 10-
January 9, 2022
Yale University Art Gallery
1111 Chapel Street
New Haven, CT 06510
t: (203) 432-0601
artgallery.yale.edu
72
A new exhibition at Yale
University Art Gallery
celebrates 150 years of women
artists who studied and trained at the
Yale School of Art (formerly Yale
School of the Fine Arts) during their
careers. On the Basis of Art: 150 Years of
Women at Yale, running September 10,
2021, to January 9, 2022, takes visitors
through the history of women at the
Yale School of Art, demonstrating the
ways in which these groundbreaking
artists broke down walls and surged past
the confines of the time to become
established figures in the field.
“When the [School of Fine Arts]
opened in 1869, coincidentally, it was
the same year that Susan B. Anthony
and Elizabeth Cady Stanton established
the National Woman Suffrage
Association. It marked a point in time
when women’s rights and women’s
autonomy were being considered and
fought for. It was kind of a remarkable
year in that respect,” says exhibition
curator Elisabeth Hodermarsky, Sutphin
Family Curator of Prints and Drawings
Eva Hesse (1936-1970), No Title, 1967. Acrylic,
wood shavings, unknown modeling compound,
Masonite and rubber. Yale University Art
Gallery, Gift of Robert Mangold, BFA 1961, MFA
1963, and Sylvia Plimack Mangold, BFA 1961, in
memory of Eva Hesse, BFA 1959, and in honor
of Helen A. Cooper, MA 1975, Ph.D 1986. © The
Estate of Eva Hesse. Courtesy Hauser & Wirth.
Irene Weir (1858-1944), The Blacksmith, Chinon,
France, ca. 1923. Watercolor on paper. Yale
University Art Gallery, Gift of Irene Weir, BFA 1906.
Josephine Miles Lewis (1865-1959), In the Orchard, 1922. Oil on canvas. Yale
University Art Gallery, Gift of Mrs. James Finn.
at Yale University Art Gallery. “Several
of the women who studied at Yale went
on to serious careers, [studying and
training in Europe],” Hodermarsky adds.
Several noteworthy historic artists in
the exhibition include Mary Foot, Irene
Weir and Josephine Miles Lewis. “[Foot]
went to Paris and Italy to study. She
was an incredibly interesting character
and worked quite a bit in portraiture.
Irene Weir is another artist who is quite
interesting in the early period. She was
the niece of the first dean of the School
of Art, John Ferguson Weir. She studied
at the school, went to train in Europe
and came back. She was an extremely
talented painter.”
More than 75 artists are featured
in On the Basis of Art, covering a
wide range of mediums, including
painting, sculpture, drawing, print,
photography, textile and video. And
Hodermarsky explains that the
continuing impact of arts education
at Yale through the representation of
women artists working today is an
extremely important component of
Audrey Flack (b. 1931), Lady Madonna, 1972. Lithograph. Yale
University Art Gallery, Gift of Dr. and Mrs. Samuel S. Mandel, MD.
© Audrey Flack.
the exhibition. “With every living
artist whose work is in this show, we
reached out to them and asked for their
time to conduct an oral history about
their experience at Yale and beyond,”
she says. “[It was] not always about
their gender experiences, but almost
all of these oral histories did touch
on that. Their experiences as women
at the University, at the School of
Art.” For historic artists, Hodermarsky
explains that “from the very beginning
we mined primary documents from
the library archives...letters, writings
of women, using their prose, their
reflections.”
She continues, “Every exhibition,
every history, has been predominantly
told by men...When we commenced
work on this project, we really
took that to heart. Here was an
opportunity...to tell this 150-year
history and its intermingling with the
Yale University Art Gallery from a
female identifying perspective. That
was really very important to us from
the get go.”
While the catalog is focused on
chronology, the exhibition itself takes a
more thematic approach, divided into
six sections. “It was really important
that we allow the mediums to co-
mingle and to tell the stories across
media and across generations,” says
Hodermarsky. The six themes are:
“Carving a Presence” (portraiture);
“Sculpting Space and Place”
(conceptions of space and place);
“Casting History, Etching Memory”
(history); “Drawing Identity” (a
section on identity); “Modeling
Nature, Tracing the Human Footprint”
(nature) and “Spreading Myth, Legend,
and Ritual” including works by artists
that engage with creation stories from
their native cultures or literary stories
like Grimms’ Fairy Tales.
There will also be an audio guide
with excerpts of those interviews with
the exhibition’s contemporary artists
along with narrations. “In terms of
gender, we really tried to include their
voices,” says Hodermarsky. “I’m happy
that those voices are coming through.”
73
 MUSEUM PREVIEW: NEW YORK, NY
City Views
A promised gift from collectors Elie and Sarah Hirschfeld
goes on view at the New-York Historical Society
October 22-
February 27, 2022
New-York Historical Society
170 Central Park West
New York, NY 10024
t: (212) 873-3400
www.nyhistory.org
O pening October 22 at the
New-York Historical Society
is a new exhibition that
will shine a light on the collection of
prominent and respected collectors
who have assembled works that show
New York City during its rapid growth
in the 20th century. The exhibition,
Scenes of New York City: The Elie and
Sarah Hirschfeld Collection, will include
William James Glackens (1870-1938), Early Spring, Washington Square, ca. 1910. Oil on canvas,
18 x 24 in. New-York Historical Society. Gift of the Elie and Sarah Hirschfeld Collection, Scenes of
New York City, 2020.35.2.
74
127 works, which is the entirety of a
promised gift by the Hirschfelds.
“They’ve never seen the entire
collection in one place before. Some of
the works were in their apartment, while
others were at their beach house, in
their offices and some were in storage,”
says co-curator Wendy N. E. Ikemoto,
curator of American art at the New-
York Historical Society. “Everything
will be on the walls, so it will be a very
unique experience for them.”
Ikemoto, who curated the exhibition
with Roberta J.M. Olson, says the
works will speak to the changing of the
city, but also how similar the city is to
its 20th-century self. “The exhibition
revolves around New York. It exudes
New York,” she says. “And we organize
the works thematically so guests will
be able to see the works—parks and
Norman Rockwell (1894-1978), Gramercy Park,
ca. 1918. Oil on canvas, 301/8 x 19 in.
New-York Historical Society. Promised Gift
of the Elie and Sarah Hirschfeld Collection,
Scenes of New York City.
skyscrapers, for example—together to
see the varied styles of the artists within
the collection. I also invited a number
of people from outside the museum to
respond to the works. These are people
who have a connection to these places,
or maybe they still live there or just
have a fond memory.”
For instance, a dredger captain
was asked to respond to John Henry
Twachtman’s 1879 oil Dredging in the
East River, a work that was made for
a June 1882 issue of Harper’s Weekly.
“It’s such a muscular work, bold and
gritty,” Ikemoto says. “I love that it
just digs into the industrial side of
New York. There’s a quote in the
original Harper’s article that is really
great: ‘How many histories lie at the
Robert Henri (1865-1929), Snow in Central Park, 1902. Oil on canvas, 26 x 32 in. New-York Historical Society. Promised Gift of the Elie and Sarah
Hirschfeld Collection, Scenes of New York City.

bottom of that there water that floats

around New York?’”
Another work in Scenes of New
York City is Robert Henri’s 1902 oil
Snow in Central Park. “It’s a wonderful
work. Henri was the founder of the
Ashcan School, but this work in so
many ways is really very unassuming
and almost banal—it’s almost daring
in its banality. He painted this random
snow-covered slope in Central Park,
and he does it with these violent and
muddy brushstrokes, which represent
his rebellion against the posh paintings
of the period,” the curator says.
Other artists in the collection
include William Merritt Chase,
George Luks, William Glackens, Oscar
John Henry Twachtman (1853-1903), Dredging in the East River, ca. 1879. Oil on canvas, 12 x 18 in.
F. Bluemner, Preston Dickinson and New-York Historical Society. Gift of the Elie and Sarah Hirschfeld Collection, Scenes of New York
Norman Rockwell. City, 2020.35.4.

75
 EVENT PREVIEW: CHICAGO, IL
Chicago Environments
Initiatives in Art and Culture will host its 23rd annual
Conference on the Arts & Crafts Movement in Chicago
September 23-26
23rd annual Conference on the
Arts & Crafts Movement
Multiple venues in Chicago, IL
www.artinitiatives.com
I nitiatives in Art and Culture has
carefully crafted its next Conference
on the Arts & Crafts Movement
after hosting a virtual event in 2020.
This year’s conference, Chicago and
Environs, will include talks, site visits
and collections tours that will allow
attendees to immerse themselves
into the world of Chicago arts. Each
component considers how “Chicago’s
architects, artists and artisans developed
a design vocabulary specific to the
region, creating work completely new
while at the same time thoroughly
rooted in tradition.”
Frank Lloyd Wright (1867-1959), Arthur Heurtley House, 1902.
76
The conference will run September
23 through 26, and it kicks off with a
welcome reception on September 22
from 6 to 8 p.m. that allows participants
to meet and greet prior to the outings.
Formal opening sessions will happen at
the Glessner House, designed by Henry
Hobson Richardson between 1885 and
1886 and completed the following year.
There will be a number of tours as
part of this year’s conference including
to the Fine Arts Building (also known
as the Studebaker Building), which
was designed by Solon Spencer
Beman between 1884 and 1885.
While walking the halls, visitors will
see murals by Frederic Clay Bartlett,
Frank Xavier Leyendecker and Bertha
Sophia Menzler-Peyton that date to
its renovation in 1898. A stop at the
Chicago Cultural Center includes looks
at the architectural design that includes
rare, imported marbles, polished brash,
mosaics of Favrile glass and mother-
of-pearl and colored stone. The world’s
largest stained glass Tiffany dome,
which was resorted in 2008, is found in
the building’s south side.
Frank Lloyd Wright architectural
gems are noteworthy during this
conference. One highlight is a trip
to his Johnson Wax Headquarters in
Racine, Wisconsin, that includes the
Johnson Wax Administration Building
and the Johnson Wax Research
Tower. They were designed for the
company’s president Herbert F.
“Hib” Johnson. In 1939 Wright also
designed Johnson’s personal residence
Wingspread, where a luncheon and
lecture will take place. There also
will be an exclusive opportunity to
visit Wright’s Heurtley House, 1902.
Commissioned by banker Arthur
Heurtley, this is one of the architect’s
greatest residential designs and is
located nearby his own home and
studio in Oak Park.
Frank Lloyd Wright (1867-1959), Wingspread, Wind Point, interior, 1938-39, for the Herbert Fisk Johnson Jr. Family.

Other sites visited will include the Holy

Trinity Orthodox Cathedral to view
the Healy & Millet stained glass; the
Old St. Patrick’s Church, which is the
oldest standing church in the city; the
University Club in the Michigan Room
where a private lunch will be held; and
Pullman, the first industrial planned
community in the United States.
Guest lecturers or guides
participating include Susan S.
Benjamin, co-author of Modern in the
Middle: Chicago Houses, 1929-1975;
Stuart Cohen, who wrote Inventing
the New American House: Howard Van
Doren Shaw, Architect and Frank L.
Wright and the Architects of Steinway
Hall: A Study of Collaboration; and
Rima Lunin Schultz, who wrote
Women Building Chicago 1790-1900: A
Biographical Dictionary. Preservationist H. H. Richardson (1838-1886), Glessner House (Exterior), 1887. Photo courtesy Glessner House.
and architect John Vinci will also
be on hand, as well as William Tyre, Stewart O’Donnell; Harboe Architects History at the University of Virginia.
executive director and curator at president T. Gunny Harboe; and For complete details on tickets and
the Glessner House; independent Richard Guy Wilson, Commonwealth how to attend, visit the Initiatives in Art
historical, write and editor Annie Professor Emeritus of Architectural and Culture website.

77
 AUCTION PREVIEW: JACKSON HOLE, WY

The Frontier Spirit

Jackson Hole Art Auction presents its 15th sale with major highlights from
every category, including pieces from two prominent collections

September 17-18, noon

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

O n September 17 and 18,

Jackson Hole Art Auction will
offer more than 300 works
of art to bidders when it returns to
Wyoming for its 15th annual auction.
The sale, known for its rich variety of
Western material, is a favorite among
bidders and should see considerable
interest with art collectors who are
once again flocking to Jackson Hole
and the surrounding national parks
such as Yellowstone and Grand Teton.
Oscar E. Berninghaus (1874-1952), Taos Field of Workers. Oil on canvas 25 x 30 in. Estimate: $300/500,000

“People are feeling great and they’re

ready to come back into Jackson Hole.
We’re seeing some really great energy
coming into town, and it’s building
with each passing day,” says Jackson Hole
Art Auction partner Roxanne Hofmann
Mowery. “One of the things we’re
hearing a lot from some of our biggest
supporters is how excited they are to
celebrate with us for out 15th year. Many
of them have been with us every year
since we started, but then couldn’t attend
our 14th sale last year. Everyone is ready
to come back and see each other again.”

Carl Rungius (1869-1959), Above the Treeline.

Oil on canvas, 30 x 40 in.
Estimate: $300/500,000

78
E. Martin Hennings (1886-1956), Untitled. Oil on canvas, 30¼ x 30¼ in. Estimate: $600/900,000
The auction, presented by Trailside
Galleries and Gerald Peters Gallery,
will take place across two sessions on
September 17 and 18 at Center for the
Arts in Jackson Hole. The two sessions,
both of which start at noon, will feature
more than 300 lots that pull from every
facet of the West: wildlife, landscapes,
cowboys and Native Americans subject
matter, still life, bronze and much more.
Works from two major Western
collections will be offered: 30 pieces
of art from the famous T. Boone
Pickens Collection, and 28 works from
the Corporate Collection of Eddie
Basha. Both Pickens and Basha were
prominent and colorful collectors who
sought out the best artwork from many
of the top artists. The Pickens material,
which is being offered under the name
The Frontier Spirit: Western Works from
the T. Boone Pickens Collection, should be
especially thrilling to bidders because
the collector had a discerning eye and
frequently purchased major examples
from artists he liked.
“Pickens was a maverick and an
icon, and he felt the history of the
American West was particularly
rich because of the strength of the
individuals who lived it. He collected
Western art in hopes that it would
preserve the values he believed in—
honor, duty, country and others,”
Mowery says. “You see some of those
qualities with Eddie Basha. One of the
things that made his collection special
was he was close friends with so many
of the artists, including Joe Beeler, John
Clymer and James Reynolds. Eddie
was a student of history, so he collected
artists that reflected his interests.”
Key lots in the sale include major
paintings by Taos Society of Artists
members. One is an E. Martin Hennings
untitled work showing two blanket-
clad figures under New Mexico clouds.
“It has never been on the market and
79
 John Clymer (1907-1989), We Take All. Oil on canvas, 24 x 48 in. Estimate: $100/200,000

William R. Leigh (1866-1955), Patient. Oil on canvas, 22 x 28 in. Estimate: $60/90,000

we are absolutely thrilled to have it,”
says Mowery, who adds that one of
Hennings’ sponsors chose the painting
after a 1917 exhibition. “And it’s been
descending through his family ever
since. It’s even in the original frame. It’s a
magnificent painting that has everything
you could want with a Hennings
painting, including those dreamy clouds
in the sky under those central figures. It’s
a powerful painting.” The untitled work
is estimated at $600,000 to $900,000.
Other Taos material includes Oscar
E. Berninghaus’ Taos Field of Workers
(est. $300/500,000) and Joseph Henry
Sharp’s The Drummer (est. $60/90,000).
John Clymer will be well
represented in the sale with five
Allan Houser (1914-1994), Dance of the
works—four from the Basha Collection Mountain Spirits I, 1989. Bronze, ed. 4 of 6,
and one from the Pickens Collection— 68 x 50 x 26 in. Estimate: $40/60,000

80
Dean Cornwell (1892-1960), Who Hired You? Oil on canvas, 30 x 46 in. Estimate: $30/50,000

Joseph Henry Sharp (1859-1953), The Drummer. Oil on Friedrich Wilhelm Kuhnert (1865-1926), Waterbuck. Oil on canvas, 18 x 30 in.
canvas, 20¼ x 24¼ in. Estimate: $60/90,000 Estimate: $20/30,000

that show his strength as a storyteller.
We Take All (est. $100/200,000) is
certainly a key highlight since it shows
a tense standoff amid Native Americans
and trespassing outsiders who have
staked out buffalo hides after a hunt.
It’s classic Clymer with a complex
composition, riveting story and
numerous figures within the painting.
Other Clymer works include Buffalo
Hunt (est. $100/200,000), Buffalo Scouts
(est. $60/90,000) and High Crossing (est.
$70/100,000).
Wildlife is a popular category at the
sale every year, and this year will feature
works by wildlife masters Carl Rungius
and Friedrich Wilhelm Kuhnert. Rungius
will be represented in the sale with
Rainbow Ram (est. $70/100,000) and
Above the Treeline (est. $300/500,000),
while Kuhnert’s Waterbuck (est.
$20/30,000) will be offered.
Additional lots include pieces
from Hermann Herzog, Clark
Hulings, Tom Lovell, James Reynolds,
William R. Leigh, Robert Lougheed,
Melvin Warren, W.H.D. Koerner,
Allan Houser and many others. A
Charlie Dye painting, The Mustangers
(est. $50/75,000), should also draw
considerable interest, as should Dean
Cornwell’s Who Hired You? (est.
$30/50,000), both of which show the
two artists’ unique painting styles.
All of the artwork will be available
to preview at the auction’s showroom,
which is just a few blocks from the town
square. For more information, visit
www.jacksonholeartauction.com.

AUCTION PREVIEW: JACKSON HOLE, WY 81

 AUCTION PREVIEW: NEW YORK, NY

Rare Examples
Swann Auction Galleries’ holds the fall edition of its African American Art sale
on October 7, which includes two important oils from Norman Lewis

October 7
Swann Auction Galleries
104 E. 25th Street
New York, NY 10010
t: (212) 254-4710
www.swanngalleries.com

Norman Lewis (1909-1979), Untitled, Robert Neal (1916-1987), Street People, ca. 1986. Oil on canvas, 35 x 31 in. Estimate: $20/30,000
ca. 1950-51. Oil on canvas, 39 x 24 in.
Estimate: $150/250,000

T his fall, Swann Auction

Galleries hosts its African
American Art sale, which will
feature a variety of works by both
historic and contemporary Black artists.
Art ranges from abstract to figurative
to sculpture. “We will also have some
late 19th-century and early 20th-century
paintings in the sale,” says Nigel
Freeman, Swann’s director of African
American art. Among the highlights in
the sale are works by Norman Lewis,
Emma Amos and Elizabeth Catlett, to
name a few.
Abstract expressionist, scholar,
teacher and New Yorker Lewis has
two important oils in the sale coming
from a private collection that has not
been exhibited in more than 50 years.
His Untitled (Gate Composition) (est.
$60/90,000), painted in 1947, features a
depiction of wrought-iron gates found
throughout New York City punctuated
by brilliant shades of red. The second
piece, Untitled, estimated at $150,000 to
$250,000, delves even deeper into the
realm of abstraction.
“They’re both really wonderful
early examples of his abstract paintings.
These were done in the beginning of

82
 Norman Lewis (1909-1979), Untitled (Gate Composition).
Oil on Masonite board, 14 x 18 in. Estimate $60/90,000

Emma Amos (1938-2020), Polka Dots, ca. 1985.
Color monotype with color pastels and stencil
on paper, 15½ x 22½ in. Estimate $8/12,000
his exploration with abstraction,” says
Freeman. Discussing Untitled (Gate
Composition), he says, it is a “scarce
example of Norman Lewis’ painting
in the late 1940s. Lewis made several
paintings with a rich variety of surfaces,
including graffito and scrapings, based
on the iron work of New York doors
and gates.” Freeman comments on
the Untitled 1950-51 piece, “This
elegant painting is a very fine example
of Norman Lewis’ abstract idiom of
the early 1950s. Lewis painted thinly
on linen canvas to created subtle,
atmospheric effects to represent natural
phenomena.”
Other lots to pay attention to include
figurative artist Amos’ Polka Dots, a color
monotype with color pastels and stencil
on paper expected to fetch between
$8,000 to $12,000, as well as Robert
Neal’s winter scene Street People, depicting
city dwellers going about their day as
flurries of snow rush around them. The
oil on canvas has a pre-sale estimate of
$20,000 to $30,000. The auction will
also include important stone sculpture by
Catlett and bronzes by Richmond Barthé.
The sale will be held Thursday,
October 7.Viewing will be available
by appointment and can be scheduled
directly with a specialist.

83
 AUCTION PREVIEW: EAST DENNIS, MA

Progress and Power

Eldred’s inaugural Women in the Arts Auction shines an important spotlight on women
artists of the 19th and 20th centuries

contributed to the art world, both past
October 28, 5 p.m. and present. A portion of proceeds
from the sale will benefit WE CAN, a
Eldred’s
1483 Route 6A women’s empowerment organization
East Dennis, MA 02641 based on Cape Cod. Historic artists
t: (508) 385-3116 featured in the sale include Agnes
www.eldreds.com McGuire McCahill, Olive Parker
Black, Charlotte Buell Coman and
many more.
“The goal of the auction is to
female artists looking to expand
their reach,” says Eldred’s president
Joshua Eldred. “Early entries to the
sale include works by Pauline Palmer,
Fidelia Bridges, Jane Peterson and
[contemporary artists] Anne Packard
and Pamela Pindell.” He continues,
“There has been great enthusiasm for
the sale from the time we announced
it, and our entire appraisal staff is out

T his October, Eldred’s holds

its first Women in the Arts
Auction, celebrating the many
phenomenal works that women have
rediscover 19th- and early 20th-century
female artists the market may be
overlooking, and to provide a new sales
channel for established contemporary
scouring for consignments.”
Among the highlights in the sale
are paintings by Black, Palmer and
Peterson. Black’s oil Feeding the swans

Jane Peterson (1876-1965), Luxembourg Gardens. Oil on canvas board, 7¼ x 10¼ in., signed lower right: ‘Jane Peterson’; titled verso. Estimate: $2/3,000

84
Pauline Lennards Palmer (1867-1938), Mother and child. Oil on board, Ethelwyn B. Upton (d. 1921), Stealing a grape, after Léon Augustin
10 x 13 in., signed lower right: ‘Pauline Palmer’. Estimate: $3/5,000 L’hermitte. Oil on canvas, 30 x 36 in, signed lower right: ‘Ethelwyn B.
Upton’ with further inscription. Estimate: $5/7,000

is estimated to fetch between $4,000

and $6,000; Palmer’s oil Mother and
child is estimated at $3,000 to $5,000;
and Luxembourg Gardens, an oil on
canvas board by Peterson, has a presale
estimate of $2,000 to $3,000. In
addition, a bronze bust by McCahill,
possibly of Standard Oil founder
Henry Flagler, is expected to bring in
$1,000 to $1,500.
“When I was a young boy, every
artist I knew was a woman—from
my mother who drew for me, to my
elementary school art teachers, to the
neighbor who sold her paintings at
local shows. When I envisioned an
‘artist,’ I envisioned a woman,” says
Eldred. “The sad reality, however, is that
women are hugely underrepresented in
the art world. Women make up about
half of working artists nationwide, but
their work makes up only 10 percent
of museum and corporate collections. Olive Parker Black (1868-1948), Feeding the swans. Oil on canvas, 24 x 30 in., signed lower left:
‘Olive P. Black’. Estimate: $4/6,000
More than 60 percent of MFA students
are women, but gallery shows are only
30 percent women artists. The all-time Weed / White Flower No 1.” think this is just the beginning of what
highest price paid at auction for a work Eldred’s is working to shift that will become an annual auction for us.”
of art by a man was $450.3 million, dynamic. “While we know we won’t fix The live auction takes place on
for da Vinci’s Salvator Mundi. The this overnight, we hope our Women in October 28 at 5 p.m., with in-person,
highest price paid for a work of art by a the Arts Auction starts us down a better phone and absentee bidding available.
woman? It was one-tenth of that, $44.4 path,” he says. “We’re excited about Online bidding will be available at
million for Georgia O’Keefe’s Jimson [what] we’ve unearthed thus far and www.eldreds.com.

85
 AUCTION PREVIEW: CHICAGO, IL

Fresh Variety
Hindman’s September 27 sale of American and European art includes
impressionist, modernist and regionalist works

September 27, 10 a.m.

Hindman
1338 West Lake Street
N icolai Fechin is one of the
most distinguished portraitists
of the 20th century. During
Hindman’s September 27 American and
European Art auction, a stunning work
Chicago, IL 60607
t: (312) 280-1212 measuring over 40 inches in height,
www.hindmanauctions.com will hit the market. The piece, Portrait
of a Young Lady (possibly Marina Flamant
Makovsky), is a great early work by the
artist likely painted while he still lived
in Russia and is thought to depict
Marina Flamant Makovsky, the daughter
of painter Konstantin Makovsky.
“It’s a bit rarer, and I think it will
appeal to a slightly more international
audience than the work he was doing
out in New Mexico,” says Joseph
Stanfield, director of fine art at
Hindman. The painting, which is the
star of the day’s sale, is expected to sell
between $600,000 and $800,000.
Along with the Fechin, the American
and European Art auction will have
around 120 lots available, with about
half being American art. “[This segment
has] a pretty good mix of material. Since
we are in Chicago, we have Midwestern
regionalist material that other houses
aren’t going to see as much of, but it’s
a varied grouping,” says Stanfield. “It
ranges from late 19th century all the way
through to almost today.”
A standout in the regionalist
category is Ivan Albright’s Troubled
Waves (Silence), 1952, which has an
estimate of $30,000 to $50,000. Albright
is recognized in Chicago because of
his Picture of Dorian Gray, which resides
in the Art Institute of Chicago along
with many of his other works. “There
just aren’t that many pieces available for
sale…[because] that’s basically where
his entire estate went,” Stanfield shares.
“This is the first oil on canvas that’s
representative of his work that I think
I’ve ever seen come up for auction. It’s
a rare opportunity for collector of his
work, because we don’t know when the
next one is going to be available. The

Mitchell Siporin (1910-1976), End of an Era,

1946. Oil on canvas, 52 x 40 in., signed and
dated lower right: ‘Mitchell Siporin’.
Estimate: $15/25,000

86
Nicolai Fechin (1881-1955), Portrait of a Young Lady (possibly Marina Flamant Ivan Albright (1897-1983), Troubled Waves (Silence), 1952. Oil on
Makovsky), ca. 1908. Oil on canvas, 41½ x 28 in., signed upper right: ‘N. Fechin’. canvas, 15 x 10¼ in., signed and dated lower right: ‘Ivan Albright’;
Estimate: $600/800,000 signed lower left. Estimate: $30/50,000

painting is coming from a Chicagoland

area collector whose parents were friends
with Ivan Albright and received the work
directly from him.”
Mitchell Siporin’s End of an Era
(est. $15/25,000) is also noteworthy,
as it has been in a number of museum
exhibitions over the years. The work has
been in private hands for decades, and
Stanfield considers it to be one of the
most important by the artist to arrive at
auction. There also will be a selection of
seven paintings by artist Wolf Kahn, who
passed away last year. Dale Nichols is
represented by two works, including Early
Risers, a 1949 painting estimated to sell
between $20,000 and $30,000.
The sale will begin at 10 a.m.
local time, with bidders being able to
participate by phone, online and by
Dale Nichols (1904-1995), Early Risers, 1949. Oil on canvas, 30 x 40 in., signed and dated lower absentee. Private previews are available at
right: ‘Dale Nichols’; titled verso. Estimate: $20/30,000 the Chicago office by appointment.

87
 AUCTION PREVIEWS: ASHEVILLE, DALLAS, GENESEO,
MARLBOROUGH, MILFORD, NEW YORK

Jasper Francis Cropsey (1823-1900), Autumn Landscape with Cattle, 1879. Oil on canvas, 22½ x 39 in., reproduction carved gilt wood frame, 29¾ x 47 in., signed lower right:
‘J.F. Cropsey 1879’. Courtesy Brunk Auctions. Estimate: $80/120,000

ASHEVILLE, NC hosted by Brunk Auctions an idyllic pastoral scene
BRUNK AUCTIONS based in Asheville, North evocative of the artist’s
SEPTEMBER 9-11 Carolina, takes place this Hudson River School style.
Premier & Emporium September 9 to 11. Two The painting is expected to
Auctions major paintings in the sale bring in between $70,000
include Albert Bierstadt’s and $90,000. Additionally,
The fall edition of Premier
1855 oil A Quiet Valley, the 1879 oil Autumn
& Emporium Auctions,
Landscape with Cattle by
Jasper Francis Cropsey is
a war m fall scene with a
presale estimate of $80,000
to $120,000.
GENESEO, NY
COTTONE AUCTIONS
SEPTEMBER 18
Fine Art, Antiques & Clocks
Held on September 18
at noon Eastern Standard
Time, Cottone Auctions’
Fine Art, Antiques & Clocks
sale will feature items from
the collection of Mr. and
John Frederick Kensett (1816-1872), Singing Beach & Eagle Rock, Magnolia,
Mrs. Roy W. Doolittle Jr. of
Massachusetts. Oil on canvas. Signed and dated lower left: ‘J.F. K. ‘68’. Courtesy
Cottone Auctions. Estimate: $200/400,000
Buffalo, New York, including
an important work, Singing
Beach & Eagle Rock, Magnolia,
Massachusett, by John
Frederick Kensett.
A fresh to market oil
dated 1868, his Singing Beach
& Eagle Rock, Magnolia,
Massachusetts, is anticipated to
fetch $200,000 to $400,000.
The auction house notes that
Kensett was “a formidable
force in the New York art
world until his untimely
death, and his reputation was
further reinforced by the
patronage he received from
America’s most influential
collectors.”
The sale will also include
an outstanding collection of
early 20th-century lighting by
Tiffany Studios and various
items from the prominent
Wadsworth family of Geneseo,

88
New York, as well as other
private institutions, estates and
individuals.

NEW YORK, NY
DOYLE
SEPTEMBER 28
Fine Art
Beginning 11 a.m. Eastern
Standard Time on September
28, the New York-based
auction house Doyle will
hold its Fine Art sale, offering
a number of treasures in
historic American art.
One of the important
highlights in the autumn
sale is George Luks’ Central
Park—a piece containing
more impressionist
touches—depicting people
in the famed New York park
going about their day (est.
$4/6,000). Exhibition dates
are September 25 to 27.
George Luks (1867-1933), Central Park. Oil on paper laid to canvas,
10¼ x 13¼ in., signed. Courtesy Doyle. Estimate: $4/6,000

NEW YORK, NY Moran’s Niagara Falls,

SOTHEBY’S
SEPTEMBER 29-
OCTOBER 6
Two Centuries: American Art
A massive selection of
powerhouse American art
will be available during
the autumn installment of
Sotheby’s Two Centuries:
American Art sale, taking
place this September 29 to
October 6. Several highlights
include an oil on canvas by
Edward Redfield titled Frosty
Morning (est. $120/180,000);
Indian Girl (Portrait of
Lolita) by Nicolai Fechin
(est. $250/350,000); a circa
1930 to 1935 oil by Fern
Coppedge titled Bittersweet
Cottage (Lumberville Studio
Of Daniel Garber) (est.
$25/35,000); and Edward
painted around 1865 to
1875, estimated to bring in
$30,000 to $50,000.
MARLBOROUGH, MA
SKINNER, INC.
SEPTEMBER 30
Fine American
Paintings & Sculpture
Held live online beginning
at 10 a.m., Skinner Inc.’s
Fine American Paintings &
Sculpture sale will feature a
variety of works from the 19th
century and early to mid-20th
century. Top lots include an
oil painting by 19th-century
French-born American artist
George Hetzel titled Rocky
Stream that is expected to
fetch between $6,000 $8,000
and James Carroll Beckwith’s
The Fish Bowl, which is

Edward Moran (1829-1901), Niagara Falls, ca. 1865-75. Oil on canvas,

44¼ x 36¼ in. Courtesy Sotheby’s. Estimate $30/50,000

89
 estimated at $4,000 to $6,000,
to name a few.
In addition is a drawing
ascribed to John Singer
Sargent that has an estimate
of $10,000 to $15,000. It is
a gridded sketch thought
to be a preparatory drawing
for Sargent’s murals at the
Museum of Fine Arts, Boston.
Bidding will be online at
www.skinnerinc.com, on the
telephone and by absentee.

DALLAS, TX
HERITAGE AUCTIONS
OCTOBER 4
Illustration Art
Following a tremendous,
record-breaking $4.1 million George Hetzel (1826-1899), Rocky Stream, 1873. Courtesy Skinner, Inc. Estimate: $6/8,000

J.C. Leyendecker sold in

May, Heritage Auctions
will be offering a superb
Saturday Evening Post cover
by Normal Rockwell in its
upcoming Illustration Art
sale. Home for Thanksgiving, a
classic Rockwell piece, has an
estimate of $4 to $6 million.
“The work has impressive
history and is completely
fresh to market, having been
on loan to the Rockwell
Museum for decades,” says
Heritage Auctions vice
president and director
of American art, Aviva
Lehmann. “The work was
gifted to The E.M. Connor
Post #193 American
Legion of Winchendon,
Massachusetts, over 70 years
ago. It’s quite a poetic story,
really. Veteran war heroes
are selling this masterful
depiction of a war hero in
order to raise funds for their
post, to keep it running for
the community.”
Lehmann adds that they
will also have three fantastic
Leyendecker Post covers in
the sale.

Norman Rockwell (1894-1978), Home for Thanksgiving, Saturday Evening Post cover, 1945. Oil on canvas, 35 x 33 in.,
signed and inscribed along lower center: ‘Thanksgiving / Norman Rockwell’; bears inscription verso: ‘P765’.
Courtesy Heritage Auctions. Estimate: $4/6 million

90
 DALLAS, TX
DAVID DIKE FINE ART
OCTOBER 30
Texas Art Auction
David Dike Fine Art
celebrates the 25th anniversary
of its Texas Art Auction,
featuring more than 400
lots of Texas art ranging
from early to traditional
and contemporary works.
Included in the sale is
a significant work by
important Taos, New Mexico,
painter Leon Gaspard,
who was influenced by
impressionism and modern
representation. His vertical
oil on canvasboard The
Bridge - Russia is estimated
at $100,000 to $200,000.
Another highlight in the
upcoming auction is Everett
Spruce’s circa 1948 painting
Man with Fish Net, which has
a presale estimate of $15,000
to $20,000. The Texas Art
Auction will be held on
October 30.

Fidelia Bridges (1834-1923), Watercolor Portfolio. Watercolor on paper,

22 x 18 in. (each sheet), signed. Courtesy Shannon’s Fine Art Auctioneers.
Estimate: $30/50,000

MILFORD, CT Bridges’ Watercolor Portfolio is

SHANNON’S FINE ART
AUCTIONEERS
OCTOBER 28
Fine Art Auction
Shannon’s Fine Auctioneers’
fall Fine Art Auction brings
to collectors more than 200
lots of rare and important
paintings, drawings, prints
and sculpture from the 19th
century to today. Works in the
sale by significant American
artists include Charles E.
Burchfield, Milton Avery,
Thomas Hart Benton and
Alfred T. Bricher. Fidelia
a major item in the upcoming
sale, a portfolio of nearly
100 watercolor sketches
and a portrait of the artist
in oil. The entire portfolio
will be offered together at a
$30,000 to $50,000 estimate.
Coastal Seascape by Bricher
has an estimate of $15,000 to
$25,000.
For bidding information,
a full preview of the auction
or to order a catalog,
collectors can visit the
company website. The Fine Art
Leon Gaspard (1882-1964), The Bridge – Russia. Oil on canvasboard,
Auction will begin at 6 p.m.
25 x 22 in., signed lower left: ‘Leon Gaspard’. Courtesy David Dike Fine Art.
EST on October 28. Estimate: $100/200,000

AUCTION PREVIEWS 91
 AUCTION REPORT: PHILADELPHIA, PA

Summertime Success
On June 6 Freeman’s set several world auction records during
its American Art & Pennsylvania Impressionists sale

Sylvia Shaw Judson (1897-1978), Bird Girl,

conceived in 1936 and cast in 1936. Bronze with
verdigris patina, ed. 2/4, 50 in., foundry mark along
the rim of the girl’s dress verso: ‘ROMAN BRONZE
WORKS NY’. Artist World Auction Record.
Estimate: $100/150,000 SOLD: $390,600
Norman Rockwell (1894-1978), Piney Rest Motel (Cozy Rest Motel), ca. 1950. Oil and
pencil on canvas, 18 x 17 in., signed bottom right: ‘Norman/Rockwell’.
Estimate: $100/150,000 SOLD: $478,800

T he American Art
& Pennsylvania
Impressionists
department at Freeman’s is
riding a wave of success with
its recent auctions. Between
its December 2020 and
June 2021 sales, the auction
house is seeing its best year
to date in the category,
with more than $10 million
realized in fewer than 200
lots. The 89-lot American Art
& Pennsylvania Impressionists
auction on June 6 achieved a
total of nearly $3.5 million, a
91 precent sell-through rate
and multiple auction records.
“I’m absolutely delighted.
We just had our best year as
a company, and for American
art, it’s our best year,” says
Alasdair Nichol, Freeman’s
chairman. He adds, “New
material is coming on to the
market, which collectors like.
The market seems solid, and
the Pennsylvania Impressionist
market is seeing an influx
of new buyers. There’s new
blood coming in from across
the entire country. People
might have second homes in
Bucks County, and they’re
developing an interest in
Pennsylvania Impressionism,
or people with homes in New
York or other nearby places
are looking to collect.”
The day was topped by
important and rare artwork
including works by Norman
Rockwell, Sylvia Shaw
Judson, Albert York, Daniel
Garber, George William
Sotter, Fern Isabel Coppedge
and Helen Maria Turner, to
name a few.
Rockwell’s Piney Rest Motel
(Cozy Rest Motel) became
the auction’s top lot when it
sold for $478,800, a price that
tripled its presale estimate of
$100,000 to $150,000. The
work, which was purchased
by a private collector after

92
a bidding war with a phone
buyer, was completely fresh to
the market from a consignor
whose father received the
work as a gift from Rockwell.
There were six works by
York in the sale consigned by
a collector out of Reading,
Pennsylvania. The artist is rare
to the market, so it was not
only special to have multiple
pieces in the sale, but all
sold for above estimate. The
highest earner of the day,
setting a new world auction
record, was Still Life: Green
Apples (est. $40/60,000) at
$239,400. Two other pieces
landed in the top 10 lots:
Reflections in the Pond (est.
$60/100,000) at $163,800
and Ostrich Feathers (Portrait
of the Artist’s wife,Virginia
Caldwell) (est. $15/25,000) at
$88,200. “What’s interesting
is three of them when to
a local buyer who hadn’t
bought from us before,”
says Nichol. “They came in
during one of the jewelry

George William Sotter (1879-1953), A Bucks County Landmark. Oil on

Masonite, 22 x 26 in., signed and dated bottom right: ‘G.W. Sotter.45’.
Estimate: $100/150,000 SOLD: $163,800

previews and just fell in love
with the paintings.”
Judson’s Bird Girl
(est. $100/150,000) is a
recognizable sculpture,
having been on the cover
of Midnight in the Garden
of Good and Evil by John
Berendt. This work, after
bidding from multiple
individuals and institutions,
sold for $390,600 to a private
collector through Olde Hope
Albert York (1928-2009), Still Life: Green Apples. Oil on canvas, 20 x 22 in.
Antiques in New Hope,
Artist World Auction Record. Estimate: $40/60,000 SOLD: $239,400 Pennsylvania. It set a world
auction record for the artist.
In the Pennsylvania
Impressionism category,
the top lot was Garber’s
Houses – Shannonville (est.
$150/250,000) at $189,000.
Other successes included
Sotter’s A Bucks County
Landmark at $163,800, which
bested its high estimate of
$150,000, and Fern Isabel
Coppedge’s Village in
Winter (est. $60/100,000),
which landed in estimate at
$94,500.

TOP 10 SALES
FREEMAN’S, AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS, JUNE 7, 2021 INCLUDING BUYER’S PREMIUM
ARTIST TITLE LOW/HIGH EST. SOLD
NORMAN ROCKWELL PINEY REST MOTEL COZY REST MOTEL $100/150,000 $478,800
SYLVIA SHAW JUDSON BIRD GIRL $100/150,000 $390,600
ALBERT YORK STILL LIFE: GREEN APPLES $40/60,000 $239,400
DANIEL GARBER HOUSES  SHANNONVILLE $150/250,000 $189,000
ALBERT YORK REFLECTIONS IN THE POND $60/100,000 $163,800
GEORGE WILLIAM SOTTER A BUCKS COUNTY LANDMARK $100/150,000 $163,800
ALBERT YORK JAR OF WILDFLOWERS $40/60,000 $100,800
FERN ISABEL COPPEDGE VILLAGE IN WINTER $60/100,000 $94,500
HELEN MARIA TURNER THE END OF MY PORCH $20/30,000 $88,200
ALBERT YORK OSTRICH FEATHERS PORTRAIT OF THE ARTIST’S WIFE, VIRGINA CALDWELL $15/25,000 $88,200

93
 AUCTION REPORTS: HINGHAM, NEW YORK,
SANTA FE, THOMASTON

SANTA FE, NM that sold for $24,000, doubling

SANTA FE ART AUCTION its $12,000 low estimate; A
JUNE 26 Zuni Governor (Sat Sa, a Young
The Christopher Cardozo Zuni Governor), which sold for
Edward S. Curtis Collection $18,000 against an estimate of
$2 million $10,000 to $15,000; as well as
Santa Fe Art Auction’s recent a platinum print of Geronimo
sale from the collection of – Apache (est. $120/180,000)
Christopher Cardozo was that sold for $120,000.
a major success. The two-
session sale, with 316 lots HINGHAM, MA
by significant American COPLEY FINE ART
photographer Edward S. AUCTIONS
Curtis, achieved more than
The Sporting Sale
$2 million, ultimately selling
JULY 910
over 98 percent. $4.44 million
A full 20-volume set
Copley Fine Art Auctions
of books from Curtis’ The recently held its 16th annual
North American Indian made Sporting Sale, which achieved
the top lot in the summer $4.44 million in total sales.
sale, demolishing its high The two-day, 507-lot auction,
estimate of $250,000 when which livestreamed on July 9
it hammered at $895,000, a and 10, was 92 percent sold by
world record for a set of Curtis lot and averaged over $9,500
books without portfolios. per lot sold. “The entire
Additional highlights Copley ethos evolves from a
include Curtis’ iconic photo celebration of wildlife,” says
The Vanishing Race – Navaho Copley’s owner and principal
Edward S. Curtis (1868-1952), Geronimo - Apache, 1905, platinum print, 15/ x 11/
in. Courtesy Santa Fe Art Auction. Estimate: $120/180,000 SOLD: $120,000
Stephen B. O’Brien Jr.
“New collectors have joined
the ranks of the old guard,
pushing many artist and carver
records to new heights. Our
clients’ choices in art reflect
these passions.”
Highlights among paintings
in the sale included an oil
by Titian Ramsey Peale, Bob
White Quail, which blew
past its high estimate of
$30,000 when it achieved
$90,000. In addition, Ogden
M. Pleissner’s salmon fishing
watercolor, Waiting for the
Rise, sold for $54,000 against
an estimate of $50,000 to
$80,000. Several Aiden
Lassell Ripley watercolors of

Titian Ramsay Peale (1799-1885), Bob

White Quail. Oil on canvas, 17¼ x 19½ in.
Courtesy Copley Fine Art Auctions.
Estimate: $20/30,000 SOLD: $90,000

94

William Trost Richards (1833-1905), Rocky Coastline, 1878. Gouache on board, 23 x 36½ in., 29½ x 43¼ (framed), signed lower
right and dated 1878, in water gilt frame liner with artist name tag. Courtesy Thomaston Place Auction Galleries.
Estimate: $8/12,000 SOLD: $36,270
birds performed well—Two
Woodcock sold for $45,000
(est. $20/30,000) and Grouse
and Thorn Apple reached
$21,600. Another top lot was
Ken Carlson’s A Feint Sound,
which broke past its low
$30,000 estimate when it sold
for $36,000.
The auction house broke
several of its own artist
world records during this
sale, including a David A.
Hagerbaumer watercolor
on the first day for $10,200,
topped by grouse on day two,
settling the record at $13,530.
THOMASTON, ME
THOMASTON PLACE
AUCTION GALLERIES
JULY 911
Splendid, Part I
$2 million
Thomaston Place Auction
Galleries welcomed the
return of live in-house
bidders, as well as 750 phone
and absentee bids during
its Splendid, Part I sale on
July 9 through 11. The sale
had more than 1,685 active
online participants across 38
countries, bringing in just
under $2 million.
“It was wonderful to
see live bidders back in our
gallery, and the sustained
in-house and online
enthusiasm energized our
team throughout the auction.
Many auction items greatly
outperformed our presale
expectations,” says Kaja
Andrew Wyeth (1917-2009), Teel’s Landing, 1953. Watercolor and gouache on paper, 19 x 28 in., signed lower right: ‘Andrew
Wyeth’. Courtesy Sotheby’s. Estimate: $80/120,000 SOLD: $100,800
Veilleux, Thomaston Place
auctioneer and president.
The top lot in the July sale
was William Trost Richards’
1878 gouache Rocky Coastline
that sold for $36,270, more
than tripling its $12,000 high
estimate. Other major works
include Study for Church Bells
Ringing on a Rainy Night, a
graphite on paper by Charles
E. Burchfield that shattered
its $4,000 to $6,000 estimate
selling for $30,000, as well as a
still life oil painting by Severin
Roesen that sold for $28,080.
NEW YORK, NY
SOTHEBY’S
JULY 920
An American Summer
$789,202
Sotheby’s July auction of
historic American art included
major names like Wolf Kahn,
N.C. Wyeth, Guy Carleton
Wiggins, William Glackens,
Fern Isabel Coppedge
and many others. A 1953
watercolor and gouache by
Andrew Wyeth titled Teel’s
Landing sold for $100,800
against a presale estimate of
$80,000 to $120,000, while
Maurice Brazil Prendergast’s
watercolor and pencil April
Showers, painted at the end of
the 19th century, broke its low
estimate of $80,000 when it
sold for $88,200. In total, the
summer sale of American art
achieved $789,202.
95
 Index

Artists in this issue

Albright, Ivan 87 Flack, Audrey 73 Lewis, Josephine Miles 73 Richardson, H.H. 77

Amos, Emma 83 Gaspard, Leon 91 Lewis, Norman 82 Rockwell, Norman 74, 90, 92

Bearden, Romare 70 Glackens, William James 74 Luks, George 89 Roszak, Theodore 32

Berninghaus, Oscar E. 78 Hartley, Marsden 66 Marin, John 26, 56 Rungius, Carl 78

Black, Olive Parker 85 Hennings, E. Martin 79 Moran, Edward 89 Sargent, John Singer 26

Bradford, William 43 Henri, Robert 24, 75 Myers, Malcolm 58 Sharp, Joseph Henry 81

Breck, John Leslie 62 Hesse, Eva 72 Neal, Robert 82 Siporin, Mitchell 86

Bridges, Fidelia 91 Hetzel, George 90 Nevadomi, Ken 60 Sotter, George William 93

Church, Frederic Edwin 42 Hill, Thomas 40 Nichols, Dale 87 Stokes, Frank Wilbert 43

Clymer, John 80 Houser, Allan 80 Paige, David Abbey 45 Thomas, Alma 37

Cole, Thomas 27 Judson, Sylvia Shaw 92 Palmer, Pauline Lennards 85 Twachtman, John Henry 75

Cornwell, Dean 81 Kensett, John Frederick 88 Peale, Sarah Miriam 36 Upton, Ethelwyn B. 85

Cropsey, Jasper Francis 26, 88 Kent, Rockwell 44 Peale, Titian Ramsay 94 Weir, Irene 72

Curtis, Edward S. 94 Kuhnert, Friedrich Wilhelm 81 Peterson, Jane 84 Wright, Frank Lloyd 76

Drexler, Lynne Mapp 59 Lee, Doris 22, 37 Pollack, Reginald Murray 59 Wyeth, Andrew 95

Fechin, Nicolai 87 Leigh, William R. 80 Richards, William Trost 95 York, Albert 93

Advertisers in this issue

A.J. Kollar Fine Paintings, LLC (Seattle, WA) 11 David Dike Fine Art, L.L.C. (Dallas, TX) 2 Leland Little Auctions

Artexpo New York (New York, NY) 18 Debra Force Fine Art, Inc. (New York, NY) 1 (Hillsborough, NC) Cover 3

Art Market San Francisco Dirk Soulis Auctions (Lone Jack, MO) 8 Rehs Galleries, Inc. (New York, NY) 12-13

(San Francisco, CA) 20 Eldred’s Auction Gallery (East Dennis, MA) 25 Scottsdale Art Auction (Scottsdale, AZ) Cover 4

Art on Paper New York (New York, NY) 55 Fine’s Gallery (Bonita Springs, FL) 33 Shannon’s Fine Art Auctioneers (Milford, CT) 29

Boston Design Week (Boston, MA) 16 Freeman’s (Philadelphia, PA) 9 Skinner Auctioneers (Boston, MA) 31

Brunk Auctions (Asheville, NC) 21 Heritage Auctions (Dallas, TX) 5 Swann Auction Galleries (New York, NY) 23

Cottone Auctions (Geneseo, NY) 17 Hindman (Denver, CO) 3 Vose Galleries (Boston, MA) Cover 2

D. Wigmore Fine Art, Inc. (New York, NY) 7 Initiatives in Art and Culture (Chicago, IL) 10 WOLFS Gallery (Beachwood, OH) 19

96
 S C O T T S D A L E A RT A U C T I O N
A PRIL 8-9, 2022
NOW ACCEPTING CONSIGNMENTS

R IMROCK W RANGLER 28'' X 36" OIL

ESTIMATE: $400,000 - 600,000
FRANK TENNEY JOHNSON
(1874 - 1939)

2021 A UCTION REALIZES $13.5 MILLION , WITH 99% OF ALL LOTS SOLD .

C URRENTLY HOLDING 215 AUCTION RECORDS . 2021 SETS 11 NEW RECORDS .

NOW ACCEPTING CONSIGNMENTS FOR OUR A PRIL 8-9, 2022 AUCTION .

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

SA SACROT TATUSCDTAI OLNE

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